REALISTIC 3D ASIAN MALE FACE

1. DR KHAN TRAILER: Hi, I'm Kelechi John, a TD character and prop artist with over five years of experience in the VFX and game industry. In this class, I'll guide you through the complete character creation process as we build an hyper realistic TD Asian male character. I of course will be on clean forms, natural proportions, realistic skin textures, and a final polish render. You're aiming to upgrade your portfolio or develop a stud ready workflow. This course will take you from sculpt to final image clarity and precision, what you will learn. You follow a professional pipeline and learn how to sculpt a realistic two D HMM character and Zbrush with attention to anatomy structure and natural surface detail. Rob creation in Marvelous Designer. In this stage, intricate patterns will be simplified into digestible chunks, aiming or arming you with the right knowledge for garment creation in Marvelous Designer. Texture realistic skin in Substance 3D Painter using Subtotna vibration, a detailing and color refinement. Groom believable soft air using exigen in Maya, focusing on natural flow, volume, and airline shaping. Setup lights in rendering node, creating cinematic beauty renders with highlights which highlights your character's realism. Class four. This class is designed for intermediate or advanced artists, students, or bis who are familiar with the basics of Zbrush, Maya, Marvelo designer, Egg Gen, and Arnold render. If you're looking to take your character work to a professional level, this course is for you. Why take this course. By the end of this course, you would have a fully sculpted, textured, groomed and rendered th character. Ad ready to feature in your portfolio or show real. You also gain insight to IN character workflow used in game, film, and animation. Create your own version of the character, including a fully detailed sculpting in Zbrush, garment creation, in Marvelo designer, hyper realistic skin textures and sbtanpinter, natural hair grooming with Eggen, a polish venal rendering in Arnaud. This class is packed with professional tips, practical workflow, and creative guidance to help you build a portfolio piece that stands out. Let's get started. 2. 01 Base Mesh Prepping in Maya: Okay. Welcome back, guys. So in this lesson, we're going to be creating something different. As usual, create something different on my tutorials. So I welcome back or rather, welcome back to this new series of Tutorial I'm gonna be working on in here. So for this series, so if you're already familiar with my previous tutorials, you should know by now that I'm really big into creating faces. Like faces are kind of kind of very fascinating to me. So creating different types of face, dark, complexion face, young face, stylized face, young gay face. So miss Butler told you, I want to be working on creating this Asian face. So I've already given him a name, so I'm going to minim him Doc Doc and Soy. Hope I'm pronouncing that correctly. So that's going to be his name, so we can see the you can see the interesting and unique painting to this. I don't really know the actor that painted this, though. Probably this is his name. Fortunately, I can read Chinese. So but this is it's an awesome concept, kind of work within here. So I'm going to try my best kind of capture the essence of this, the feeling of this. Maybe if you might not be able to kind of capture the exact likeness bots general feel in terms of lighting, texturing and rendering and both air creation and all that goodness when it comes to creating a two character, it's TD software, so I'm going to try my best to capture the essence also of this as accurately as I possibly can. Okay, so let's jump right into it. So obviously, I'm going to sin Bs march like I always do. So I have a series of best mesh in here. So the bet mesh I'm going to be using would be this gotten from through discsore just generic models. So let me just close this. I've already imported that into a new file. I also have an eye in there. So I have my own e models in here, so I'm going to visit my own eye model. So it's the outer eye and then the eye wrist. So I'm going to visit my eye model for this piece, okay? That's that, so let me undo that. Bring everything back out. You should be, you can kind of get this to discount store. Okay? So by every that I'm going to be providing should be providing. So for the skill Show, too, I'm going to be providing this is going to be available on ski Show on my order Tutorial stores. So make sure I kind of check this out once it's out. So I'll be dropping a trailer for it also to my YouTube channel. Okay, so basically, I'm going to be giving a modified version of this Base mesh to those watching from Skishe actually purchasing this tutorial. So yeah, so let's get right into it. So now that we have the Biz Mash in here. So one of the setup, I like to do is to go to a camera setup, which is a perspective ina. I'm going to set this to an 85 millimeter lens in here. Okay. So 85, enter on. This here, that's basically just what I like to start with first kind of for just the camera focal length for more or less like a portrait, a portrait camera lens. So yeah, that's that I'm going to save this one let's spot this out. So let's explore this out. I already have some references that I'm going to use in here. So most likely this particular guy this guy kind of resonates more with the shape of the character. Most especially for the facial structure of the character, more less like you can see a sharp angle in here, just below the jaw. You can see for this also to another sharp line which you can also use, okay? So all these features work. I'm going to implement and then look for other references also to kind of add those features to our reference, make it look more interesting India it's going to be a major realistic reference to actually kind of use India. So just to keep that in mind. So let's carry on, put it to the side. Then I would select this Ed model. I will export this out. So I need to export these two. Fold, I have a folder in here for it, so I'm going to create a new fold. I'm going to name this to Z Imports. Let's use all caps in Z Imports. Okay. Let's copy the five parts. Then we'll paste the five parts in here. All right. So I want to export this as an OBJ, very important. Export as an OBJ. So lets you name this to Doc. Am I spelling that correctly? Oh I A O. Okay. Save that. Then this is my outer eye. So the outer eye. Me this to outer eye. All right, export as OBJ. Is to do the same for the iris. Yeah, but before we do that for the iris, I would like to push the iris quite closer. Quite closer. Let's get this as close as we possibly can. Okay. Seems like we need to work on them individually, also, too, so I'm going to face more double click on this face. Pull that in some more like so get this forward a bit more. Somewhere around there, it should be fine, quite close. I think this should be close enough, also. I think this should be fine. All right. Let me turn on this minuscule because we need that This minuscule more or less like C drop under the eyes around the corners of the eye, so I'm just going to make modifications to the those export out the eyes. I Alright, select this double click. Let me just push this roughly where I feel it should be around. Push this also roughly where I feel it should be. He also should be fine. We're going to make modifications of that instead of Zbrush, but for now, this should be fine. All right, should I should work just fine. Save. Unless spot out the miniscus now. Let's spot this out. Okay. Mincus, safely export it out. Save this file. Let's open up Zbrush in here, open up Zbrush. So we can import that into ZBrush and set our camera, and then we can start the sculpting process on that. Okay, so we Z brush now. So I'm going to open up the default projects. I want to double click on that, so open that up. Okay. So I'm not I typically don't use fancy workspace. I don't use wide fancy workspace. So what I was going to say this to default, I'm going to load this interface in here, something down here should be fine. I don't do too much, so it should kind of be on the same page. Alright, so yeah, now, next thing I'd like to do would be to come over to documents. Okay, the range range as we find already. So let's import a model in here. So go in here, select this. Let's make sure there no subdivision levels in there. All right, so let's import imports. No. Doctor, can we please that in? Yes, we can? Let's start with the base head. Okay? I'll go over click on a pen fair though leg is fair. Imports, let's import the iris. Turn on this. Okay. Yeah, this should be fine where it is. Let's go append sphere, select this sphere by holding o e sub two. In ports. Let's do the minusc append spare select the spare sub two, IptsOy, now we're good. So everything minutes get in here is in here now. But what we need to do is to set up the camera. Let's set up the camera match that of Maya. Let me save this out first. So name this No, no, not inputs outside the file. So let's just name this to Z Cs. Save this. Now, let's go over to I believe should be on draw. Let's set the camera to five millimeter length also. And I'd like to save this crop factor to a value of four. Something like so let's see how closely we kind of merge this with Mya file. So let's go over to a Mya file. Okay. Let's get this in the center like so. Zoom let's create a bit more space in your standard. Let's get a bit more space in here, minimize close close. Okay. Let's go back to Zbrush. This in here. Now, let's fed through. Let's fed through in here. Now, let's march this as closely as we can to see if our camera setup is kind of matching it as accurately as we can scale this out some more. I'm going to use the ISR reference points. Okay. So the eye is going to be like a main ankle point in here kind of merge this accurately. Oh, I need to go back to Maya and make sure we're looking this from the front view because the front view is going to give us a more perfect example for this. Front view, let's check our camera set up again. Let's see. I think we are good in here. Okay? Go back to Zbrush. Okay. Marge this as closely. Yeah, perfect. So this is a perfect. So we have a perfect marching here. So this now, let me go into Zbrush, and then I just let's say this crop factor to one. Said this to one. Let's see. I think I need to turn off the minuscus on both side. Let me turn off this minuscule s here so we can see this a bit properly. It's an important part of the process because we want to make sure what we see inside of zebush is also what we see inside of Maya. So we need to march this you can see how in zebush now, it's kind of protruding outward. But in my what kind of up more more of a flat surface to it so. So I'm going to go over to my dry again. That's I actually study this crop factor. I use a crop factor of four. Kind of flat now deface a bit more. So now we don't see any, I don't see any strong transitional, slopy zooming in detail, Linda. So you notice now, it's kind of marching marching it a bit closely. Okay, let me show you what I mean. So initially, if you get this back to say this growth factor back to one. You can say budges out. Now, if I kind of go in here, I can see how we get this kind of transitional flow. We don't want any traditional flow. We just want it kind of cut short without any transitional flow. So if you have any transitional flow, that means you know matching the camera exactly as you should match it with that of Maya. So that's what the crop factor actually helps. So if you go back to the draw and then we set this growth factor to four, let's even do a value of five. Let's see. Let's do a value of five. Now, let's see. You can see were much better. I can see we have a sharp movements. Say we have a sharp movement in here now, completely matching this as accurately as we can. Yeah, perfect. Will work those fine. So yeah. So five is a good one. So let's take down this see through, take it down. So now we've matched the camera on both sides. So now we can start a scopting process in here. But one last thing I would like to, we can start our scopting process. Yes. Yes. One last thing I would like to actually do would be to test the resolution, the number of subdivision ever I need on this model. So to do that, let's select the head Shift E to go to poly frame. So the head selected now go over to geometry and we subdivide this. You can see the poly coount we have in here now. I like to subdivide this 12 million. Let's subdivide this one more and see how far we can take this so we have this at 50 million. Now, I 50 million actually quite nice. We can actually move this with ease actually. We can. So now let's actually test based on this resolution now we have this subduction level we have in her let's text if you are the skin polytf if it's going to actually hold that quite sharply. So I'm going to apply to Alpha. I have a texture in XYZ Alpha in XYZ, XYZ, 175 skin, open this up. Let's Let's do two. So typically conduct you appear a drag wreck. So I'm just going to zoom in and drag something in here. Let's see what we get. Let's see if you get really clean details in there. Zoom in Yeah, we get really good clean surface detail in here that we can actually work with work just fine. Let's say we increase intensity a bit more than we do one around here. You can see how we see the details a bit more accurately. That's fine. I do that, so I'm going to be leaving this at subtion level seven at a pul count of 50 million. No, no. Forward. Okay. So this is where we're going to be starting with. So to finalize this and then we'll continue the next lesson, we'll go over to layers. Then let's create a new layer here. I'm going to name. We're going to name this layer too. Primary forms. All right. So this should be fine. I'm going to save this. Let's save this. Okay, that's fine. So I'll see you guys in the next lesson. Bye for now. 3. 02 Facial Siloutte in Zbrush: All right. Welcome back, guys. So now let's get to it. Let's start blocking out the shape in here. I'm going to go back in here, turn it off. Let's do dots. I believe this should be in here. Okay? So I'm going to go to lower subdivision level. Let me open up geometry in here, and I'll go to the lower subdivision level for this going do this copting on the lower subdivision level. Okay? So noticing in here, we know definitely that a character in here is more like a boxy face but even though it has a box, he has a boxy face, you still want kind of give that feeling of the face feeling elongated, more or less like a long face to him. So just like we have this character in here, that's more or less like a long face in here. Though it has kind of boxy on the jaw line boll. Still a long face in there, so let's get that in. So how do we do that? So just kind of flatten out. Let me get this reference in here. So this reference in here yeah, reference in going to flatten out the region just between this cheek bone and then just below the jaw line. So more or less like this pink shape you have in here so we call it the pink shap pink shape you have in there. So it's going to flatten that out, so. To do that, I want to use the move brush. Making sure symmetry is donned on Okay. All right. S with the move brush now, let's look for a good angle for this. All right. You need to push this in, but you want to be careful, though. You want to be careful the parler region you're pushing in. So the first a bit better. Where we need to push in is around here that comes down this way. Just the same way pushes this way and then it comes down this way. So start by pushing that in first. So with a move brush, increase the brush size a bit small. Look for a good angle for this. I'll start pushing this in then downward like so a bit more. So we come from Look at this from the front view, now we can make it to see that bulky shape begins to appear on the lower side now. Which is like precisely what we want. So here's a slimmer jaw to also, too let me increase this some more. Let's get this in a bit more Okay. More or less like so. Yeah, so we're already kind of blocking out the ship in here now, so let's get this jaw line down here, a bit more. Yeah, something something slightly bulky, like, so, increase the brows size a bit more, push this in. Push this in. Okay? All right, we're getting something in here. So basically, I'm trying to kind of tackle the general silhouettes of the head fell before moving or pulling or pushing any of that in here. That's the main target for now. Lets you do that. Let's shrink this in a bit more. Alright. Yeah, this is fine. Like I said before, we're not going for absolute likeness in here, but something quite close to what we have in here in terms of the reference in there, okay? Let me get smaller lip tube. Okay? Like, so All right. I think we're getting something in here that would work. Okay, now let's get a dam standard brush. Dam standard brush in here. They need to start blocking out smallest like a deep out separation in there. Like, so Okay. No, that's way too sharp, we need to smooth this down. So let's go to smooth brush. Reduce this down. We're going to get some smooth in there. Okay. Mm, I think I went too far on the dam standard brush. I don't look like at sharp line. We don't want that, so let me smooth this down. Okay? Yeah, yeah, we're definitely getting something in here. Now, let's go back to our original reference, more realistic reference for this. Let's use this as a guide to kind of get this in place. So I want to look I need to look at this from pretty much the same angle this year. So we are still on the lowest sobtion level for this. Get this out or more Okay. No, I'm noticing in here now that all of this needs to be pushed in some more, so the lap around there needs to be pushed back to move brush. Push this back in. Okay? Mot like. Also, we need a smaller nose to him, needs to have a smaller nose to him. Also, we need to push this down down a bit more. Okay. Yeah, pretty much around there seems fine. This just like a flat like a basic blockout trying to do, kind of get the general silhouette of the head a bit more. Okay? The should work. Who this now. Do that a bit more accurately around the. Okay? All right. I feel like I should extend the face slightly more so. To do that, I need to use my let's see the max lasso. I'm going to max out region, those halfway. Yeah, yeah, somewhere I'm just be fine. Blow this out, invert the block. Okay, I'm just going to extend this slightly a bit more, so just slightly. More or less just to capture a more longer facial structure to him. But we want to try as much as possible to avoid going overboard. Let me do that repeat that again slightly. Okay. So should be fine. Not to extreme, but still very much in there. Smooth this down some more. Make sure we capture the silhouette of this a bit properly. Forward bring this jaw line forward. So more. Okay? All right. All right, so now I'm going to extend can see this cheek bone kind of put out a bit more. So let's use the clay brush. Gonna going to use the clay brush and then just sentuate this some more smooth that down. Let's see what we get out of this. So once we kind of do this wear, it needs to be, so you want to be really careful doing this though. You want to do this we, it needs to be, if not, it's going to be blocking out something elsewhere that isn't supposed to be there, so block this in. You can see a bit of kind of poking out, smooth this down. Gentle smooth should be fine. Gentusmo around there also. Okay. Fill the spot up some more right. This we need to smooth out a bit more. Okay? I will need to use the move brush. Was the lowest of dion level. So this temple around this region, I need to kind of block something in there. So let's get a little bit more depth in the smooth down. Yeah, something pretty much like so should be fine. Okay. Let me work on the nose a bit more. Let's work on the nose, get the nose. A bit small. Undo that. Reduce the bre size. Get the nose a bit slimmer. Okay. Let's get this nose a bit slimmer, I think pretty much like so. I saw seems like a good one. Now let's look at our main reference. First let me kind of save. Let's save this. Let's look at the main concepts in here. Let's see. Okay. Let me kind of capture a little more of the expression in there by just pushing, pulling this down a bit more. Yeah, like that should be fine. I think we're almost done with capturing the capturing the silhouettes in here. So let me just look at this a bit. I can see how this place pushes up a little bit more. So with the most want to move brush, brushs a bit more. I will just come somewhere around there and lift this up some more. Just to create a discontinuation around that part. Like that should be fine. Okay. Let's see. Here, I think we're getting something in here. Okay. Yeah. She's coming out quite nicely. Just checking to see there's something else you need to block out in here. Oops. Clay brush. Let's fill this part up some more smooth. No, no, no, no, that doesn't look right. That doesn't look right. I think the move brush would be a better one. Leave this up some more. Okay. Let's look at this from same similar angle. Let's see if you are getting this in. Okay. Now, one of the very distinguishing features of this also is the fact that you kind of have it's a bit of gap around this part, so we need to kind of create that gap in between the brow ridge and then the upper eyelid. So there's a gap in between there, so we need to kind of create that. Let's see if we can find see if we can find a realistic or something close enough to this. This is a closed one. A close enough reference for it. Let's see, um no close love reference. Let's look for something a bit more realistic. Oh, this one actually has it around here. So we can use this. This we can definitely use. Let's look at this from the side. I think we need to kind of max out. We need to max out this region. Okay? Lo a bit more with the more brush, we can lift this. I believe we can lift this up. Get this lifted up some more. Okay. Yeah, we're getting something in here. Alright. This we can definitely work with So for the fact, let me blow this smooth this out a little bit more. Then for the fact that smooth can create anal eye covering on that. But we'll do that later on let's just get this in now. Now it's beginning to look a little more like an Asian. So slowly, we're kind of getting the shape of an Asian eye in there, which is precisely what we want. So yeah, so that we're on the right track. Let me eye these minuscus for now. Hi the minuscus. Okay. Let's add a little thickness on the lower part of the eyelid. No, before we do that, let's capture the shape of this Asian I in here first. Let's capture the shape of the Asian I. Let's see if we should have a reference in her We can do this from this ongoing here, so let's use the move brush. Okay. Let me get in. I will push rather raise this up. I need to max these parts. Like so, blow the max, increase the brush size, leave this up, get these bends down. Okay. We're not there yet. No. Invert the max. We need to shrink this. We need to close this a bit slightly. Close this a bit more. Yeah, you're getting something in now. Let's look for more bet, more close up. Do have something for eyes in here. Maybe not. Okay, we should have, Asian. Yeah. Precisely something like this. So let's bring back the max. So you can see how it kind of tightens out in this part. So let's see let's get this push this back. Get this a bit tighter, in the max. Get this a bit tighter. Okay. I V max. Let's see. I think this should work I need to lift, get back that sickness around the ice. I'm not going to lift. I'm going to lift this out some more like so. Okay. Yeah, I think they should they should walk, play the marks. Get them out. Trying to make sure I don't have eyes that are not looking accurate enough, so yes. I think we're in a good place. Yeah, I think we're in a good place. Les if there's any other corrections to be made, we can always go back and then make our correction. But for now, let's see, I think this should be fine for now. Okay, so let's add some sickness underneath the eye. So I'm going to use dem standard brush and just create a dense around the think need a bit more intensity for this. Okay. Yeah. So yeah, it's already looking more or less like an Asian now, which is precisely what we want, so. That's cool. S have something in here, it's still looking a bit off. Specifically slightly off. Before we can block anything in, let's make sure from the Ed reference, we are doing this accurately. Check this in here. Okay. Saving out. Okay. Okay. Hey, I think we're good in here. Okay. Yeah, we're good. Except for the fact that I would like to create with them standout brush. Let's create this indention around here. Okay. We can do around. So something needs to actually be in there kind of create some shadow depth in there, that's fine. So what's going to come back and work on the eye. But for now, I think we are in the right list. Let's go up and create this temporal line in here. So basically to do that. Let's start by creating a depth in de standard brush create an indentation around here. Okay? Yeah, that should work. Yeah, that should work. Let's see what we have in here. And I'm going to use the clab do brush. Create No, that's way too thick. Create a lump around the, smooth this down. Okay. I think this should be fine. Okay. Then we can create another one in here smooth the edge, smooth the edge. So it should fade all the way to the back. I think mine is actually way too sharp now. So let's increase the smooth intensity and blend smooth out down some more. I still still feels a lot of symmetric. Let's just smooth some things down. Okay. All right. Yeah, I think this part is way I think this part is way too low. Just sorting this out. Okay? All right. Getting something in here. No, no, that doesn't look right. That doesn't look right. Undo that. Don't be afraid to always clean, and then we do something in there so it feels look right. Okay. You can see a separation in between. Is what we have around. I'm sure you guys in here. Is this depth we have in here this depth we have in here, so we would need to create the same thing in our sculpt. So the best brush for us is the standard brush. Let's look for a good angle for it. And let's carve that indention in the Okay. Now, it's not accurately accurate in there, so it's supposed to come supposed to come somewhere from around here. Like soap. Let's zoom out. Let's see where we get. Okay, that should work. Smooth down. Alright. So I will need to use the clay builder brush to fill up this part some more smoother down. Just basically to add some breakup in there. I don't know if I if this part. I pull push it up it too much. Let's just get this down slightly. Shouldn't be too aggressive in there. Alright. Let's go back to our main reference. Let's see what we can capture in here. I think I need to smooth this part out. Nope. This is up Gleb up brush. Feel this part up some more. Here's a bit more flesh around this part, so take down the smooth intensity, brush size, smooth this out some more. Mm hm. Okay. Add a bit more fill up the parts. Smooth that down. Okay. Now, it doesn't feel right, so I need to get a nice blend around those parts. I need a very nice blend around those parts. Like something like so. Okay. I think I need to go back to my move brush. Okay. I like that, should be fine. Use the clay brush. Let let me show you get what I'm trying to create in here. Um, do this more for an old ery kind of, though, but should still work with those things I'm gonna do fill up in here and smooth that down. Let's see. If this works nice, I'm going to leave it, if not, I'm going to undo that. Seems to be working nice. The south winds kind of smooth this region out also. Okay. Smooth this down. Alright, we're getting somewhere. Okay. Use them standard brush. Let's add indentition here. Let's add one that comes across in here. But shouldn't be too deep, though. Just something soft around that part. Okay. Yeah, this is coming along quite nicely. Right. Okay. Yeah, this is fine. 4. 03 Primary Forms In Zbrush: Okay. Okay, but guys, so let's continue on from where we left off. All right, so we're still on the primary forms for this, so we're thinking of working generally on the primary forms. So of it going to continue blocking things out in here as we should, okay? Right, so let's see what we can work on in here. I'm thinking of going into the eye now, but let's see. I kind of like this forehead in here, I'm going to implement that also in my scopes. Let's see. So this is actually giving a bit of character to him. So let's declare Btu brush. Basically just going to build something around. Smooth those down coming a bit closer. Smooths down. I think I went overboard, so let's do stronger smooth around that part. Okay. No do that. A bit of buildup in smooth down. So basically, I'm trying to give him more stronger foam to give him a more stronger foam. Okay. All right. As much as I want to know follow the reference, I still want to kind of play with this some more, play with this some more and introduce some stronger forms to him that make him look more make it look more alive. Okay. Wemove brush, extend this out a little bit more. I Okay. Yeah. Now, once is in here is that, let me see if I can find a good reference for this. Let's use the main reference. So on the main reference, you can see the ball eyeball actually poking out around this part a bit more. So I would like to introduce that A to win raising that. Let's kind of close the upper eyelid down some more. So it kind of begin to look more or less like a likeness in here. Let me blow this down. With the move brush. Let's get this eye closing down some more. Yeah, like soap. And we're going to create something that looks molest like the eye ball poking out around this part, let's try Let's try it in the clay, build up brush, and build something on here, smoothes down. So if his eyes actually protruding out of it, kind of poking it out, remove brush again. Something doesn't look right here, so you need to fix them. Okay? No, that feels a bit odd. Zoom out some more. Look at this from the side. So the oldest part is around here is up here, so can use the Dame standard brush to create an indentation around there. That indentation is looking is not looking accurate enough, so let's do this again. Not accurate enough either. Let's look at this from this view. Making sure they actually wraps around this a bit more accurately. Push this in this is a good angle to kind of do rather fix this. It's a good angle to fix this. So this should actually wrap around them standard brush. Zoom out. Let's compare this again. Let's see. Now, it needs to look as accurate as it needs to be. Basically just moving around and trying as much as possible to kind of capture the essence of that some more, reduce the bros size. Okay. All right. Yeah, pretty much. Pretty much there, almost. Almost there. Almost there. Come in here, push this down some more. Okay. I think we're pretty much pretty much halfway there. As much as want to kind of use the concept in here, to kind of make sure kind of follow some realistic approach to it, kind of make sure it's looking right. Very important. Okay. Let's see, are we catching this properly? Yes, we are. In seems to block out in the wood. Let me just get the neck to fit this new set of head. Okay? All right. Yeah, this would work. Smooth that out. Nope. Maybe you should leave that the way it is. Let's look at this from the angle of the reference one more time. We're still going to do that a few more times, obviously. But let's just see. Let's see if we're capturing it as closely as we can. It's kind of teting his head up a bit more bots. Let's see. Let's see if we're capturing something close enough in here. Yeah. So obviously, I just to sharpen this, so I'm going to increase intensity a bit more. That's way too intense, ticks down. On do that. This depth should be fine. Okay? Come on, click on something else, right? Undo that. Okay. Smooth that down. Need to sharpen this edge some more do that. Smooth that down. Shouldn't be too sharp. Okay. Now, we need to kind of kind of define the lip some more. Let's define the lip a bit more like soap. Now, doesn't look right. Yeah, somewhere around there should be fine. Okay. Get an indentation in here. All right. Okay. That's fine. I think this is coming out nicely. As for the primary form, though, primary form, secondary form is where we need to do a little bit more work in there to kind of get some good looking shape in there. No, wrong brush. Smooth that down. Okay, Dam standard brush. Need a dent in here. I can see a clear dent in there and smooth it down. It shouldn't be too nah no, no, no, no, no. Kind of making him look a bit too hold, so let's clean that. N something quite gentle in there. N something quite gentle in there. Smoot. Let's use this now. Dipping material, just kind of see how the eyelight is working in here. So the ylight now we can kind of get captes some more shadow depth in here to be sure if wereing this accurately or not. Okay. Okay. I think we're in a good place. Let me put flats in these parts. Smooth. Let's see, I think I went overboard on there. Let's use the H polish instead. Smooth that down. I think I still think that's a bit too much also. Let's take down the intensity for that. Okay. All right. Dad, did I que that way too much? Let's see. I'm trying as much as possible. Not gonna que the shape. Come on. Okay. So I will increase this to a higher subdivision level. So I increase this one subdivision level higher. I can see some issues around the around these parts. So let's go to the lower subdivision level and smooth this down. Okay? I feel like I should extend the jaw line out a bit more. Let's go back to this. Let's see this from the front view. Okay. With a more brush, I'm going to extend this out a little bit more. I'll push this in some more. Okay. I think we are there. Add some sickness in here. Smooth. Okay. Let mesically brush instead. Smooth. Alright. Yeah, we're getting something in here. Let me use them standard brush. At a separation here. One will also be in the middle of the nose. Slightly in the middle of the nose. I think I didn't do that accurately enough. Let's go on subdivision level. I think we need to do this on a higher subdivision level. Okay. Et's get the shape of the leap in there. No. No. Why is it as weird? No. Okay. Smooth this down. All right. Yeah, that we definitely need. I was going to smooth this down a little bit more. So that should create some shadow around around the lower part of the lip. Now, let's do no. Okay. Let's see. No. You need a bit do that a bit more precision. No, no, no. Don't think I'm doing that accurately enough. No. Yeah. Almost there. Almost there. Yeah, I think this should work. No, that doesn't look that doesn't look right. I think the indentation I added in here was way too much, so let's fill that up to begin with, smooth this down. Let's create a new one, something a bit slimmer in there It's not looking right because it needs a bit more subution level to look a lot better. Okay. I think we have lost let's go to lower subtion level. I think we've lost that temporal line, so we need to introduce that back. Let's do this with the standard brush. Whoa, as a bit too intense, we use the brush size. We need this to be slightly more obvious in the smooth. Okay. All right. I think we can align the lower part of the lip onto W, mark this out, let's get the lip closed. Let's get this lip closed. So with the move brush, move this closed. Okay. Yeah, pretty mode like so, invert this. Gets even closer, bend this down. Okay? So basically kind of capturing the expression a bit more. Alright. I'll need to add a bit more fleshiness to these bits. Like so smoothes down. Okay. Add a dention around here. Smooth that down slightly. Alright, I think I would like to also, I can see separations in here. Let's look for a reference layer that's properly blocked in. I think there's a goods actually a good one. It's a good one in here. Damn standard. I don't want to make this too too distracting, actually. I want something in there, no doubt, but I don't want it to be too distracting. Just enough to make us know there's something in there. I shouldn't be something that is too distracting. Okay. I think they are too far aparts. We use the bruss size too far aparts loser. Okay? Right. Most likely, you need to our Civ out face too. Most likely, we need to add some more flesh in her smooth that down. Okay? Now, the eye is a very important part of this process but we do that. We do that definitely. But just trying to block out the other side a bit more. Every other part that we need to block out in a fast before jumping to the eye. Okay. Let's do something for the neck piece. Not too much, though, but at least something in there, something in there to hold the shape a bit more. Let's accentuate this. Okay? Okay. All right. All right. Let's do this No, this part is not going to be visible, though, no. In herir first, smooth down. Let's add something inna undo that. Let's ad the clavicarbn. Okay. Them standard. Pretty dense in smooth down. All right. There's more soot that comes across here, smoother down. Most of these things are not going to be visible though, but anyway, let's just get them in. I think I went too deep went too deep. Okay? All right. No, it should be a bit closer around here. Okay, let's increase this one subdivision level higher. Get the shape do that's the center. Right. No, no. Let's do this little bit more precision to it. Roduce this Okay. All right, reduce the broad side for the most reduce the intensity and then just move this down. Okay. I think we can start introducing some structures in here based on realistic references now. Like, for example, for the cheek bone, let me reduce this down some more. Go to lower subdivision level. Okay, them standout brush. Create a dens in here, smoothes down, should still be in there. Okay. Let's add some slight thickness for the lower part of the eye. Think can use the standard brush rather. Okay. Now, I think, at this point, you kind of take a break and then come back to this so you can actually see all the details you might need to add in here. I think I add something here. Hondo dollars way too intense. Smooth, still too intense. Something gentle in there should be fine. Like, so smooth down. Okay. Let's look for other references that should help. So this bug needs to be a bit ticker, so let's get it a bit ticker. Let's go on sublion level. Now we're already working on secondary shapes already in here, so it says already details for secondary shapes. Okay. Yeah, I'm making significant progress in here. I basically just checking. Checking to see if there's something else I need to do in here. All right. Take down the subdivision level. Let's try and match this close to the angle of the reference. T something pretty mode like soap. Okay. This is the move brush. I think I need to push this in some more. Okay. I should probably even save this camera setup. I think that will actually really help to save this camera setup. Okay. To save this. Yeah, I think this is a good spot. Let's save this camera top in here. I'll go down is on that row in here. So stock camera. Let's name these 23 quarter. Let's do three quarter. Put quarter view in this uaview should be just fine. Quarter view. So we can always snap back to that if we need to. So it's busy for, can snap back to that. I'd like to extend the jaw out. You should definitely, you know, not this took this on the right hand side. I dog this on the right hand side, so I can see this move into that camera angle. Yeah, so basically, I'm just checking this to see what I'm getting in here, to see if I'm doing this accurately or not. Feel like I should push this in some more some more No, no, let me leave that out. Maybe push this out slightly. Like so. Okay. Okay. All right. Just checking, checking. Just checking to see if there's something else I need to get in. I think at this point, I think I need to even rest my eyes, so come back and then I see I'll definitely see definitely see all features to add in here. Yeah, it's a good one. Sound a good one. It's definitely box shaped phase that we can steal some of the features in here and then add to our scope to make it look a lot more believable. Okay. Yeah, this is a good one. So this guy is a bit of a longer job to him. Let's compare this with our main reference to see if we can use that. This guy has more lima fish to him. Compared to still has a bit more bulky fisher structure to him. So I still want to kind of keep that bulky fisher structure. So let's see what we can add using this reference in here to make it a lot more believable. But Okay. We're still on the move brush. I'm guessing pulling this out some more. Pulling this out some more. Let's see how this works with our modeline not too sure. Let me undo that. Maybe better still push with a bit of pushing in instead. Yeah, there's a bit of pushing in instead. Let's see, standard brush. Woo, dig this in. Okay. Yep. This will work. And this we can definitely keep. All right. That's why I see where having different references actually comes in handy. You can see a shape around here. No, reduce the brush size. We standard, reduce the brow side a bit more. We them standard brush. No, that's way too deep now. I think the previous one was actually fine. Somebody's going to gently smooth that. Okay. Nicely, if you can find another reference similar to that is also another good one. Also another good one we can use see if we have this working out correctly. But I think to do this now, it's kind of brick symmetry. But we're not yet it's not yet time for us to actually brick symmetry yet, but definitely one cheekbones supposed to be a bit higher than the other one, so keeping that in mind, 5. 04 Primary Forms Eyes In Zbrush: Alright, so cucumber guys. So still on this, I've gotten some mod references in here that would actually help, okay? So I got this. Now I'm not too sure if this is even AI or actualistic reference, but it looks somewhat really close to an AI, most likely an AI. Anyways, we got this and we got this also. So it more or less like a similar structure to our main reference. The main reference in here, which is concept design in here. Alright, so now, I would like to get the blend between these two. Now, character in here is somewhat similar to this, but. He has a more wide outfac structure, like, so so I'm going to kind of find a mid range in between these two. So right now, our character is looking something somewhat looking like this character in here. So we need to extend the sides a bit more, just a bit more so. How do I go about doing that? I would do something like let's see if we can capture this the essence of this a bit more. Let me do this from the side. Okay. So I would do something like maxing around. Like, so I would exclude this I need to exclude these parts. So down control and then out blow this out, invert the max, blow a bit more. Then I'll use my Gizmo. Do symmetry center this and just extend this out a little bit just a little bit more so. Like so should be fine. I want to use the move brush. Move brush, extend the size a bit more, pull this out. Oh, no, undo that. Let me go back to my let's go back to this. Scale it out a little bit more. Like so. Symmetry. Don't symmetry, then really broad size. Then come and extend this part out a little bit more. I think that's a bit too extreme. Okay. I think, let me do this again. But instead, I'll do this from this region around the egg. Yeah, this should work. I should work just fine, set this, set the eg. Get this up, move this this way. Let's go into this a bit more and kind of introduce more more of the structure in the I'll staend out this jaw a little bit more. Okay, get this here. All right. From the side profile, you know, I'm getting something more realistic. Okay. This we can definitely work with. Check in. Alright. Feel like I should lift this out a bit more. Leave this out a bit more. Okay. Yeah, I think I'm liking this. Late get this down some more. Okay? Yeah, this is fine. Is not too extreme, just enough to give us that look we're going for. Okay. Yeah, perfect. This will work just fine. I see to introduce some of the features on the four headboards. I think we can do that when we're kind of blocking out secondary detail. But we can use the clay brush now and then just introduce something gentle in here. Okay. Sorting that out. All right. Yeah, that should be fine. Now, one of the major feature of this face now is the eye. I've not really kind of dealt with properly. Maybe won the lip also I think you can actually use this lip. This lip look interesting. You can use the structure of this lip also in here. So let's get into it. Let's get into it. So I can mold control, go to the mode control, select this poly group, blow this out so more Okay. When you go to move brush, push this down invert the max. Let's bend this down some more. Okay? I may be something pretty much like soap. Let's leave this up slightly. All right. Let's see. The lower lip, maybe lift this up some more also. All right. Okay. Let's see the expression we have in here. Okay, I think I need to lift the sides up up a bit more. Okay. So just lift this side up some more. No, I think I'm extending the lip way too much. Let's get this lip forward. Then up some more. Okay? All right. Now the I, I'm still trying to figure out what I want to use a few references in here. This one actually looks interesting, though. It looks like an interesting one. Maybe we can use this. Okay. Maybe let's let's try this one instead. Let's try this one. Let's see. Let's see how we can make this work. Okay. Who is to decide? Okay. I need to get this Asian as accurately as I can. Let's look for how reference in here D should help. Yes. Okay. Okay. I think we should use this as a man reference, actually. Obviously, we're going to have some shadows casting in here, but let's just kind of march this as closely as possible. So I would like to let's see, um, Okay. Now, the top part of the, I need to add some thickness to that feels a little flat. Most likely, I can do standard brush. Let's add some thickness to the top parts. It needs to have thickness in there, so Yeah. For now, I'll leave that. I'll leave this as it is for now. Then I'll go to this. Let me get some space in here. Come on. And basically trying to scope this from the angle we love in here. Move brush. Okay. Let's see. And no, you want to be extremely careful with these particles. The eye will actually make or break your model, so you want to be extremely careful and then kind of nail this without having to go over it multiple times so you don't ruin the structure of the eye in there. That's why I'm trying to look for a good angle and kind of checking this around to show just to be sure I'm doing this on the correct angle for it. Let me max out the lower part of the eye. Okay. I will need to give this a polygroup also, control doubly to give that a polygroup. Okay. Blow this out, holding control and tap on this to blow it out. Still on the move brush. Then move this closer to the eye itself, closer to the eyeball it feels like it's kind of poking out way too much so. Let's get this tightly wrapped around the eyeball. You know, there's one. Then I'm going to reduce my bro size, come in quite close, move this. Is the region I'm a bit more particular about, so these parts. Feel like I should tighten this some more. Feel like I should tighten this a bit more. Okay. Zoom out. Yeah, something like so. I also like to turn on double sided on this. Let's make sure display double sided is tuned on. Okay. Let me see this. You always want to see very important. Okay? So now to figure out the upper eyelid if I need to push this up blow this out upper eyelid, I need to raise this up a little bit more. Just a little bit more, get this down. I think so should be fine. Okay. Now it's time to kind of finalize on that by adding this extra layer of skin, kind of covering it. So this extra layer of skin very important. So this is one distinguishing factor for an HR eye, so we kind of get that in. I think we would get this first. Let me exclude this. Then grab this part, also give this a poly group. Let's focus on this alone now. We need to push this closer. Let's be ging back out so don't mess things up. P more order controls like this. Zoom out in the mark, blow the mark, get in close. Find a good angle for this and make this blow this out a bit more make this more relaxed on the eyeball here, so it should be fine. Okay. Now, let's go back in here. So for this, we need to go to the higher subdivision level, actually, because we need a higher subdivision level to be able to capture this a bit more accurately. Okay? Before we add a flat surface around here, you need to capture this extra layer. Let's capture extra layer. Let's do this from the other side. Since this is come from the other side, let's use this as our main reference. So yes, to do this, I'll start by using my DM standard brush. SDM standard brush. So basically trying to cut a line in there. Let's figure out where it should be Okay. I think this is this in a good place, probably. Let's increase the intensity of Adam's standard brush. We increase the brush size also. Okay. Yeah, now we have something, no doubt. All right. So you just kind of flesh them in. Flesh that out a bit more. Let's the same them standard brush, but with ding oats now, let's add some thickness around that edge. Now, what I'm adding here is not smooth enough. It's not smooth enough. I need something that kind of maintains one smooth accurate transition around there. No, I think I need to undo this let me do this again. Okay. One stroke, if you can kind of capture the essence of that in one stroke, that will be awesome. That would definitely help a lot. Undo that. Trying to go over that again. Little bit more precision to it, like so. Then still on the same. Let's see standard brush now. Let's see if we can capture that thickness in the So now I'm basically trying to cap that thickness in there. Let me make sure I know the thickness. All right. Let's bring everything back out. Let's see where we get. We are close close enough, close enough. But those need some modifications to it. So for this, let's go to the higher subdivision level again and try and make this work. Okay. Isolate this again. So now we need to kind of tighten that edge. That edge in to tighten as one. And then, secondly, I would like to get a more smooth out transition around her. Damn standard brush, let's get a more smooth out transition in here. I should come down a bit more. Okay. This should also come down a little bit of feed in here. So I'm going to soften that edge. Think I went a bit overboard. I think I did. I went a bit overboard in the so let's undo. Let's go to lower subdivision level, actually. The smaller browse size. The smooth go to a higher subdivision level. And here, I'm going to use the pinch brush. Let's go BPI. So with the pinch brush, now I can kind of tighten Nope. W use the bros size. Let's get something tight in a more thinner line around these parts. No, way too thin. Way too thin. That's way too thin. As much as I need to kind of tin that out. I don't want to be too thin. So still have some kind of smooth edge around those parts. Yeah, like so. Okay? But it still needs to kind of dig. It kind of dig this in some more. Need to dig this in a bit more. Can we get this in one stroke? Now, let's look at this from a distance. Yeah, from a distance, this actually looks good. We can work with this now from a distance. Okay. Let's use inflit brush, BIN inflet brush. Inflate this edge a bit more smooth. Okay, let's bring everything back out. Close enough, except we need to kind of soften the edge somewre make it a bit more accurate. My smooth intensities are smooth, which is a good number. The only thing is that we just go over this a few more times just to get something smooth around there. Perfect. Perfect. I think this is fine. Let's go to the lower subdivision level and do add some more smooth around these parts. Smooth this part out. Yeah, we do this multiple times, but that's fine. Get better. I'll smooth out transition around there. Yeah. This is good. So now we just kind of ticking out the edge. Less ticking out the edge. Okay? Ticking out this edge. So come underneath this. I think a good brush for this would be place that comes down the inflates fine. Nope, nope, nope. Flay this part a little bit more. I think I went overboard. Yes. So I'm going to use edge polish now. So love this. Go back to the edge polish. Let's get an edge in here. Basically trying to capture a sick edge around these parts. All right. Do we have some Let's go on subdivision level. Let's see what we get in there. I think on the higher subdivision level, we can actually see this working a bit more accurately. Okay. Yeah. This is fine. Yeah, convenience get some sickness in there. Alright. Let's bring Gavitin back out. Let's do the same for the lower eyelid. Okay? No, increase the brow size a bit small. Yes, I think we did this pretty much well. We had in the first stroke. Let's just refine this a bit more smooth. Okay. Zoom out. Yeah, this will work just fine. But so lo more, let's see this, awesome. So now we can start or not start, maybe continue. Continue adding some more detail into this. I think now I can use this reference reference of discount data in there kind of introduce some more produce some more shape to it. No, this certainly. C some more shape, especially on the leap. You can produce some more shape already kind of working on secondary shapes now. I think we can kind of create a new layer and then name that secondary forms or we can actually block that secondary forms in here if we need to. For the sake of organizing things a bit small, let's just block that. Let's block in the secondary forms on a new layer on a new layer. Let me see my file, very important. Okay. Yep. Getting something good in her right. I think I pull that out way too much. Let me increase my smooth intensity, smooth this out. Okay. Yeah. So now let's go in and increase the solution level to the highest and then create a secondary form layer. And then we should be good in here. Layers, create a new layer. So in secondary form now, we're going to start working on a more higher solution level. So we might hardly be using the solution level one anymore, so Let me name this secondary. Let's use all caps in here. Secondary Secondary forms. Okay. Yeah, that's fine. So the next lesson, we're going to start working on some secondary forms in here. It's kind of get this looking looking, right? So I'll see you guys in the next lesson bye for now. 6. 05 Secondary Forms In Zbrush: Okay, O comber, guys, so carrying on from where we left off. Right, so there's one issue, I won't call it an issue, though, but something kind of adding yet. So looking at this Asian scan store or scanned head, we can see that you called the bridge of the nose, spotler part in between the brow and then the center of the eye, pulled in. But whereas in mine, sticking now too. We would definitely need to fix that trying capture the skull structure of an in here. Let's make sure we're getting everything as accurately as we can. For this, I'll go to the lower subdivision level, lower subdivision level for this move brush. More brush, we can get in closes. Okay, then we can use this bend this back down. Okay. I think should be fine. All right. What now I would like to do a bit soon. I need a bit more depth around these parts. It needs a bit more depth, so we can use the standard brush Oda. Fantastic. That is just great. I was not doing this with cemery on, so I'll need to undo Okay. Let's go to lowest subdivision level now. Turn on symmetry. So let's do this symmetry turn on. I'm not yet ready to break symmetry, so Move brush, lowest subdivision level, hivD. Then we can move this down. I think some around should be fine. Shouldn't be too much. Let's kind of get enclosed and let's see how far down this needs to be. Okay. Me a bit more. I want to look a bit weird, though. Let's see how this looks kind of flattened out in there. Let's compare. I'm just saying to have that in there. I don't want this to be overboard. Okay. I believe we're in a good place. Right now, let's kind of go to standard brush. Bit more depth around top part of the brow, just on the forehead, somewhere, do that put out. Create a depth in here, come to the side. Let's see. Let's do a bit more. Most likely, something pretty much like so should be fine. Okay. Yeah, that we can work with. Yes. So moving on. Let's work on secondary shapes, you need to get in here. You can use this nose for example, it's a good example for this. You can begin to add some more structures to this. So yeah, we can still work with lowest subdivision level anyway. So the shapes you add in here now, secondary shapes in here, so the standard undo that. Take down the intensity of the brush. Okay. Should be around 21 21. Get a depth in here. Okay. Smooth that down. No, do that. Take down my smooth intensity, take it down to around ten. Want to smooth that transition in there. Alright, that should be fine. You should need to have another depth in here. Okay, here, there should be fine. Gently smooth that down. Okay? So secondary details now, we're adding in here just to bring this or make this look more alive. So basically going to be looking for references of steel and then use that detail in here. So just below the lower eyelid. There's a detail in here around those parts. Okay. Smooth that down, shouldn't be too intense. We'll still come back in there and then do a bit more work on that. But for now, I go to the higher subduction level now, you should be able to see that poking out a little bit more. Yes, like so. That should be fine. Let's get this in some more. Okay. Yeah, that should be fine. What else else can we get in here? Yeah, center the nose. In here should be fine. Something around there looks fine. Alright. Good. Yeah, this is an interesting one we can add suns. Let's look around our reference that we can use get some more shape in there. Let's see if we can find any of that in here also. Yeah, this is an interesting shape to this on the eye, like an additional wrinkle on the edge. Additional wrinkle on the edge. Yeah, I think we can introduce this also. Let's see how we can make this work in our scopes. Okay. Get in a bit close up, push these down a bit more. Think we can try them standard. Add a little bit more flesh in here, smooth this down. Create an indentation in. Okay? Yeah, like so. Like so should be fine. Smooth the edge again. Okay? We can do another indentation in here. All right. I'm increasing the abdivition level one more step just to see let's leave this for now. All right, so hv D to go to lower subdivision level. Now let's work on the lower parts. Let's see. I think it's a good reference in here. This one will actually show us something interesting in here. We have some interesting shape happening in here that we can introduce. Let's go to lower subdivision level. Let's start with the Dame standard brush or rather still on the Dame standard brush. Can create an indentation in here and do that. Let's go on subduction level higher and do that a bit more accurately. So basically now trying to break the form a bit more. So basically breaking the form a bit more than some interesting secondary shapes in here to make it look more make it look more interesting. Get the shape of the leap in there. Shape of the leap in here. Okay. The seek undo that. Wu the bro size. Okay. Yeah, that should be fine. Yeah, so let's do some more breakup in here. I can see some more flesh around this part, so we can use the clay brush. Let's go to a lower subdivision level. Let's add this on the lower subdivision level then we would come up to a higher subdivision level and then refine that some more. Okay? So let's just add some fleshiness in here smooth. Okay? This we can work with smooth. And, no, a, I think that's not so good. No, this I can keep smooth that down. Okay. Let's see. Smooth this down, reduce the brush size. Most likely get some more flesh around these parts. Smooth that down. Okay. Basically just breaking into some more secondary fleshiness to it. That's basically what I'm doing just adding some fleshiness to it, dots. Dig in here some more Smoother down, dig in a bit more. Smolder down. All right, add more structure to him. Alright? Okay. Right. Let's see what can we do? What can we do? What can we add? Yes, we can create an indentation in a holding out, smooth this down, go on subltion level higher, let's see what we get, and then we'll find that we find that in higher subdivision level, okay? Yeah, this is fine. I think I will need to add some more flesh in smooth that down. Okay. Yes. So you can see some salt to break up here and there, which is precisely what we want. Definitely need to break symmetry later on and make this a bit more make this look a bit more unique. Then standard brush. I would add a breakup in here, smoother down. Okay? Just get some separation around that part. All right, so yep, this is good. We almost at the pathway brick symmetry. Let's see what we can break in here. I can use let's go to lower subdivision level. Let's use the same brush. The same clay brush, hold out and break this a bit more, like so smooth that down. Just adding smaller breakups here and there, make it look more interesting. Okay. Let's see. It's a good angle. Okay, and that breakup in a smoother down. All right. So this breakup actually helps to kind of elevate the structure of the face a bit more. Make it a lot more interesting. I need to fill this part up Smooth down the edge. Smooth down this edge. Okay, now, yeah, good. So sort to break up here and gives it a lot more of an interesting shape to it. Let's come in here. Let's see what we can steal in here. What can we steal in here to make it look more interesting. So that's why it's kind of extremely important to kind of have scan data around just to help with some more secondary and even primary forms also, too. So basically looking for something else we can use and then block out in the scopes. Okay. All right. Let's see anything interesting in here, we can add Yep there's something in here them standard brush. We can use them standard brush and create an indentation around here. Smooth that down. Okay. Yeah, very much close to where we need to. These atoms up will need to be a bit more exaggerated. So let's smooth this down. Clay brush. Get this a bit higher than it is right now. Smooth, smooth. Smooth zoom out. Let's see, maybe way too extreme. Smooth this down. Let's see what we get. Okay? Yeah, this is fine. This we can work with smooth this down. All right. Flesh this out. Smooth. A, no, no, no, no, I feel not as looking a bit off and do that looks a bit off. Okay? Supposed to get some fleshiness in here, like so. Smooth the edge. Okay, smooth this edge of so. Okay, get some indentation around here. Smooth. Okay, let's send you wate the moons. Okay. Smooth moons, right. Okay, think when a good place Smoon is down. Yeah, I think before breakymetry, I think we need to scope the years. Let's cop some details for the year year. Okay? Let's cop some detail. Let me do a quick save All right. Maybe we should cope the years in a different tutorial. A different lesson. Yeah, let's do that. Let's cope the year in a different lesson, keep it separate. 7. 06 Ears Secondary Forms In Zbrush: Okay, welcome, but guys. So in this lesson, we're going to work on the, so let's get some structure going on for the, looks a bit flat right now, so I'm going to be using the I'm going to be using this reference instead. This reference I'm going to be using. Okay, so I'm just going to get this in the same direction, like, so so we can properly scop the details of the year. I think I would like to I think I would like to do we need to separate out the year? Or give it a separate poly group? Maybe not. So let's just continue on. So I'm going to go on subdivision. Before I go on subdivision level higher, let's see what we can do in this lower subdivision. I'm on the clay brush. Let's extend this more dig in her. Okay? Yes let's get this out also. Get this out, dig in here. Dig in here. I don't want to lose the other parts, dig in here, elevate this out, elevate this out some more, get this elevated. Elevate this also. Use the them standard brush with an indentation around these parts. Okay? Do at a bit more. Right, do that. Let's get some indentation around here. Just try and kind of sculpt as much detail as possible before adding some more subdivision level to it. Extend this out, dig in, dig in, dig in a bit more. Okay? Sculpting this with symmetry toned, yes, we are. Now let's go on subdivision level higher, then we can work a bit more in there. So we've kind of done a blockout already, so we can continue working on this and do that. Let's use the standard brush. Creates an indentation in elevates, no, elevates without holding out. Dig in here, dig in. Okay? Dig in. Like so should be fine. Okay? We can dig in here also. Undo that. Let's use them standard brushes we get a better result with them standard brushre. Let's add cuts around here. Okay. Smooth the top edge. Add another indention around, like so smooth that out. All right. Use the move brush, pull this out. Okay? Yeah, I think we're getting something in here. Let's them down that brush, create some more sharper indentation around create some more depth in here. On do that. We use the bro size. Con do that. Keep getting is using. Let me use the bro size some more. Okay? Yeah, much better. Okay? That is fine. Yes, almost almost done, almost done. But it's not so much to do actually soon. Get depths in here standard brush, elevate this out some more. Let's go on subdivision level higher. So I keep cranking up the subdivision level on C just to keep refining the shape some more. Put some more depth in. Okay. Smooth. So more depth. Put, get some more depths in. I think we should be pretty much undo that. Elevate. I think I need to turn on good lazy mouse, drag this down. Okay, much better. Much better. I will have better shaping in here, smooth this down. Smooth this edge down. All right. No. Smooth down. Smooth down. Yeah, I think this T should work. Doesn't need to be extremely beautiful but. I think something around this part should be should be just fine. Something around this part should be just fine for what we need it for. Okay. Smooth. Yeah this we can work with elevate this some more. Okay? Yeah, that's fine. That's fine. That is fine. I think in the next lesson, we can all work on breaking symmetry in here. Okay? I think we need to flesh this out a bit more accurate. Let's declare bit or brush, gets better transition around here and smooth Okay. Smooth. Yeah, that's fine. Let's see what else we can do in her I think we, this is looking good. This is good. This we can work within a Alright. Yeah, this is fine. So the next lesson, we're going to work on breaking breaking symmetry. Gonna start breaking symmetry in here, right? So I'll see you guys in next lesson, bye for now. 8. 07 Secondary Surface Details In Zbrush: Alright, so welcome back, guys. So in the previous lesson, we started working on the secondary form and then we worked on the year. So let's carry on on the face. Se some things we need to kind of work on on the face. For example, on the eye, you can see on the I bridge. You can see online, we have way too much gap around here. So any kind of smooth that gap out. You can see in here. So let's go to the lowest of the vision level. So it's completely fine. We can do this on the secondary forms layer. That's completely fine. So with this senior now, I would max out I'll need to mark out need to mark out the eye. Let's just max out the slower parts. At a bit more also around here, so blow it out. Blow out. A. Let's see if we move, that is going to move alongside, it's moving alongside, so we don't want that. I think we need to do a bit more maxing around here the blow. Okay. Blow again. So I'm missing the clay brush now. Basically, I just need to fill up these depths. I'll fill up the parts. I'll just smooth this out. Okay. Let's increase the sub dition level. Let's see what we get. Subdivision level. Let's clear the marks. Let's see. Okay. I think this should work. Let's go to more lower subdivision level for this. Okay? Let's do one more No, undo that. Let's around here instead. All right. Hope I'm not messing anything up. Oh, I am undo that. I think I still need to max out. Still need to max out these parts. Let's go one subdivision level higher. Okay, blow the marks. All right. Okay, then smooth this down. Blow some more, smooth this down. Okay. Let's see what we get. All right. I think this should be fine. Let's see. Let's see if there's somewhere else you need to. If there's any that depth, this kind of gets back in here. Zoom this out. Let's look at this from the same similar angle. Let's see. Okay. All right. I think we can work with this. We need to go back to them standard brush and then create let's see where we need to add these depths. I think somewhere along the lines of this. Okay. Produce the brush size, and I'll smooth that down. Okay. I think we need to smooth it even more. All right. All right, smooth this out some more. Yeah, I think we can definitely work with this. Got lowesubdivision level. With the move brush, I'll just gently move this down a bit more. Then tap smooth around there. Alright, yes, that should be fine. So I'm going to work on the nose a little bit more. Let's go on subtibtion level higher. Let's create some kind of flat edge for the nose. So let's use the He polish. Is he polish. That's going to polish the edge of the nose like so. That should be fine. Okay? Let's see. I like to move this part of the eye down some more, get it slanted. Like that should be fine. Just trying to get something quite neat in there. Okay. Yeah, I think at this point, we can safely brick symmetry now. So let's go to the highest subdivision level. Yes. Okay, before we do that them standard brush, create a line around or so. And smooth them down. Just get this light or soft out smooth in there, so should be fine. Okay. Moving on. Let us. Let's see. Oh. Oh, before we move on, this depth in here for the forehead, so you need to get this around the brow. Let's get this rough patch of the detail in there. Okay? So let's go down to a lower subdivision level to kind of this in play Bo brush. Okay. Smooth them standard. All right. Yeah, that should be fine for now. Smooth this down a bit more. Okay. Smooth no undo that smooth this down. Okay. Them standard brush. Yeah, pretty something pretty much like that should be fine. Right. We can do clay Bo brush with something around here, smooth this down. Okay. Small down. All right. So let's go to the subdivision level then break symmetry and then start working on this asymmetrical. Stick cranking this up to the higher subdivision level because I need to create a new layer. Okay? So let's create a new layer. And this layer is going to be named asymmetry. We named this layer asymmetry. Okay, so now in here, we're going to break I'm going to break symmetry in here. So basically, I'm just going to turn off the symmetric brush. And then let's go to the lower subdivision level. I should open this up. So you can actually see the subdivision level I'm in. Okay, let me start with the dt for the forehead. Get this down even more. Yeah, I think somewhere around there should be fine. Okay. So the dam standard brush can cut carving some shape in here. Play build up brush. Build up a shape in the middle. Smooth the edge. Smooth the edge. Mm. Not there yet. Smooth the edge even more. Alright. Undo that, undo that. Undo that. I need to extend this out a little bit more. Let me just smooth this down here. Nope, nope. It needs to be tight around the center parts. I'm going back completely. I need to undo this glipi dog brush effect added there, so I'm doing that. As lower subdivision level. I will need to move this with the move brush. I'll move this closer. Okay. Let's go on subdivision level higher. Okay. Smooth center parts. All right. With the clay brush, add the dancing, another dancing year smooth.mooth tap smooth. Okay. Tap smooths. So you want to be really gentuine here. Indentation, smooth Yeah. Let's see this. Okay. Tap smooth. Okay. Let's go on subdivision level higher. Let's see what we get in here. Yeah, it seems like we need to smooth by a lot, so increase the smooth intensity. Smooth. Smooth this down. Okay. Use them standard brush again. Make this slightly a bit more obvious. Alright. Okay. Smooth. Create an indentation around here. Smooth. Yeah, it's just kind of surface detail break up in here, so that's fine. You can see some detail in here that is breaking up around here. Smooth So basically just adding lines in here and then smoothing these lines out. So that should automatically create some breakup in there. Let's go to a lower subdivision level. Okay. Smooth this down. All right, smooth this down. Okay. Use the standard brush. No, no that. Intensity is way too much. Take down the intensity. Try and exaggerate this a little bit more. Like, maybe that's way too much. That's way too much. Let's just do something soft around that part and smooth that out. So it's a bit different from the other side. Okay? Use the clay brush. Do an indentation, then you smooth this down. So this side should be different from the other side. So now we're kind of breaking this and making this look asymmetrical. Let's go to lower subdivision level. Okay? Elevate this a little smooth down. Okay, like that. I of adding asymmetrical breakups in here, which is definitely precisely what I want. Okay. I think I need to use more brush and move this in here or more. Make this a bit tighter. Okay. Use the clay buildup brush. Create a lump around the air, smooth that down. Okay. Add a depth around these parts, smooth that down. Okay. Create a lump around the air. Smooth that down. So maybe I should use the move brush instead, sin The move brush should do a better job. I'm just going to create an Ahten here. Okay? So that should look slightly different. Leave this up a little. I should look slightly different from the other side. All right. Moving on, go to the same clay brush. I would like to create some more depth on this right hand side instead. So with the clay brush, I'm not going to hold out, and I'll just create a dent here. Smooth that down, take down the smooth intensity, Blend smooth that down, okay? Okay, that's fine. I'm going to add a coat, extend this coat on the other side down. So more Ns label food, bring this down a little bit more on the other side. Maybe that's way too much. That's way too much. Produce the bros size. Let's do this again like so. So it should be quite longer on the other side. Let's smooth this down. Okay. Let's see if there's something else we can add. What else can we do in here? Okay. Let's do a bit more depth around here. Extend it out some more, build something to compensate for it, so tapsmot increase subdivision level. Let's see what it gets. Mm. Getting something, but not entirely what I want. I'm going to create a dent here. Okay. That should at least help. Okay, Taps moon that down. See I think I need to inflate it a bit more and do that. Let's use the inflate BI N. Inflate this inflate this, inflate this also inflating this crease. Inflate this. Smooth. Smooth this down. Okay. I think this should work. Let's see what else we can add in here. Let's use this instead. Let's look for another reference in here. I think this is a good one. Okay. Let's go to the lower subdivision level. It's quite a lot to do in here though. Clay brush at a depth here. Okay. I would create a bit more depth around here. Smooth. Okay, that should be fine. We can depth in a smoother down. Okay. Create a depth in her smoother down. What did I just do? Play the max. Okay. What else? What else? What else? What else? What else can we do? Yeah, we can create a depth here, smooth Okay. Let's go to higher dilution level. Let's see what we get. Increase the sub dilution level a bit more. Making this look quite asymmetrical. Saving let me allow this save out. Already breaking this a lot, so that is fine. That's precisely what we want want this broken up. Okay, create a dense in her here also, smooth that down. Okay. Get enclosed smooth down a bit more. All right. Let's see. Okay, we can do this here instead, so we can fill this part up, fill this part up. Smooth Smooth, that should break up. That surface even more. Smooth that down. Okay. Let's go to lower subdivision level. I think on this subdivision level, I think I would like to raise this up a little bit more smooth that down compared to the other side. So one side should be a bit higher than the other. Yes, something like so. Feel this part up, smooth this down. All right, so this is how we slowly break up the silhouette for this. Let's go to lower subdivision level. So on this side, I can do that. On this side, I can create some more depth in here. I can just dig in here smooth, elevate this out some more smooth. Okay? I think I went over but let me smooth this down in lower parts. All right. Let's use the standard brush. Do it depth here. Let's increase the subdivision level. Let's see how that blends with the other parts of the body or of the face. Yeah, this is fine. You just need to tap smooth Tap smooth in here also. Okay. Yeah, slowly breaking this up, slowly breaking this up. This part feels like they are both on the same t. Let me go to lower subdivision level. I use the move brush instead. I will just move this in some more in some more Okay. All right. So that you feel un even now. So this part goes deeper in this other side. So let me just move this gently in slightly. It's not too obvious, but in there. Yeah, this is fine. You can see an issue for the year. Let's go to lower subdivision level. Okay. All right. With the move brush, I'll move this back in. I think I intend to do this symmetrically. So let me do this lower subdivision level. Then we turn on symmetry for this move this year back in. Turn off symmetry. Yeah. This is fine. What else? What else? What else? What else? Let's look for another facial structure, we can add in here. Okay? I'd like to add some thickness around. Let's use this. Let's add let me add some thickness on this side. Smooth. Okay. Sickness here also. Make this side longer, like so. Okay. Let's go on subdivision level higher. Let's see what we get. Okay, I would like to use Let me feel this part up, smooth this down. All right. I like to use the pinch brush, BPI. Symmetry turned off, good. I like to tighten this a bit more. Tighten this off a bit more. Okay. Smooth. Alright, something like that should work. Them standard brush. Turn on symmetry for this. Just carve something in your Okay. Smooth the edge, so we don't have sharp edge around there. Alright, so we did a very good job breaking this up. Just something else we can do in here to make this more broken up. Let's see let's go to lower subdivision level for this. I think I can use the move brush. Increase the brush more some more. I'll leave this up slightly a bit increase the brush size, maybe a little bit more. I think I went overboard. Let me take this down a little here, like so Okay. Yeah, this should be fine. Ton of symmetry. I'd like to get this out, smooth this down. Okay. Them standard. Smooon this down. Smooth those down, down, smooth down. Okay. Let's go to the highest subdivision level. So next tia, we can. A wrinkles around there. Let's add that wrinkle them standard brush. Though I always prefer to add the wrinkles after adding skin poles, but let's just get something in there at the very least smaller brush size. Okay? Something like so. Around there also, you should work. Okay? Then we'll do one just underneath the eye. No, not there. Something like so. Same on the other side. Okay. This is just us breaking up the surface now. All right. You should just break up the eye some more. Add a little bit of age into him. I think this should work. Okay. I would like to clay brush, add some flesh around the here, then smooth those down. All right. Awesome. Let's flesh this out. Smooth this down. Look different from the other side. Okay? Ton on symmetry for this. I think we need some undo, undo that again, undo that again. Undo that again. Ton on symmetry, let's go to the lower subdivision level. Okay? Smooth. Like so higher subdution level. Let's use the standard brush and add this what do you even called? What's it called? I'm sure you guys know what it's called. So let's just add that in. So it should be somewhere around here. Like so. Okay? I would like to capture the essence of this a bit more. Let's add the line around it and smooth that out. Smooth that out. Okay. Yeah, this is fine. So the next thing I want to do is too, credit glass is credit glasses. So let me save this and I'm going to export this out, and then we can work on the glass inside of the eyeglass inside of Ma. So once we add the glass, then we create like a Base mesh for the hair, and then we just kind of figure out what else needs to be added in here to make it look a lot more realistic. Okay. But for the most part, I think we're getting something good enough in here to work with. Yeah, for the most part, we're getting something good enough. Okay. Yeah, this we can work with. Yeah, this is a good one in a good place. We are in a good place, except we need to let me go down to the lower subdivision level. I think this Adam's apple needs to be down a bit more, so we can we actually drag this down? Let's get this down some more. No, no, no, I think that should be just about right. Maybe just make it a bit bolder on the lower parts. Like so. Slightly bolder on the lower part, like so should be fine. Okay? But I think Yeah, something like this. This is a pose. Yeah, this is fine. So I want to create the glasses and then bring that in and then work on the hair. Let me see. I don't think I want see some issues in here. Okay? Smooth this out. Okay. Okay. Yeah, something like so should be fine. Okay. Let's go to lower subdivision level. Symmetry turned on symmetry turned on lower subdivision level. We're still on the move. Extend this out. Kind of create more or less like where the eyeball is. Like that part to slightly bulge out a little bit more. Okay. Okay. Yeah, fine. So I'll see you guys in next lesson. Bye for now. 9. 08 Eye Glass In Maya: Okay, welcome, but guys. So carrying off from where we left off. I would like to kind of block out the eyeglasses before adding skin pots to my character, so let's put this out on the lowest subdivision level. So I'm going to drag this to the lowest subdivision level. I'll go over to export. If I do export, let's go to preferences. Export preferences, then make sure this group is turned off this group is turned off then everything should be fine. And I'm going to export this exports. Okay? Put a new folder for Z exports. Let me just replace this. Yes. Okay. Now let's go over to Maya. Let's go over to Maya file. I'm going to select all of these, put it in a group, name these two B B meshes. Come on. By meshes. All Control H two hide that. Maybe not. Let's hide just this alone. Let's hide just the head. Now let's bring in the exported mesh. Okay, drag and drop this in here. All right, so this is what we have. Let's go to our perspective view. Okay. Yeah, this is fine. This is fine. I think everything's working just fine. This we can work with. Now, let's start working on creating the eyeglasses. So let's go to the front view a frame. Okay, so let's create I think we have looking for this parler shape that is a bit flat in here. Or maybe I should check this in here. Yeah, I think this should be the one. No, that's not it. Open this up. Come on. Where's that shape? Is it in here? Okay. Is the seats? Nope, definitely not. Okay. Is this actual shape instead, select that. This is amazing this is because it's not awkward, so I need something that is awkward in here. Look, topology for this is quite much. Maybe I should create my own, but it won't really matter that much, though, since I'm not doing so much in here, so let's not spend too much time on that. I'm just going to use this. Let me get this up in front, drag this Okay, maybe that's bit too much. Okay. Set this e, put this to the side. Model to attribute to. I think, let's do rotate this stick on the X axis. 90 degree on the X axis. Get this out. So now I just to figure out the size for it, let's kind of center this around the first. Get it centered I'm going to scale this out. Let's see it just feels like it's way too much. Let's take this down a little. I think somewhere around there should be fine. Let me get this down. Trying to figure out the sizing of this, I think. I think this size should let me just increase a little bit more. Okay. Yeah, I think it should be fine. All right, so I'm going to do an extrude. Let's do an extrude for this extrude, extrude, extrude. I'm just going to pull this out. I think somewhere around here should be fine. This thickness should be fine. Okay. Then we can subdivide this twice actually. Alright? Okay, I think this thickness thickness should be fine. Let me just check just to be sure. Maybe scale it out a little bit more. All right. Yeah, this should be fine. I'll select this phase mode. Yes. Yes. Yes, we can do that, so I'm going to select this phase. Come on. Ladies phase, ladies phase. Come on. Why do I keep missing this? Friends cannot get a loop around this here, like so, and I'm going to do an extract phase. Okay. So I'm going to extract that phase. Select it. I'm going to do an extrude. Let's just extrude this. Get some thickness around it. A little more like so should be fine. Maybe a little more. Okay. Yeah. This should work just fine. And I'm going to select the inal glass shape. I'm going to center pivot, and I'm going to squash that in from the center. A bit more like so. Now, we're getting this weird dark dot, so we can fix that by going over to our perspective camera. Perspective shape, I believe it should be this. Set this to one, yes. Okay. Yeah, that should be fine. Let me just check the size for this glass again. Okay. Select the two. Move this way closer to the nose, somewhere around there should be fine. Okay. I'm going to select this. Let's isolate control one. You need to add some extra edge loops to hold this. Let's see. Let me do nots. Let's see if we need extra loops to this. I don't think we do, but just one should be fine. So heat rightly can hold Let's add a at egg and a at also on this side. I think that should hold the shape a bit better. All right. Here, this is holding the shape a bit better. This is what we need. Okay, so now I'm going to mirror this to the other side. Let's get this mirror to the other side. Yes. Yes. So let's do a mirror for this. There's a mirror. Put geometry to that off. Yes, this is perfect where it is. Click out, select this also, do a mirror Tn of cots get to the other side. That is fine. Save this. Okay. So I'm going to select this Oh, the ones a measure already, so that's fine so create this enclosing for both of them, this bridge shape in there for the both of them. So how do we go about doing that? We would just need to C in a few ways? Maybe I'm thinking of splitting. Let's see where it's supposed to be fats supposed to be roughly around here. So I think we can. Let me add a at around let me do this in font instead do street cots. C do street coots around here. Maybe that's way too. I need something I need something a bit slimmer. Okay? Like, so let's try doing an auto smooth first. Let's see if that distorts the shape. It's not distorting the shape too much, so that would actually work. Okay? So what we need to do is basically just select this phase. Go to the other side, select this phase. Ship rightly and old Now there's the bridge. Bridge pass. Let's curve, increase the sub dibtion level. Why is it not better bend? I think bend is the better one. I was just wanting something wrong with this, actually. Suppose I like the bend to be a bit higher. I like the bend to be a bit higher. Is there a way to offset this? Now, Let's do the same bend. I think one should be fine. Let's add one. One should be just fine. But let's see I feel this is actually a bug. It's definitely a bug. Anytime we do a bridge, kind of create this greenish, whatever this is actually. So let me see if I can fix this. Let's see if we can do reverse noomal. No, as normal is not fixing it. What you usually fix it is just to give it a new material. Just give this a new material material existing material Lamberts. Okay. I'm just going to darken this. So let me do this by type t. Slightly darken this some more. It's olestra can capture the shape we have in there, so I can just go to edge mode click on this edge, leather edge loop and extend this out some more. Okay so, then I'm going to do a bevel. I'm going to bevel this edge. No. Okay, more like so increase the fraction. So we get almost like an evenly spread out topology around there. Okay. Yeah, this should more or less work just fine. Okay. I think this we can work with. Yeah, I think we can definitely work with this. Okay, let's not too smooth. Let's see what it gets. Yeah, definitely. Yeah, this is actually quite nice. It's actually quite nice. Probably we should do add another extra edge loop around here and around here also. This should help object mode. Save this. The smoons nope nope. Go back to our selection two. Alright. Yeah, this should work. This is actually working. For me dist, just camera just messing Let me add more zeros to this. Let me put this around four, I guess. Okay? That should be fine. Okay. Mm let's see what we can do. I think I would like to hold this shape a bit more. So it doesn't shrink down way too much, so I'm going to add an edge loop around and add another edge loop and. Do the same for the other side. Let's go to the back side. Okay. Add one around here. I don't want to kind of shrink down way too much, so I still want to kind of hold the shape a bit more. Object mode. Okay. Yeah, this is fine. Save this now. Let's add this one motin. There's one motin I would like to add in here. I would like to subtract the ship out of this. So let me get I get these three add this also put control and shift add this Yes, I'm going to do, we can do this in here, actually, so we can just do an extrude face. An extrude face. I'm just going to do that. Let's use Loca Z instead. I'm just trying to get another extra level of thickness around this. Okay? A divisions probably two divisions should be fine. Okay? Let's move this out. Let's see how it gets. Yeah, this is fine. This is fine. Just give it another extra shape in there. Nothing too fancy, so that should be fine. Okay? This we can definitely work with. I feel like I should add more thickness to this rim. I just feel like I should add more thickness to the rim or maybe this should work. Yeah, they should work. What now like to do is to extend them out a little bit, so. I'd like to extend this out some more. So let's use the vertex. Let's do this from the front view. Yeah, definitely see an issue, so I'm going to extend extend this out. The select this Okay. I'm going to select this and this. Let's go to the other side. Pull down shift selects all of this. Coming close, select the select this. Okay. I'm going to oh, no, no, no, no, no, no, no. No. I think I also have to do it manually. Though I'm doing this manually already, but I think I also have to push this out myself. I need to extend this out this way a little bit more. All right. Select this on the other side. Select the select these points and this points. I'm going to push this condo select this points, and I'm going to push this out this way. Yeah, that should be fine. Then what I need to do now select and select this and just get this up some more Okay, I would also let's put on control, not this control shifts. Constraint. Let's do a slide. Go to scale two, slide this out this way. Alright. So this we can just easily get in place, select this and just move this undo that. Oh, yeah, into ton of down control shifts. So these edge slides. Now we can just move this undo that. Undo that. Something doesn't look right in there. Something doesn't feel right. Let me undo that undo that, undo this undo, undo undo Okay. Select this, go back to transform. So mood took on this off. Face move, select all this phase. Yeah, much better. Move this in place. Select all of this, move this in place. Okay. Save this. Now, let's add this ankle hood at the back so. How do we go about doing that? I'll basically just do this from the side view instead. Oh, it feels like this, my glass is way this inner glass is way too thin. I think we made it way too thin, so let's get in scale this out some more. Scale this out a bit more. Yeah, I think this should be fine. So back to the side view. Save this. Now, let's use the let's use cv two. Let's use this EPI Cove two. I'm just going to do something from around here all the way here. Then I'm going to add a curve. Whoa. Why Cove is a bit weird. On do that. Do that. On do that. Let's go over. This is the EPI Cove. Three points curve now. Able to create under COV two. EPI Cove two instead, let's use this instead. Select Straight line select Huh? Weird. That's a bit weird. Why am I getting this weird shape in there? Let's try something else, Cove. Busier cove. Let's try this busier cove instead. Okay? Yeah, much better. Much better. Won't do that last step. Um, I think this should be fine. So that. I need to select control caves. This is what I need to select. Move this out. Okay. This should be fine. Okay, this we can work with. I'm going to select. I like to cave cove entire sin, sieve. Um cosmons Let's do a smooth. Let's go into it. Let's try Smooth cove. Let's see, apply. Apply. No anything, though. Can't see anything happening in there. Let's get this out. Center votes. Let's get this out on this side instead. Okay. Curve smooth. C do that. Get this up a bit higher. I think let's put this back in here some more. Okay? I don't know if I need to scale out my glasses out some more. I'm not entirely sure, though. Let's get this out here. Let's go back to smooth. Let's add or rather increase this some more puff smoons. That's way too much. It's way too much. Let's do a smaller value. Probably five smooth. I think we can work with these controvertics. Okay. Select this, extend this down. Get this out this way, up a bit more. Come on. Select this. Get this up a bit higher, select this. Okay, get some curve to it. Select this. Yeah, this should be fine. Yeah, this should be fine. All right, so I'm going to select this. Bring this closer. Let me de duplicate for this. Okay? I think I would like to rotate it this way, then bring this forward out this way down some more rotate this this way. Up, somewhere around there should be fine. Then I would need to use the sweep, select sweep. So we need this to be rectangle, ready getting something in here that we can work with. I think I will need to extend out this curve. Let's see if we can just select that curve, control vertices, select all of this, extend this out some more. Okay, save. Go back in, let's continue making some modifications to this. Yes, We don't want so much ites in there, like soap. Shrink this this week. Yeah, it seems like a seemed like a good enough size for this, actually. All right. I think we can I think we can make this work. Should be able to make this work. Let's see. I don't think I also need something flat. Maybe I actually need something flat. Well, we can flatten this out later on. Let's just extend this out. Okay. Yeah, this should be fine, so I'm going to keep this. Just trying to see if I need to extend this. Let's add a bit more to it. Okay? All right. So by type history, all I need is to select this all the way down here. Then let's shift right. Let's do an extract phase. Here, this is what we need. Shift P, send this out. We can hide this, select this. I need to bevel this edge. Edge, I need to bevel this edge. So let's do a bevel. Pretty much like so. Yeah, I think this should be fine. It should be fine. Select this, move this forward. Okay. And I'm going to select this edge instead. Let this edge run extrude. I will extrude this out this way. I'm going to select this. Let's do a bevul Let me select this edge. Let me move this in this way. In this way should be fine. I'm going to select this edge. I'll do a Bvu Let's see. Okay. Trying to see if I need to add any additional segments in. Yeah, this should be fine. I should work just fine. But I need to extend this forward some more forward a bit more. Let me select this. It on the keyboard, don't Automo Autosmo this also. Oh, Auto smoothing this nice. Now that I need to scale this out. So of this goes in. I didn't do that accurately enough. Center up votes, scale this out. Face mood. Get this in place. Get this in place. All right. So I'm back to this this select select this. I feel like I need to rotate this slightly this way. Okay. Now, let's add some thickness to this. Let me do duplicate first. I'm going to duplicate this hide. Let's add some thickness or extrude. Okay. Extrude this. Let's extrude inwards instead. Is this thickness fine for this? I maybe we should extrude the opposite direction. I think opposite direction seems like preferable option. I'm trying to figure out the thickness for this. How much thickness we need to have for this. I think this is in a good place. Let's add divisions to this. Alright. So basically, I'm just going to go to Vertex, select all these vats and then just push them back down. Okay. Yeah, something pretty motile so it should be fine. Okay. Vertex, think I'm start making some modifications here also. Select this, get this down. Okay. Down some more. All right. Select the entire shape, center pivots, bring this down this way. Okay. See if I can extend this out a little bit more. I think we can definitely work with this. Let's than Auto smooth, let's see what we get. Yeah, this we can work with. Maybe do a little bit of an extension on Let's go to vertex that vertex, select these verts, move this forward forward this way. Okay. Now we would need an extra edge loop that goes across. Okay. Select mark your selection too. Let's this guy. Okay, Don Atos moons. Let's see. Yeah, I think, this is a good one. It's a good one. It's a good one. Select this and mirror this to the other side. It's one on the keyboard to go out of all those smooths. There's a mirror to the other side. None of this called geometry. And yeah, we're done. Yeah, that's pretty much pretty much all we needed to do. Okay? Save this. I need to select do we need? I don't think the center one needs any autos moons in there actually. We don't need any autos moons. I just flat and smooth wait weights. So now, let me select all of this. Save this. All right, then I would. Let's put them in a group. Put them in a group. And let's start naming this name spec glass glass frame. Then Let's name this two. Okay, maybe let's just name glass Andre instead. Glass ul Save this. Let me name this to I glass. All right. Save this. I want to this to delete any UVs we have in here. Let's delete every UVs we have in there. So let's delete any UV set of UV in there. Select this. Let's go over to UV editing workspace. UV, select all of this and delete don't UVs in here. All right. Let's go back to modeling standard, and I will duplicate this group control D, hide that new group, save Yeah, so now I need to kind of make sure, no, no. Auto smooth. Auto this is radio auto smooth, that's fine. So basically what I need to do is to convert this auto smooth to actual geometry. So let's go to modify, convert smooth mesh preview to polygons. And this is way too dense for us to work with. Let's go to channel and layer under smooth phase, set this abbton level to one. One should be just fine for this, doesn't it? Oh, I think I think we need more than one. I think we need to actually to actually hold the shape a bit more. Yeah, it should hold the shape a bit more. Should be fine. Auto smooth also to convert this to smooth mesh preview. Yeah, I think I'm just going to leave this as it is. This should be fine. Okay. Save this. Yeah, well good. So basically what we need to do next export this out into ZBrush. Let's put this out to Zbrush. I'm going to export this as one single. As one single piece. So let's export this as an OBGZimput. That's fine. I I last. Alright, so let's go back to ZBrush and let's get this in. So I'm just going to do an append sub to append, hmm? Did I click on something else? Oh, I did reorder by vertex counts. Okay. Anyways, moving on, so append this. Let me just make sure I'm not messing with anything here. My layers actually in there that's fine. Oh, dots like this piece Imports Imports imports. Z imports, I glass. Okay. Yeah, we have this here. All good. Okay. Yeah, this would definitely work. Yeah, it definitely works. So let me save this. I'll see you guys in the next lesson. Bye for now. 10. 09 Base Pores In Zbrush: Okay, pcumba guys. I'm curiously kind of brought in the glasses in here, you can see. So the next thing I'd like to do would be to adding skin pos to this. I'm going to solo out the head. Now, bef I continue on, I would like to turn off this asymmetric asymmetry layer we have in here because it can work or a skin pot or something that is not symmetry is not actually broken up yet, so I'm going to turn off recording for this. Turn off recording. Okay. That should be fine. That will work just fine. Alright, so now I'm going to turn this asymmetry off. There are a few things I would like to do for my skin paw, that would be too hard. At least maybe just one noise. Kind of break up the surface first. Kind give the surface a more almost like leadery the shot surface. It's not too obvious to see them before applying my skin poles Alpha in here. So let's do that. To begin with, I'm going to go over and then I'm going to add a new layer. Okay. So on this layer, I'm just going to name this to noise. Let me use all caps for this. Noise pause. Okay. That is fine. I'm going to go over to my surface. There's surface noise for this. All right. So I'm going to get close, get in close. Okay. So basically, I want to turn on UV for this because I want this to be tied around the mode using UV projection instead. Okay. Why? Because if I use a projection, I'm going to be some stretching on some parts, I believe. Usually usually stretching at the back. Well, wonderful. Now, surprisingly enough, it's actually working quite fine in here, I think that actually works when you have a ti lab alpha instead. So I think with this generic noise in here, I think we can work with this without any stretching, but I think it's kind of check though. I need to actually check if I can see any stretching here. Because I do not want any level of stretching on my mesh. Okay. So with this now, I'm going to I think I'd like to take down the noise skill or rather increase the noise skill instead. A bit more. Let's see. Okay. So this is just going to help create some kind of noisy surface texture to him. I think somewhere around there seems fine. Yeah, somewhere around there seems fine. Should should work just fine. So the strength for this Let's see. Okay, now, we need a bit more more as way too much. Okay? Here, I think this is a good one. So I'm going to click Ok in here. So you should have this applied. Now, it's not directly applied to our mesh yet. Is just models like a preview. This model is like a preview. I just seeing a preview of this in here. All right, so yeah, this preview should work just fine. So now to kind of make this work, we need to specify where we want this to be applied and also to kind of, in other words, exclude where we don't want this to be applied. So to do that, we kind of start creating some marks. Let's do the mark spin. Let's start creating some marks on regions where we don't want this to be applied and we actually apply this to the geometry. I for one, I don't want this to be applied on the lips. So I'm going to exclude the lips out of this. Okay. Come to the side, you can see how we're removing this now from the lips, which is precisely what I want. Okay. I'm going to do the same also for the top part of the eyelid, exclude also the inward parts, gets closed. Okay? Here, so that should be fine. We're working with symmetry, which is precisely what I want. So let's increase the bros size. Okay. Do that. I think I mistakenly smooth it out. So let's get this back in control, then get some of this raised. I'm kind of a bit light on this too. Going a bit light and in her Okay. Let's do for the back of the year. All right. So this will kind of help us create some textual detail in here, which actually helps by lots, kind of break up the surface in itself. Yeah, I think that should be fine. I think that should be fine. So now let's go over to let's go over. Okay. Now, we have smooth nom in here. I don't want any smooth noomal in here, so I'm going to take that down. Now, let's click on apply to mesh. So we already have this on layer, so we're good actually. So let's apply this to mesh, and then just give the same moment apply to mesh. That was fast. That was first. So now, where are you getting this surface detail in here, which is cool. Well, one thing we need to do is that we don't want this let me clear the marks first. We don't want this to be aggressive as this right now in here, so we need to dow this down. So let's go over to our layers. Then we can turn off recording for this. Okay. Then now we can control the number for this. So let's do a value of 0.7. Let's do a value of 0.7. So at the value of 0.7, this is what we are getting. Still too noisy. Still too noisy. So let's go in and do a value of 0.5. That's 0.4 instead. 0.4 Okay? Yeah, awesome. So you can see how we kind of broken up the surface texture even more. Yeah, something like this. We can still dial this down if you need to. But basically, I just look at this from a distance because from a distance, you can actually be able to tell the surface if the surface the surface texture is actually good enough from a distance. Okay, so I would like to still dow this down a little bit smaller to 0.3. So we're kind of working in a non destructive way, so we can always go back and forth on this. Okay. I think this would work. Let's look at this from a distance. You can see some level of surfacing in here, which is kind of precisely what I want. This level of surfacing around the texture around the surface. Yes, that's fine. Now I'm going to turn this off. I'll turn this off for now, let's create a new layer. So on this layer now, we're going to be adding actual skim pose in here. Let me. I'm going to basically flip normal skin alpha for this to let them this to flip Flip pause. Okay. That's fine. So now we still need to go back to seem to go back to our surface detail. So let's go to our surface noise. All right. This is what we are getting. Now we're going to go into edits. So we're going to go to UV. Okay? Go to UV in here. You can see how this applying to this based on the UV in here. Okay. Now, this also actually looks good. It's kind of create some bump detail. Maybe we can actually use this kind of create some level of bump detail in here. But I'm not going to be using this on UV. Let's use three d instead. Let's use three instead, let's increase the scale by lots. Well, that looks like a mess. Okay, let's see if we can do some magnified by Max. Let's see. Trying to play around in here just to figure out. Let's figure out what works. Maybe play with this setup some more, maybe. Okay. Take down, no, no, take down the strengths. I want the strength to be too obvious. In here. Let's see. Okay. Maybe we can take this down also. I need to create some large bombs across this actually. I'm just playing around here just to figure just to figure out what works. There's there's no specific rule as to okay it has to be this, so it has to be that. So just me playing along here. So click okay. Then I would like to go to the lower subdivision level. Subdivision level. Again, let's go lower. Let's apply this on this lower subdivision level. Let's see what that gives us. Basically just experiments in here just to figure things out. So apply do that. Let's see if we can go even lower lower subdivision level. So going to lower subdivision level. Let's see if I apply this in let's I'm trying to figure out if if you're going to ignore the subdivision level and then just apply this to the higher subdivision level. That's what I'm trying to figure out in here. So we figure that out. Now that I'm I'm on a lower subdivision level. Once I apply this to the mesh, see what's going to blow out some of these fine, sharp details in between them. So what's going to blow that out. So if I apply this now, yeah, you can see how it's been bed it's been blowed out. Yeah. This kind of precisely what I want. Just get this blot out. I'm looking a bit soft down on the surface. Yeah, something like so. But now when I'm going to keep this because it's just way too intense. So let's go to the highest subdivision level. On the ISO Abtibton level, we're going to blend this down also. So it's actually working just nice. So we need to kind of take down the intensity for it. Okay. You need to turn, you need to turn off recording first. Let's turn off recording. Change the name to big breakup. Okay, big breakup should be fine. Then let's adjust the setting for this intensity for this. Let's take this down to 0.4 down to 0.4. Okay. So this are 0.4 now you can see how on the surface, you see some little little surface breakup in there. Let's look at this from a distance. This just helps kind of break up the surface some more. Maybe see probably a bit too intense, I guess. Let's turn on the other surface detail. Noise pause in here. Let's Let's see how all of this kind of works together as a single piece. Okay. I'd like to increase this break up a bit more. That's 0.8, let's see. Now, that's way too intense, 0.5. That's 0.5. Okay. I think this we might be able to keep checking the surface for it. All right. So let's turn these two off now. Let's turn these two off. But I think this noise one. I think I will still need to take it down. Probably let's leave it for now. Let's leave it for now. Be kind of make sure it's working correctly, when we added some model scheme podile on top of this, let's create a new layer. Then we can use we can name these two Flip pause. Okay. We should be fine. Then we can go back to surface, noise, edit, UV. And then I think I need to need to bring this out because I have a set I can use tow speed things up. Let's go and select that. I'll click on this Alpha on and on. On and off, I'll go over to local digs program Pis, Maxon, Alphas, flip skin tie label, then yeah, pause 02. That's the one I always like to use pause 02. Okay. Let me take down the scale. Take down the scale to one, roughly around one. Basically trying to use the setup in her Alpha scale. Take down Alpha scale to 0.2 is, right? Strength increases the strength a bit more, so we can actually see this in here. Now, we don't want this to mix with noise. So let's talk up that mix. Can we just turn up this mix. Off. Okay, mix noise. Take this down to zero, actually. Yes, that's fine. It is down to zero. Now, this scale is a bit is a bit too I don't think this noise scale actually does anything. This one is actually for the default noise that comes with zebra. So what we actually need to work on is this Alpha scale, Alpha scale in. This Alpha scale is what determines how tiny depos should be. I think we need a bit of strength in here. Let's make this a bit more obvious. Tighten this a bit more So just now, just to figure out the right value for this, I think I think this is the right value for this, I believe. If not, you can always go in and then chain that up a bit. But let's see for the nose, it actually works just fine for the nose. Yep, I think, I think this is the one we can use. This is a good one. Still kind of checking around just to be sure. I think this we can keep. Maya we'll play with this. No, I think this is a good. This is actually a good one. Don't need to do too much in here, but I need to kind of crank up the strength, so needs to be a bit stronger. Something a bit stronger in here, so I'll click Okay. Saving up allow you to save up. Okay, let me save my file also. Save this up. Awesome. Let me put this the side. So let's get close. Let's see. Okay. Okay. This is fine. So now we can apply this to the mesh. Oh, yeah, before apply to the mesh, previously, we need to max out. We need to max out some parts we don't want this to be visible so. A good example is on the lip, so we're going to max out this lip. Don't want this to be applied on the lip. Okay. Here, something pretty much around here. Let's do a bit more. Okay. So here, we can actually control how soft we want that to apply. So it just go a bit light handed on the edge. So same also for the eye. Let's light in this up. It should be applied on the eye, but not so much. I don't want so much in there. Something faint should be just fine. Something fins around those parts should be fine. It's a bit strong around this part, so let's clear out the inward parts. Okay. Light something like so. Let's go to the lighting this out some more. Symmetry turned on, which is precisely what we want. Okay? All right, get closed. Okay. Same also around here. Around the also. I think we should be good. I'm checking just to make sure if I'm doing this accurately enough. The ski pole is quite tiny, but I think they should be fine. They should be fine. Let me just check the neck. Okay, it should be fine. Now let's apply this to mesh and give this a moment to apply, and then we can now blend this down with the other the other layers we have in here I think I always come back when this is done. I shouldn't take too long. Okay, so now we have this applied. We can clear the max. Okay. I think I'm looking at the eye, and I feel like maybe I overdid that. No, that's fine. That's fine. So now we can actually play with this now. Let's go to layers, turn this off. Then let's turn on asymmetry noise pause, and the others. Turn on asymmetry for now. I'm just trying to figure out how this is affecting our mesh. Turn on noise, pause. Okay. Turn on big break up. Okay. Yeah, that big breakup actually doing something cooling here, which is fine. Um, then let's now blend or take down the intensity of this flip normal pause. Let's do 0.6. Let's get this light ended in there. Look at this from a distance, let's see where it gets, can still take this down a little bit more. Let's do a value of 0.4. The value of 0.4, let's see what it gets. Therefore this noise breakup, I like to crank this up a little bit lets 0.6. Now this is just way too extreme. 0.4. That was a bit too extreme. I want it to be able to not as aggressive as it is right now. Outs stick too sharp in stick too sharp in there. I think 0.3 was the perfect number for it, actually. So let's take this down. Should be there but not too aggressive, so, I think we're in a good place. Yes. This we can definitely work with. The final we need to do in here would be to add would be to add texturing XYZ chemicals in here. So that will actually help sell this out even more. Might be a bit more realistic than it is right now, so we'll do that in next lesson, B for now. Y. 11. 10 XYZ Pores In Zbrush: Okay, Oh comba guys. So now let's say finalize on the skin pause. Okay, let me see finalize on the skin pause. Let's you find out skin pose for this, so I'm going to solo this. So first, I'm going to start by turning off all of this. So even the asymmetry, also Tangton dot of B's going to create a new layer that we can now use the texturing in XYZ, 175 Alpha. For this, just out like a final pass for the skin pause. Let's jump right into it. I'm going to create a new layer with a new layer in here and I'm going to rename this to X Y Z pose now, let's do this cups for this. XYZ pause. All right. So now let's carry on. So I'm going to go and set this to standard. But this needs to be on standard. Then I would go over to my light box under Alpha. Okay, we have this in here already. So basically, I'm using this 175 XYZ, 175 skin for Alpha in here. I'm going to be using the youngest in here. Let's do this ten or nine. So I'm going to open that up. So basically, this kind of corresponds to actual number. So I think I can show you guys in here. Let me increase this a bit more for you guys to actually see so we should go in here you can see each number corresponds to a polar region of the face. So for example, now this region number four corresponds to around in between each brow. Okay? Then number three, just above that. So basically, I'm going to be using this number. Kind of nowhere to apply the kin pause in here. So what I'm going to be doing. So I always like to kind of start from the middle, which is using this skin pa four. So let's double click on that. Set this to drag Rec, go over to Alpha, going to do some setup in here. So I'm going to go over to modify. Then under the mid value, mid value should be honestly, totally forgotten. So radio fat Ah. Okay. Radio, yes, yes, yes. I understand. Radio food should be at ten. Mid value should be at 45 or even 50. That's completely fine. All right, so I'm going to apply this on now, so I'm just going to increase the intensity of the brush, getting closes and drag something in your Okay. Now, usually, when you're applying this, you want to be sure to know rather to use something that is not too noisy. This, for example, noice quite noisy. I wouldn't do that. Do that. Turn off symmetry, then go into take this intensity down. Then let's zoom out here. Let's figure out where that should be. So it should be somewhere around should be somewhere around these parts. But it always kind of gets too noisy actually for me. Usually gets too noisy. Usually, once announced that this is noisy, I just look for another look for another brooch instead, look for another alpha to use Let's 2020 01, use the same number four. Go in here, modify this again, radio outfit should be ten. Mid value should be 45. 45. Then we'll try this again. Let's see. Yeah, this is a better one. This one is less noisy. You know, I think the scale for this is way too much. So now on actually becomes an issue is, you trying to figure out you're trying to figure out the directionality for it. So this part is kind of flowing. It's kind of flowing in this direction, so I also want to make this flow in this direction, like so. So I think I can turn on symmetry for this. Let me turn on symmetry for this then try to march that and try to march the directionality for it. Like so. Yeah, I think, this is a good one. Yeah, this is definitely a good one. That is fine. So now let's go over to three. For this, I think I forgot to add something actually. I forgot to add something for the asymmetry in here, which is the four head wrinkles. The four head wrinkles are actually actually important. They are actually important. So I'm going to turn this off. I turn this off. I go back to asymmetry. Go back to Asymmetry here. Let's look for four head skin poles that we can introduce in here. Guys these guys older. I don't need something. I don't need someone that is way too old. Something like this should work. Let's see if we have another reference that would help. Let's see this. Okay. We can use let's look at our scan data. Let's see if there's something else if you can use something from our scan data, not so much in her They don't even have much in here actually. Let's just go to lower sub Let's make sure we're recording this vessel, Asymmetry, let's record that. Let's record that. Let's also go over to our main reference. Let's see if he has some kind of wrinkle on his forehead He doesn't have any wrinkle on his forehead. Okay? No wrinkle on his forehead. Let's see this. Okay, there is, but it just faints. You actually quite faint here's actually use this. Let's use this in here, so just going to go to lower subdivision level. Time standard bro selected. Let's go even lower. Ton of symmetry for this. Let's just add some wrinkle detail in here. Okay? I think something faint or undo that. Undo that. This smaller brush size. Okay? So I'm basically just trying to establish something first. Okay. Let's go on subdivition level higher. Let's see how that looks on a higher subdution level. Yeah, faint precisely what I want. Something faint should work just fine. Let's go on subution level higher again. Okay? All right. I think this would work. Yeah. I think this should work just fine. Do that. Let's see. Con do that. Yeah, this will work just fine, so that work just fine. So let's go back to. Let's go to higher subdivision level. Let's go back to applying skim pose in here go back to applying the skin pause, going to the highest subdivision level. Turn off this recording and then turn off the asymmetry layer in there, turn that off. Then turn back on the XYZ. Then turn on the recording for it. All right. And then let's go back to standard brush. Put it somewhere around here for now. Then let's get up close. Okay. Let's see. Basically, right now I'm trying to check the scale for the scale, I mean this is actually okay or way too small, or even way too big. Okay. Um let's see. Yeah, I think I can leave this as it is. So let's go back in here. Which 11 are Which one are we using? Okay. Let's go back to, let's do this on nine. So now let's go over to two. Let's do two. So I'm going to double click on this two. Make sure it's applied on the Alpha. So go over to the Alpha setup or setting in a radio radio outfit to be ten, mid value 45. Okay. Now, this actually bugging me. I feel like the size is way too big. I just feel the size of This is way too big. It is way too big for this, so I think it's way too big, so. It's a lay what is inside and still leave the layer in the I guess not. So It no I'm not going to move this, create a new one. Because I feel like the size for that is way too big. We've already done something else, so we can't just undo. So XYZ pause. So we need not worry. We just need to go back in here. We can use the common. I think this is the one. That's the one symmetry turned on. Okay, yeah, these sides should be fine. Sides should work just fine. Yeah, that size will work just fine. So now let's go back in I think two. Yes, check the setup for this. Setting is actually in there, it is fine. So this one goes in more of like a vertical or horizontal fashion, actually. So something more or less like so. Okay, I'm going to draw another one around, like so. Make sure during the directionality actually matches. Yeah, that's fine. I feels too intense for now, that's completely fine. We a would eventually do this down. Let's use the value of three now. Let's go three. So we click conduct, go to Alpha, set this up. Ten, mid value 45, basically repeat the same thing in here with directionality for these flows like so do one center around here. Okay? A this one actually feels This one actually feels noisy. This is actually noisy. Yeah, this is definitely noisy. So many wrinkles going on around this. I don't want that. I think I'm just going to repeat using the two instead. I think I'm going to repeat this. Let's repeat this. This has a more even without directionality to it without so much with not so much noise going on in there. Get the directionality for this, okay? That's fine. Okay, I'll turn off symmetry. I'll do something that goes in this direction. Let's get close. Let's see. Making sure it's not too noisy. Yeah, it's not too noisy. That work just fine, so I can just continue this on do that. Let's turn of symmetry for this. No symmetry. Okay. No, undo that. It needs to be a bit closer. Let's try and get this a bit closer. And try as much as possible to kind of march the scale for the other side so. Let's do one year or. That so should be fine. Okay. Let's see, Let me zoom out. Let's see what we get. Let's see if we can actually work with this or not. Okay. Let's get this in the same direction fill up up like so. Okay. Let's see this direction should be fine. Let's see direction on the eyes kind of going in. Yes, we are capturing that already, so let's continue on this direction. Similarly also to direction like So Okay. Let's do one year. Okay? That should be fine. Alright, I think we can definitely work with this. Let's just slightly fill this part up, like so. All right, so let's zoom out. Go over to the top side. This part shouldn't be looking empty. So on something that kind of reaches towards the starting point of the origin of the hair, which is close to the forehead though. Okay. Around here should be fine. Continue this on. So undo that. I need to get this somewhat closer. Yeah, this should be fine. Let's go and then use one. Let's double click on this one. And let's get the settings in there, so we can actually use that 45 for the mid value. Let's get a side view to this. Let's see. Whoa whoa, this is actually actually quite a noisy one. Quite Let's take down the intensity a little bit more. Nah. No. I'm not liking this. It's kind of breaking up the flow way too much. I think I'm just going to continue and then stick with two for a while. Stick with two for a while. Same here, also. Okay. Let's carry on here, or here. Okay. Get this Inquce blend this with the other skin poles alpha we have, so we shouldn't have any issues. Once we blend this down, all of this should begin to come together quite nicely. Okay. All right. I think I can use the same to also too for the leather that leather surface of the nose. So let's get in. Directionality should be Let's get coming. Let's see if you got that right. Yes, we did. Directionality should be So directionality Ar continue on around these parts this part also down here slightly. Okay. Get in close. Okay, that should work. Alright, so let's get in close. Let's see if there's any other part. We kind of patch in. Yeah, to get something here. Let's page this in. The direction needs to match as accurately as possible. Let me allow the save out, needs to get similar direct. Come on. Whoa, do that. That was a bit weird. Okay? Turn off symmetry get something with the direction flowing this way. Okay. Now let's see what we can use. Flops a bit cold. Put flaps in there. Um Let's try nine. Let's try nine. Let's try nine. Let's see before we do nine, let's see what we can do in here. Okay, let's use nine. Let's use 99999999. Nine. Okay, This is nine. How far do the setup in year 1045? Okay. Let's drag this on. Yeah, this will work just nice. This will work nicely for these parts. Yeah, for all these parts. There's no actual precise directionality for the senior, so this will work just fine. Especially for the bearded parts. Okay. Do we have this Oh, great. Oh, great. Great, great. Undo that. We need this to be on symmetry. Very important. This should be on symmetry. I needs to be on symmetry. So we can work a bit faster in here. Come on, come on, come on, come on, come on, come on. Okay. I think one more Also, we can turn on symmetry now and get in there. Okay? All right. So you just need to fill the parts out. Okay. Well, I'm going to do this all the way down around the neck. I think this will work just fine around the neck. Let's see. Okay. Yeah, I think we can do this around the neck. We also have 12 in here though. Um, let's try before we do 12, before we do 12, let's feel do we have the number here? Okay, we have eight around these parts. So let's do nine around around here around here also. Okay. Okay. Yes, we can do nine year or, as well. As well. Okay. Here also. Now let's go over and then use eight. Let's use eight for this. So 88, Alpha, let's say this to 1045. Okay, sign somewhat close to the nose. So let's start around here. Let's see. Let's see what we get. This is quite a noisy one. It's a noisy one, no doubt. Let me getting close. Let's see. Yeah, this is a noisy one. I don't want this. I don't want this. I don't want this. Let's use another eight from another pack. Let's do this from nine. Let's use the eight in here. Okay, the waft come in and they modify this again. 45. Try this on. Still too noisy. Undo that. Um let's take down the intensity. Let's see. Yeah, I think utter This feels much better now. It feels much better now. Okay. Just going to use this to fill these parts up. Alright. Get this in here. Can we use this also around the air? Get close Let's see. Let's see. Yeah, I think that should be fine. Let's use around here also. Okay. I believe we can still use them around here, two, around here also, around here also. Okay. Same here. Alright. You can try you just kind of fill this part up. I Okay. All right. Let's use Let's try sisteen. No, no, before we use sisteen before we use Siteen. We have 12 Let's try 12. Let's see what we get. Let's use 12. Let's use 12. Okay. Let's go and adjust this. All right, 45 let's write on here. Let's see what we get. I think I need to undo that. Let's increase intensity, a little bit more. Let's get some more intensity in here. Let's get some intensey here. Okay. Now I'll drag this out. A little bit more intense. We can repeat this around these parts. No, no, the directionality for that seems wrong. Okay? Getting close match the direction for it a bit more accurately. Okay. Yeah, like so. Okay? Turn off symmetry. Let's do one the center, Turn off symmetry. Then we can continue this on. Okay? Around here also. All right. No, no, no, I think I went overboard. Undo that Undo that. Okay. So I'll do this last piece, and then the next two, I'll just going finalize on it. Okay? So let me just cover these parts up. Okay. Cover this part up also. Alright. Cover this up, right. So I'll see you guys in next lesson. Bye for now. I 12. 11 Skin Pores Blending In Zbrush: Okay, so still on this, I'm still using the brush or rather the alpha 12 for this. So let's just carry on get this at this angle, continue to spray or drag this sound. Okay. So I'm just going to come down around here. Yeah, so, so. That's way to be Around there should be fine. Fell this part up. Yeah, I think that should be fine. There should be just fine. Let's get close. Okay. Let's do a little around here. Let's to cover that part up. Yeah, I think we should we should be good. Let's cover this part up. Okay. No, that looks feels a bit off. That feels a bit off. I think I can use the two instead two should be a better one for this directionality needs to So day should be fine. Now let's create something for just before we create something for the I, actually, let's fill this part up. Okay. So now let's fix something for the I. For the I, we have the number seven. So let's use seven, 77777. Okay. So now this pal is a bit tricky, so we want to make sure you capture the directionality as accurately as you possibly can. So usually start drawing from here. I'll rotate this. All I also think I need to, no, no. Yeah, we got the directionality, but the intensity is not just there, so we need a bit more intensity for this. A bit more intensity for this. So I'm going to increase the intensity a bit more, get in a bit close. Okay? Oh, undo, undo that. We didn't adjust the setting for this. Completely forgot to adjust the setting for this. So let's go to Alpha radio ph, be ten, mid value 45 and drag this out this way, Almost there. Almost there. Oh, no, got the bots. I need to do some maxing in here, so I'm going to do that. Won't do that. Let's get some maxing in here. So I'm going to use the max lasso. I'm going to max out these parts. Okay. I'll go to lower subdivision level. I'd like to blow out the max. Let's blow the edge of this mark. Then go back to the IS subdivision level. Let's go back to the IS subdivision level for this so she get back all our details and then we can now draw this out with a bit more precision, so it doesn't bleed out into these parts because I don't need to build out into those parts. Even is not going to be actually visible visible in I render because that parts actually covered up by the eyeball. I still don't want it in there, so Okay. Let's zoom out. Let's see what we get. Whoa, I think that Tinker intensity is way too sharp in here. Density is probably way too sharp. Though, we can actually make this work, though. We just tune this down but I don't know. It's way too sharp. Mm. Let's see. I see. No, way too sharp. Way too sharp. Way too sharp. Way too sharp. So do that. Let's take this down et's take down our intensity to maybe something somewa around 20 ish do this again. Okay. But this needs to act least spread out a bit more. A bit more. Spread this out a bit more. Since somewhere around here seems fine. Let's zoom out. Let's see. Yeah, this will work just fine. I'm going to clear out the marks. Yeah, I think, yeah, this is fine. So now let's kind of blend this with the doll with the doll layers in here, let's see what we get. Let me start by saving this. Let me start by saving this. Let me see if this shouldn't take too much time to load up. Because if I should compare, do you have a close up in here? This is not really good close up. Do you have a better close up in here? Let's see this. Not at all. Most of the images are kind of softened out. Most of the image, I think we have one in here. Well, yes, this is a good one. Though this guy is already getting older, so most of the screen is kind of sag and db. We can see a good example of the directionality of the eye alpha we just applied in here now. So that directionality is actually what we kind of eyeballing art kind of get this accurately. So just get that out of the way and then let's bring in the others come out, come out. Okay. Let's see if there's something else. Okay. Oh, yeah, this is a good one in here. Is actually a good one. It's actually a good one. Okay, so basically, you can see the directonality of this thought it's gonna add some manually sculpted out, wrinkle details, though. But I think for the most part, should be fine. And this guy has a lot of pod skin for blemish on his face. Maybe we can introduce that also, too, maybe. But even if you don't, this should be just fine. So let's turn on the others. Let's let's kind of blend all of these down into one single p Alpha, so we actually see how this is affecting the mesh. Then find a good balance for it. Okay. So turn that on. Turn on the Asymmetry for this. Now, it's actually quite noisy and it's quite noisy because of the action XYZ alpha we added in here. So now you just get a good blend down for it now. Let me turn of this eyeglass for now and bring everything back out. So now if you go back to the layers, we just need to find a good value for this XYZ maps. Let's do 0.5. 0.5. Okay. Yep, we are getting a good blend. You can see how this kind of helps blends, blend everything back down so nicely. You can see good blends. Once to get up close to get close. You can see skim po interesting impo detail happening in here. Which kind of precisely what we want. But once, I'd like to send you we maybe a little bit more would be the flip normal skim po in here. So let's first of all turn it off. Let's see how this works when we turn that off. Okay. Okay. Okay. That's nice. That actually driving most of the skim po detail we have in here actually for the general surface. I think this is fine. Yeah. This is fine. Okay. Let's see. Now for the noise poll, let's crank this up. Let's see what that gives us. Let's do 0.6. Let's do 0.6. Let's see. Okay? It does kind of add some surface detail to this, which is actually cool. But can we keep that? That's just the main question now, Can we actually keep this we should dow this down a little bit. Dow this down a little bit. Let's do 0.5. No, 0.45 instead. It's 0.45. Let's see. Yeah, I think this is a good one. It's a good one. Let's do this big breakup. Let's see what this big breakup. If we crank this up now its at 0.5. Let's do 0.7. Okay. So the idea is to look at this from a distance and then see if this is what we need. I think it's slightly way too much slightly. So let's do a varie of 0.6, and let's see where we get. Okay? I think this we can work with. So let's turn on the eye glass for this and let's try and march this close to our concept in here, let's see. Okay. So we still have the leap details kind of worry about, though. Let's see. Yeah, somewhere around somewhere around here, like so. Okay, maybe somewhere around somewhere close to something like so. Yeah, something like this should be fine. Let me get this out of the way. Okay. Let me move this Let move this in zoom in. Okay, Shifts get the screenshot out of that. Alright. Let's do something around the nature of this zoom this out some more. This almost straight on. Alright, this is looking good. Now if I should render this out, let's see, a rendered version 41 we'll just wait let's see what gets because this has some shadowing also in there, so let us see quite a lot of time to render out, though. Quite a lot of time to render out. Okay, fair enough. Fair enough. So I'm going to take a screenshot of this, okay? Let me just take a screenshot of this. So in the next lesson, what I was going to next lesson, we're working on the lips. Yes, yes. Yeah, let's work on the lip, actually. Then I think when we're done with the lap, we can now add some extra wrinkle detail on the face. Okay? So I'll see you guys in next lesson. Bye for now. A 13. 13 Miniscus In Zbrush: Hey, Acumba guys, so we are all set in here. For the leap detail, let me tone up this sprinkle detail for now. For the leap detail, I think I can take down the intensity down a bit more, so there's a value of 0.8. For the leap detail or tip de to be too sharp. Okay, that should be fine. So let's take down the subdivision level of the head. Let's take that down because I want to work a bit faster in here, so let's turn on the miniscus this. Okay, let's hide the eyeglass for now. I need to work on the miniscus and then kind of get it in place. Let's get it in place. Use the move brush. Turn on transparency. Making Let me mark the top parts. Okay? Turn of transparency, blow it a bit more. And then with the move brush, let's begin to set this properly where it should be. Should be out a little bit more than down. Okay. Get in a bit close. All right. Name is out. I think I need to mirror this to the other side. Once I'm done with one part, I will mirror it to the other side. So invert the max. Do that. I think tonal symmetry gets in close. Want to be a little bit visible on the top parts. Okay. But not too visible let's turn this on rotates. Get this out, get it out. Then back in upward, upward. This is just going to stimulate some wetness around the eye. I'm going to show you guys an example of that back in. Okay. Well, it shouldn't be too obvious when you top her though. You don't want it to be too obvious when you top her. She just sits there inverts. Push this in some more. In some more. Yeah, pretty much last should be fine. Clear the marks. I think I'm going to duplicate this. I this duplicates. I'm not going to do mirror and weld, so let's do modified topology mirror weld right. Okay. That should be fine. Yeah, that works just fine. We are good in here, so this we can keep. No doubt. I can definitely keep this. So yeah, so next lesson, we're going to work on, yes, I want to move to Marvelous Designer and then try to try and recreate this gain here. So I'm gonna get Did I import Okay, so I'm going to kind of get some drafting pattern for how this should be sewn together. Okay? So I will see you guys in the next lesson by for now. 14. 12 Lip And Wrinkles In Zbrush: Okay, welcome baa, guys, so let's carry on. Now, we need to kind of create some leap detail for this. Let's create a new layer in here. I'm going to name that layer to lip rename these two lips. Okay, that's fine. So in here, I'm going to se an Alpha, actually, for this. I need to use an Alpha. So I'm going to use an Alpha for this. Let's see. Okay. So yes, first of all, I would like to max out. I like to max out the lower part so let's go to lower subdivision level. Let's go to lower subdivision level. Let me make sure I see the values in here, bring out the Gizmo, hold down control tap on this. Blow this edge, go back to the highest subdivision level. So I want to using the flip normal using the flip normal Alpha in here, so lip Alpha in here. Increase that all the way to the highest subdivision level. Then I'll go to my light box Alpha flip skin. Then we have lip bottom in here. Then we have I believe we have lip top also. So let's start with this lip bottom. So I'm going to double click on this. Okay, S this to drag g let me see. Do I need to adjust the radio feed and mid value for this? I believe yes. So let's go modify radio feed ten, mid value 45. Let's symmet re turned on. Let's see if we can just get this to work. Yeah, that's working just fine and do we need a bit more intensity for this. So let's make this a bit more intense. So let's increase intensity. Okay. So should be fine. All right. Don of symmetry all down sp, nope. I think we can use a difference. I have another alpha I can use in here, so those ones are specific for lip Alphas. Let's find lip Alpha in here. This is a free texture I free Alpha I got online, so let me use the transition in here. I so leap bottom, leap bottom lower lip. Let me use this instead. Double click on that. Go to Alpha, modify this 1045. Let's turn on symmetry for this. Let's see what that gives us. Yeah, interesting. Okay? We need to increase intensity, so undo that. We need to increase intensity a bit more. Okay. Turn off symmetry. All right. Let's you down here. Let's go back to it's beyond the keyboard. Let's go back to Alpha instead. And let's use the leap bottom. Slightly leap bottom, ton on symmetry for this. No, that's way too intense. That's way too intense. You need something soft in let's take this down. Need something that is not too intense. Undo that. It isn't looking good enough. See let me get closed. Let's see if you need to keep this or not. Yeah, that should be fine. That should be fine. Zoom out. Yeah, that's fine. That looks fine. I no, undo that. Anything invert the max instead. It the max instead. Symmetry turned on Undo that. Let's use something a bit more intense. Let's use more of an intense brush for it, so increase the intensity a bit more. It feels too noisy. Feels too noisy in there. So let's take down the intensity to get this in this direction. I think, this can actually work. So let's go back into a light bulb, go back to the flip skin. Let's use the lip top. Double click on that, get that in. Then we modify this also. 1045. Alright. Increase intensity a little bit more. 40 seems a bit much. Let's dig this down to somewhere around 37 should be fine. Let's get a good angle for this. Okay. All right, a bit more. Let's zoom out. Let's see where we get. Let's see if we actually can keep this too noisy. Wait way too noisy, way too noisy, I need to take down take down the intensity for this some more. Okay. Let's get in there. Let me start from the slower parts. Here, this will work just fine. Let's go back to Alpha. Let's use this. There's one transition we have in here. Yes, let's use this. I'm going to drag this down here, increase the intensity a little bit more. Do this again. All right. Okay. Turn off symmetry gets in close. Kind of get this transition in around these parts, as well as well. Okay. Just want to break this up some more zoom out, invert the max. I'd like to break this up also a little bit more by just going over this written some breakup variation in there. Okay? All right, so that's fine. It's fine. I work just fine, so. Now, what we need to do in here now would be clear this out, and I'll go to the Let's use the inflet brush, BIN. So inflat brush now lower brush size. Lower brow size, we can now begin to inflate some of this a bit more. Just to create some variation in heights. Let me reduce this brow size a little bit more, increase intensity some more. Okay? Just break height information in there, reduce the brow size some more. All right. So basically breaking uniformity of the heights's create some randomness on the height in there. Okay? Let's do the same for the top piece. I will still need to use the dam standard brush and then still do some more breakup in here. Especially on the top especially on the top lip. Looks too symmetrical on both sides. Okay. So I'm going to change this trim dynamic to my dam standard brush. Alright. I'm going to add or introduce new coats around these parts. Okay. So just to make it feel or look a lot more unique in there. All right. I think this should be fine. As far as the lip goes, I think this should work just fine. So we can always still reduce the intensity for this from the layer if we need to. I think you might need to actually, so. Um, yes. You can also use the smooth brush. Take down the smooth intensity, and then smooth out some of the lip detail in here, so it feels a bit softer. Just make it feel a lot softer around here, okay? Right, so, this should be fine. What I now like to do is to add let me solo this is to add wrinkle details now. So we need to actually add some wrinkle detail on top of our character. I think I can I can use this as my reference go to add wrinkle detail around this. So just figure out, look for we need to add more wrinkle detail and then just introduce that in for Nazi Bear food, wrinkle around the lower eye. Yeah, I think those parts, those parts would actually help. So yeah, let's do that. Let's do that. Okay. So for that, I'm going to create a new layer. I'm going to name that to wrinkle. So do. Yeah, no problem. Click Okay. Okay. Scroll down. I'm going to rename this name this to wrinkles. Wrinkles. Okay. So for this, I'm using a dam standard brush with a low brush intensity. Let's start for the eye, reduce the brush size. Okay. Like so. Weduce the bros size again, grate some more variation in here. Okay? All right. Yeah, that should be fine. Let's go to the other eye. Because I'm not trying to make this look way too hold. I shouldn't too hold. So wrinkles, we just add a few amount of wrinkles in there should be fine. Okay. We're like, so can do a film around here. Okay. Now, where we have this grease on the forehead, we need some wrinkles holding it together, right, something like so Okay. Zoom out. So where we are the previous wrinkle detail on the forehead, you can just go and then flow that guide and create something in there. Not too much though, little wrinkle detail in here should be fine. Okay. That's fine. Now let's go for the NzbeFold. So we're just using this kind of break uniformity of the surface in here now. All right. Okay. Let's see if this is actually looking good. No, no, no, no. On do that. I think I strayed off the line. Undo that. On do that again a few times. On do that. Yeah, that's fine. Let's get enclosed so we can use with a bit more precision so it's Okay, that's fine. Okay. I do a few ones around these paths. So maybe just a little around the air. All right. Okay. This will just go across right. Now we need some larger ones around the neck. Ton of symmetry for this. That's way too intense. So let's reduce the intensity of our brush. Let's reduce the brush intensity. Ton off symmetry for this. Nah, I don't think this is looking, no, this is not looking accurate enough. I will still need to reduce intensity a little bit more. I need to reduce intensity some more. I don't want this to be too sharp. I shouldn't be too aggressive in there, so it should be as soft as it can get so get close, reduce intensity, a bit more, to on symmetry. Yes, something like this faints something reduce your bros size. There's some slimmer ones across. Something like that should be fine. So pretty much this should be fine. We need to add something in a let's see I don't think we need. Let's see if we can add some wrinkle around these parts. Yeah, that should be fine. Okay, that's basically it. So the next lesson, I think next lesson, we can adjust the minusculs and then take this or rather start creating some garment for him. I'll do that in next lesson. Bye for now. 15. 14 Robe Base In Marvelous Designer: Okay, welcome but guys. So now, when Marvelous Designer, one's gonna start creating the garment for a character in here, right? So let's get to it, so this is the more realistic approach to it, something that comes across this way. I think that's very more similar to our main reference to SIT. I go to see it's coming across this way, okay? So that's pretty much what we are going to recreate also, and then we can later create this extra piece on here. So let's get to it. So let's go to the library. Let's open up this avatar. Let's use the male Avatar here. I think. Yeah, this should be fine. We can use this. I'm not going to double click to bring this into our sin. Okay. Yeah, that's fine. So now, we would need to I think this proportion is actually quite fine for what we need it for. This will work just fine, okay? So now basically needs to kind of create this pattern from scratch. So there are some references in here we can actually use. This one we need actually one that comes across. But this one comes tightly across, so that's what we're going to use, so. Let's see. Okay. I think we have a pattern in here that we can use. Okay. Alright, so let's do that real quick. Well, we can actually use some of the defaults in here to kind of give us a good base to start with. Let's see if we can find something default in here. Let's go to garments. Okay? I could this in myself. I think I made this myself also. Yeah, I think I made this myself. Let's look for something basic in here, too. That is a good one, but there are so many objects in here. Um, Okay. Let's see. Let's go to anger now nothing inside anger here. Let's go to modular jackets. Okay. Now, this is just for the pattern. This is just for pattern alone. Yeah, anyway, let's let's script from scratch, though. Let's sprit us from scratch. Shouldn't be so much of an issue any here for us. So let's start with the back. So this is the back piece. Let's start with the back. So to do that, I would just let's create let's go to pattern, polygon, that's fine. Okay. So I'm going to do something around. Let's do something around here. Then down here all the way down here, Okay. Then, then all the way up, it enter to apply that. Okay? So I would like to select this, and I'll do let's do copy and let's do clone with symmetric pattern with sewing for this here. Okay. Yeah, this should be fine. So I'm going to select this two. Let's go to our rotates. I'll rotate it this way. This way on something that is perfectly rotated. Okay? And I'll push this to the back do doding that correctly enough, select this, send this to the back. Okay. All the way to the back. Counsel this. I think I would like to extend this out some more. Make them a bit wider, maybe way too wide. Maybe that's way too wide. Okay. Select this move this way. Let's create something for the piece. I think I also need to I see. I think I moved that way too much. Hang this way. Okay. Let's add a point. So just to add let's go a points points add points in here. Okay. So I'm basically trying to create something for the arm, so click in here. Let's go to Edit cove and let's bend this in to get a cove around these parts. Okay. That should be fine. I think we need to get it down some more. First of all, let me kind of save this. Let me save this into a directory. Let's save this put a new folder for this MD. So Marvelo designer opened this up. Okay. Well, let me just name this to Chinese Rube. Okay. So saving out. Okay, Saved. Let's go to it pattern select this. I'll select this. I'll bring this down a little bit more around here should be fine. Right. I think we can also use this for the front. This also we can use for our front piece. Let's see. Only with some modifications in here obviously. But I can see how this is. This we can work with in here. I'm going to select this two. Control duplicates with sewing do that copy. Why is not working? Yeah, Mirror piece, rather supposed to use mirorPies instead. Okay? So I think this should be for the back. So let me put this here. The back should be here. Do that. Come on. Move this here. Select this, move this closer. Select this. Okay. Move this in front, and I'm going to flip horizontally. All right. So we need to kind of make some adjustments for the front piece. Can we do this? Is it working symmetrical? Let's see. Yeah, it is working symmetrically, that's fine precisly what we want. I'll move this way. So what I would do on one side is going to affect the other side, which is what I want. Okay? So I would need to select this point. Yes, let me select this points instead. And I'll drag this down this way. Okay? I'll select this, move this forward. Can we get these streets. Okay. But I think here, we might need to maybe not. Trying to see if I need to break symmetry in here for these two patterns. Okay? But I need something quite title. Let's come up here. Need something quite title. Think I can leave this up some more. Okay? Let's go and look at the pattern for this. Okay. Yeah, this works. L et's kind of see them. Let's sew them together, less. No basically trying to cross check if I have everything in place. Let's see. Um, looking at this now, see if I need to keep this or maybe even convert this to an actual curve. Which looking at this now, I feel like I should But just before we do that, let's trans so things in, let's souts in. So we need something before we create something for the yam, so let's sew ditch this together. Move this this way. Move this this way. Feel like I actually shrink this little bits. No, maybe not. I think should be actually white. They should be actually white. Extend this out also. So more Okay. So let's start selling things up. So this piece is that work for the other side. Okay? This should be s to this. Okay? That's fine. So let's go to segment stitching. Stitch this to this. Okay. I think we can stitch this to this right. That's fine. Okay? Still out of modification we still need to make in here though. Select move this closer, select these two also at the back. Move them closer. Then the simulation, we can use first GPU for this. Save this Okay. So now let's sew this together. Fantastic. Undo that. Select these two, lift it up some more. Okay? Select the two. Move it even closer, rotate some more. Run the simulation. Come on. Undo that Okay. Select these two again. Give them up some more. Oh, yeah, no that. And to stitch the back. Still these two at the back. So let's do sin segmenting. Still this together. Okay? This we need to fix. All right. Almost there. Okay. Still a lot of corrections mid here though. But I think we already getting something in here, so let's continue on with this. Okay. Alright, but I think I need to extend the side some more. I think I need to extend the side some more. I think I need to kind of bring this open up this arm some more. So I'll select this. I'll select this also. Need to open this out some more. Let's see this reference in her Friends see how far out this is opened out. I think that is quite far. Run this again. I think we need a bit more. Run this again, okay? Yeah, that should be fine. I need to extend the lower part of this part is not going to be visible, but let's just get this extended out way more. Okay. Run this again. All right. Save. No, I think this part in the middle, I think I'll need to I'll just need to convert that into a cove. I need to convert that into a cove. Convert that into a cove. So I'm going to select these points. Then we're going to convert to cove points. Okay? As much as I'm liking this, but this is just cove way too much. Way too much. But it's almost like, more or less what I need, though. Let me just leave this part up. Okay. But we need to compensate for it down here, so let me select this point. Move this forward a bit more. Allow this run through. Run this again. This key just keeps stitching or collapsing itself on the other part. So you are already getting something in here. Okay? Right, so I think this I can, but I'll need to kind of adjust the curve for this sum more. Cove is slightly too extreme. So let's go over Edit Curve. Okay. I think I can live with this. This I can definitely live with. All right. Let's see. I think I will need to bring this even closer. This point, I will need to bring closer. I will need to bring this much closer run this again. This up. She she'll be quite on the neck, quite closer to the neck. Okay? Let's push. Just checking this. Okay. I think I need to bring this closer. Let's see what happens when I bring this closer. Run this simulation again. If it's too close, then we'll change some things up. Okay. Yeah, I think, met our food in here. So this is fine. This we can work with. Okay. We seem to have some issues on the back, so let's try to compensate for that at the back. I think let me move this out this way. I'll select this edge. Move it closer, select these points, bring this forward some more around this simulation again. Okay. It's going to get in tight move this out. Move this out. Okay. Yes. I'm having this weird. I'm having this weird shape in here this wedship around that part. I think we can select this move this forward a bit more. Okay. Yeah, I think this should be fine. And bring this forward also. Okay. I think I need to select this. I need to bring this piece out some more. Okay, so let me pause this now. Let's create something for the arm. Let's create the arm piece in here. I believe this is the m piece. Let's look for something that will work just fine. Look for another reference reference in here. Okay. So, I'm going to this time around, I think I can do let's create a rectangle instead. Let's create a rectangle instead. Okay? Then I'm going to add a points. Let's add a point in the center parts and lift that point up. Get this points up, select these two, get these two down, select these points and convert this to a cove. Then let's edit this cove. I Okay. Let's see. So we have a total length of 668. So let's do the calculation with this. So we have 113. We have 308 in here. One more thing I'd like to do in here would be to select this, bring this out some more. Okay? I'm just going to select this and then we set to two D. So this is three oh six. This is three oh 13. So 616, whereas in here, we have how many 668. I think we need to undo that. We need to bring this down some more. Okay, let's do hundred 20. So hundred and 18. Okay? That seems fine. Okay, now just to kind of get this sold to the edges for it. So I would select this. I'll go over to show bounding volumes. No, not this arrangement points actually. And so arrangement points. Yes. Let's don of show bounding. So I need to fix this around here. Okay. Yeah, that should be fine. So now that basically just kind of sew this in. You need to sow this in. Okay. So this is where I kind of guess a bit tricky. So let me start from no I'm sewing. Let's see, select this, extend this out some more. So I'm sewing these parts somewhere around here. Let's see. So I'm just going to let's go to the center point. So segments, no, free and swing instead, free and sewing. So how do we Let's see all the way here. Okay. I'm trying to figure out where this point is. Let's see what we just selected in here. Let's see. Let's see if we're doing this correctly or not in here. So we just basically you want to check in her no, no, no. Then that's wrong place. Undo that all the way. I think for that, it needs to be on the opposite side. Yes, this okay? Then this should be from here all the way here. But now I need to flip this Edit sewing. Reverse. So let's run this simulation for this. That's fine. Stop this. Save. Okay. So let's teach. Let's see. Yes. I think the length for this is fine. Now, let's teach. Go to segment sewing, stitch this to this. Okay? All right, so I'm going to select this copy, and I'll do a symmetry pattern with sewing. Let me say this here, select this put this to the end. Okay. And I'll run and sew this in together. Alright, so we're getting something in here, no doubt. But I think let me see. This part where this is right now, let me see. I don't know if it's supposed to be in there though. I feel like it's way too down. Let's compare this with some references we have in here. Let's see compared to ours. I think it's way down. It's down way too much. So to fix that, we can just edit, select this, move this forward. So have this 229, select this, move this forward. Okay. 229. Okay. Select this, push this back in in some more run this again. Okay? Yes, I think we're getting somewhere. Nowadays, I need to lift this up. This I lift up a bit more. Okay. Run the simulation. Okay. I need to bring this forward. All right. I feel like I should get this up even higher. Like I should get this up even higher. Let's see. I think we need a curve. We need to convert this Can we convert this to an actual curve? No, no, more or less bring it closer. Let's see. Yes. Ben Bin discloser. Okay. Yes. More so. Closer. Okay. Yes, fine. This is fine. All right. Yes, I think we're getting something in here. So I want to kind of see how long this should be. This is actually is actually quite long. You need to do a few things. We need to kind of start by selecting this and this and we'll bring them down a bit more. Okay. Run this simulation again. Alright. Okay. I strongly feel I need to. Let's see. Maybe shrink this down some more. Okay. Uh, select this in some more Okay. No, let me select this instead. Run this leave this forward forward some more. Okay? My kind of stretching his arm, so probably why he just stretching his arm select this, bring this down some more, extend this out, do that out. Okay. Out. It is fine. So we're going to continue on the next lesson and then begin to add Pre strap that comes comes all the way across from the neck, all the way to the front and then attach it here. So I think that will be the next thing for us to do. So we'll continue on in the next lesson. Bye for now. A 16. 15 Robe Collar In Marvelous Designer: Okay, welcome, bad guys. So we're going to continue from where we left off. So basically, we're trying to recreate this piece in here. So let's try and make this work. So I'm just going to check my references again and try and basically, figure things out in here. So what we're trying to do. All right, so this is fine. I think it's high time we kind of create the extra bit of strap on this. Let's try and create an extra bit of strap and make all of this work. Work just fine. I think this is a good reference work in the Noria actually work on this netori. Moving on, moving on, moving on moving on moving on, let's get this to our main referencing here. This is our main referencing here, so we still have some gap around here. Let's fold this to the opposite side. Basically, so basically to do that you would need to create a new strap but before we create a new strap, this back piece merge them as one single piece. Let's go over to let's go back to pattern, and select this pattern. Let's do a merge. Let's merge. Let's do merge. It's going to merge into one single pattern. Let's give it a little bit of time to do ten. It's been merged down as one single pattern now. We're still still simulating this as can I get simulating this with GPU I'm using the GPU simulation in here, let me run this again. The GPU simulation is a bit faster, that would help us move simulating is a bit faster in here. I'm not entirely sure if I need this piece again. Let me delete that round this simulation again, let's see what we get. T should be fine. Okay. Well, I would like to get more let's convert this into a curve. Let's convert this point into a curve to convert to curve points. Run this simulation again. That should be fine. Right now, we need the length of this. Let's select this. The length of this is around centimeters a centimeter. This is a you can get this 80 centimeter. Okay? We have this at 86 centimeter in here. Let's go over to sewing. Swing show sewing. Select this is $0.50 actually 50 centimeter. I laid out that seems a bit much though. Let's see. Select go back in a ton this off, select this pattern in Ovi at 50? Let me check this again just to see there are a few things I like to do in here before I actually merge, maybe I think we can actually do that here instead. I think we can do this. Let's do a few times to go back to before we merge this together. There's one more thing I would like to do in here. I think should be fine. Should be fine. I'm just going to select this and push this out some more Stand that out a bit more. Let's see what we get simulation again. Let's see. The reason I made it because I like to convert this into a cove. I need to basically convert this into a cove. Let's convert this to a cove. Then I select let's go into edit pattern to in here? Why can't I just select Come on. That's the call. We can edit this call by bringing this down some more. Now run this again. Now the reason why I was avoiding doing this initially was because there will be too much gap in here. It's going to be too much gap in. Let's see. Maybe you don't want to be maybe we can actually select these two points, select these two points and then leave them up more down shift, lift it up some more round this again. Something like this should be fine. Yeah, something pretty much like it should be fine just to get it up a bit closer. Maybe a bit more select this again, leave this up some more. Run this again. Dis closer, maybe select this bring this around 1.7, do the same around 1.7 also run this again. Just to get this up a bit higher. Let's do a pinch. That's fine. That's fine. That's fine. I'll save this. I need to figure out how new here. Now, this extra piece more or less like a color that goes across this how thick I want this to be. So I'm trying to figure out how thick I want that to be. I'm going to start by drawing. Let's figure out the length for this first. So just to make it a lot more easier for us. So first set this is roughly around 9 centimeters, and this is 9 centimeters. This is 86 centimeters. I'll definitely need one 80 centimeters and then plus 4.5. That would be let's say roughly around I'm not very good at math, but roughly around let's just say 91. Let's do a strap that is at 91, the length of 91. Let's create a new pattern. Let's create a new pattern in here. Stand create a new pattern. This is a new pattern in here. Okay. I just realize that I was working with a lower version of Marvelous Designer, imported this into a higher version, which is the version 12 because some of the setting we're looking a bit off compared to what we started with before. So just to get that out of the way, so we're done with that. Let's now create layout here is a bit more simplified, so this is what I want. Let's call me polygon, around 91. Let's create something around the length of nine. No, no, no, no, no. Go back in the rectangle. I need a rectangle instead let's see the length for this. Let's di this pattern, let's select this. We have this art Do we select this again? Am I looking at this wrongly? This is 865. But basically, right now, I think we're working in millimeter, the numbers are quite much in here. I want to reduce the numbers for the measuring, calculate this at easily. Let's go over to certain preferences. Then use our interface and then set this for millimeter to inches starts to apply change is okay, close. I'm going to save my file, save this file. Then I'm going to restart this. Everything should be working accurately also too. One more thing you need to also do will be let's go back to preferences, I believe three D. Instead of triangles, let's say to quad. Click anything working on will be on Quad, not in triangle, close this, save this again, and then I'm going to restart the software We're back in here now. I think it is all set. We have this now 53 ". Let's check if is on Quad, we go over to texture surface for this surface, let's mesh. It's still not in quard, so this is still is still on triangle. So to fix that, I'm not going to select all of these rightly on this. We just do quadrangulate in quadrangulates. Okay, that's fine. See that I'll be quadrangulated. This is now quards. That's fine. This is what we want to go back in the let's do monochrome surface. So that's fine. Let me save this again. So moving on. Calculations around 91. For this new strap, we just created. You need something around the values of 91. Right now we have this. We have this at 53, let's extend this out even more. We're going to extend this out even more. I'm just going to select this edge. I'll extend this out some more. Drag this out until we get something around old shift until we get something around 91 91. That's fine. This we can work with now. Let's get close, go to transform pattern. Obviously work quite long, but that's fine. This is roughly what we need. Is that probably way too much. You see? Let's see. Oh, I think that's way too much, actually. I think that's actually way too much, our sting here has kind of changed. Should have checked this again. So this are 34 34 plus 34 plus 4.5. So that should be around the value of 38.5. Round the value of 38.5. This is now obviously way too long, 38.5. I'll just undo the length we added before. Do the length you added before. Even shrink make this seven smaller actually. I make this seven smaller. Select this. This is a 40. Let's do something around 939 instead. This is a 38.9. Let me extend this out a little bit small. This is at 39 now. This should be fine. Coming years select this. Now this is at three. This is at three. I think a value instead of 3.5 now that we had before for nine. The value we have in here let me see. Simulation again, just one more time. I'm going to set the lower parts the strap later. Let's just get this simulated first, get this roughly where it should be. These are the value of 3.5 ". We're looking at the value of 1.75. 1.75 plus 34 should be should be roughly around 35.75, but let's do 36 instead, it should be on 36. It should be on 36, should have checked these measurements after turning these 2 ". We're going to keep reducing it until we have a value of around 36 so now we have a value of 36 in here now. So now we can rub this around this. Let's start with one side and we're going to mirror it to the other side. So I'm going to let's do a reset. Let's reset this to two the reset to to the part and resettle to the arrangements. That should be fine. That should be fine. Let's do let's transl this in now. First of all, let's get this in place. We can use the share arrangements points, show arrangements points. Share arrangement points, no. Is something that is bit slanted. Let's start by getting this rotated this way to begin with. Let's see it's still capturing not capturing it based on the length we want, we just have push this in place, let's just push this in place and less on all of the share arrangement points. Move this where we need it to be. Let's start with this on the other side first. Let's start with this on this side. Let's start with this on this side, leave this up. That should be fine. Now just a matter of getting saying this together where it needs to be sewn to. Let's see. Okay. So I'm guessing at this edge. So let's start with the sewing. So let's go over to this. Let's do free instead. So all the yeah. You should have something from all the all the e. Let's see if we captured, no, we did not capture that accurate. It's supposed to be at the top. I won't do this. I won't do this, do this again. Should let's try this from here, all the, and let's see what we get. That is a bit more accurate. This is a bit more accurate. Let's run the simulation for this and get that in there. That is fine. Precisely what we want. Now let's get the out on the other side to stop the simulation. Back to the free and so this all the here's a 2.7, so It should be stopping somewhere around halfway instead should be around here. But we still need to make some adjustments to this. We would let's di zoning, I'll need to extend this. Can we extend this forward so more? Let's occupy most of the space. Okay. We can select this forward, we're still on the edits. Select back all the here. That's 1.7, that's fine. Let's select this can we move this all the way to this? Yes, that's fine. Basically just making corrections to it. I can see I didn't extend this all the way to the back, so extend this all the way to the back. Just trying to get this it's a bit more precision to it, that's fine. Let's sew this up around simulation. Let's of simulation for this. That's fine. We still need the other one flip so this and still use together at the end. But that's fine. We can use this. Let's get this facing this way instead. But I think mine is actually way too long. I think I need to flip pause this, I think I need to flip this. This I need to flip I will need to flip this. Let's right click in the reverse reverse sin. It's loading up. Let's give the moments. Let's run this simulation again. Much better, there's lot more better. Stop this. By few, let's go back to Edit pattern. I feel this is way too high. Maybe probably run the simulation again. Let me fool this this way. Basically trying to see if this is way too long. Stop this. Trying to figure out the length for this if this is too much for it or just the right amount. Maybe I'm just going to select this. Now, this is not even looking straight. This should be should be as straight as it should be. Let the street in this up also. Select shrink this a little bit more from the simulation again. That is fine. Now, let's duplicate for this. But I think we can do duplicate and then copy. Then let's do this. Can we do this symmetry zone? We have this on the opposite side now. Run simulation for this. Stop this. Then we going to so this to the other side. Let's go to free and select this all the way up here, then we zoom out. I think it should be for this, all the way. Let's hope this is not flipped on the not fliped on the other side. Let's run simulation for this now. Whoa, whoa, whoa, whoa, whoa undo that something is definitely wrong here. Let's go to edit sewing. Okay. Let's start by breaking. Let's see. Let's see what is actually wrong with this. Okay. Deactivate pattern only deactivate pattern in From the simulation again, this should most likely fall off. Come on. One new simulation for this, undo that, undo that that isn't correct, undo that. One new simulation. Here's the completement undo that. Let's delete any swing we have in here this. Let's delete any swing we have in here. Or maybe we will start by deleting this completely. Copy, symmetry part and that's all. Let's not add a new sewing to that. If you simulate this, you should fall right off and do that. It's supposed to be for this piece in here, let's get this right free let me start from here instead. Let's do free sewing free sewing. Let me start from this all here. Then we do all the way here. Set all good. Then let's zoo this all the way up here, let me zoom out. Then from this part all the way to the end. I'm not entirely sure if this is in your rise please. Let's just select this and slightly move this out and see if this is in reverse. There's an issue here, it's definitely an issue here. This butt lap is actually in reverse. Is actually in reverse. This is not going to work. We have this completely in reverse. Nondo that. That is why we need to slow this just to see. Can get a bit tricky to figure out where things are supposed to be in her. Okay. I should most definitely start from these parts. Let me start from these parts and stitch this together first. That's holds things together for. Let's do free han stitching in here. Let's do segments stitching in here instead segments. Stitch to this. We know this is to this part, so I'm going to now select this. So just a matter of figuring out where it should be. Okay? It should be in here. I stitch run this simulation for this now, should have that past stitch in there, okay? Let's continue in here. Let's see if we can stitch this segment that's going way too much. That's way too much. Let's do free hand teaching in free handcteaching in here from the three divi instead soding this correctly, do that from here all the way to this piece, all the way to this piece. Now, let's do it in instead. Let's do it in our two deve instead. That should work a lot better from two dv. I know definitely that should be from all the way then from year all the way around here. That should be fine. Trying to see if it's fine we flip thistn simulation for this. Let's see. Awesome. Piecing this together now with a bit more accuracy. I'm going to stop this now. Previously, it was a bit funky. Let's continue on free stitch from here all the way, then all the way down here. Then it's going to reverse this also, just to reverse. Let's go over to Edit sewing. On the edit sewing, we can come in right click on this and do reverse sewing. Now we can at Enter on this. That should teach a little bit more accuracy to it. Drag this down. This should be fine. Awesome. We're getting this now. It's getting this the way we want it to be. Extend this out, get this out a bit more. Yeah, this is working just fine. Let's compare this with our main reference and let me save this first. Let's see, comparing this to our main reference, let's see if there's something else need to how do in here. Okay. Yeah, I think it should be fine except for just one single maybe the length for the length for this is way too high, maybe we can take it down a little bit more or not. It just depends on what we see in here and how we can make this we still have that freedom to get this to look however we want this to look actually. We still have that freedom to do that. I think I think we can actually work with this. Let's see. Yeah, I think this is actually let's see how far out this should be. I can see in here, we can actually doing Zeb but also adding extra lines in here. You can do that we're adding extra lines in there. So we a good place, this is actually a good place. Now just pretty much a matter of getting this pin to the other side. Basically trying to pin this to the other side. So we get something pretty much like this. Let me pause this. Pretty much what we need to do is just to pull this and stitch this up all the way around here, pretty much like so. Pretty much like an example of darts. Let me stop this set this back to move, save this. That is awesome. This is working just fine. I think we still put a Gdo around this bots were going to put around this would be probably later on. But now to go to library Avatar. I think this is the male avatar we're using. Let's go to pose. I like to use a different post for this poses closing his arm a bit small. I think we let's see how this looks like on our main reference. Let's try this on. Click Okay. Click for this. Let's just gets a bit more closer this way. Okay. This is more of a relaxed pose. From the simulation again, this is more relaxed poses definitely what I'm going for. Except for the fact that if I'm to add my I need a Gid herido for now, before I do this, let me take this back to it. Let's use this instead. Let's use this instead because I add a Gid in tighten this part up after sewing this path together. Come on. Come on. Drag this in. Great. Now we need to do some fixing in here. Undo this. Let's get this back where it spread out round the simulation again. Since we move this together, it's already giving me the ship going for. We need to bring this reference in here going to pull this all the way to the end. Going to pull that all the way to the end. I think we're going to do that next lesson by sewing this piece to something around there, I want to create a ship and internal line in here and then sew this part to it. I'll see you guys in the next lesson for now. H 17. 16 Robe Band In Marvelous Designer: Okay, welcome back, guys. So carrying on from where we left off. Put this around here. Okay, so we're going to let me go out of this. We need to get this strap on the right hand side, kind of wrapping around the left hand side. So to create that, we would need to create an internal line that was going to be sewn to that. So let's do that real quick. So let's come around. Going to figure out where the internal line should be. I think I'll add some curve to that. Let's create some internal lines, it should be this internal line, polygon internal line in here. Let's figure out a good place to nail this in. But we have a dot around here. Not sure why that dot is there. Let's see if we can select it. Back to internal line. Let's see something that starts from here all the way down, should be fine. I enter to apply that. But I definitely need to add some curve to this. Maybe a straight line will actually work, but let's see, it's actually affecting both sides. I need to delete this on the other side. Do that. I think I need to break this up now. Break linking move link move that and I can delete this Okay. Now let's get this stitch to the other side. We can do a segment sewing. This segments undo, undo that. Let's use the free and instead. Let's go from down here all the way up here. Then we sew these two. I believe this piece. Basically J to figure out where this needs to be now. Okay. Let's see if we did that correctly or it's on the opposite side. I think that's the one. Let's sew this up space bar and let's sew this up. Yeah, I think this is a good one. I'm going to push this in some more Now, for our final shot, it's not going to be showing this lower parts a cameraun is going to be mostly somewhere around here. For the lower parts, we don't need to actually be extremely precise in here. Let's say for the sake of getting this as accurately as we can, maybe we can select let's select this in here. Let's let the points in here and then let's move this point out some more and run this simulation again. Okay Let's stretch this out. Let's stretch this out. Okay. All right, this isn't looking that great, so I'm going to stop this let's go do that the way it was before. The previous one was a lot better. The previous one was a lot better for this. We can also try something here by shrinking this little bit more. Run this simulation again. Just make it a bit tighter. Leave this part up more up a bit more around here. Let's clean this up. We can work with I'll stop the simulation for now. Let's go over and check our main reference. Let's see if there's something else. We need to capture in the Okay. Can said this is not entirely accurate based on actual references in here, so it's not entirely accurate. We're going to be making sure we get something a bit more accurate in here. I think should be fine. I'm not trying to see if I need to I'm just looking at this now the length for this is actually in place. The length for this is actually in place. But compared to this reference compared to the reference we have in here, it does not have does not have this strap in here at all. I have the strap in her, but realistically, it's going to look a bit we having this color strap in one part and then we get this in here and then we don't have it on the other parts, so it's going to look a bit wet. That's why keeping this to be a little bit more realistic. Okay? Let's just let me click out of this. I would like to get this dark piece out of what's already having here for the front part. Let's get that out. This extra dark piece in front. Let me just put this to the side. I think we can create internal line in here and then cut of dark internal line. That basically what we're going to do. Let's create an internal line. Internal polygon now. That is what we need. Let's see how far out. Quite close let's do this part down here. Come on. All the way down here all the way down here. It's enter to apply that. Zoom out, let's see where we get. We're looking at this nest quite far down, so it's far down we don't wonder, so I'll need to undo this. Let's do it again. But this time around somewhere quite close. Somewhere quite close a it's enter to apply darts. Yes, roughly around this part should be fine. Roughly on that part should be fine. Let's see, let's repeat the same for the other side. Let's repeat the same for the other side. In its enter to apply darts. We also on the other side, sets extended. C is to be roughly on the same length. She roughly on the same len. Let's see how we can get this to work. Is going to come back in here it pattern and I'll select these two. I'll push them up some more. Let's see where it needs to be up a bit small. Or maybe it should even go down way more or maybe let's push this down way more, maybe more off the screen. Let's do way more down here. That would do two. That will make better sense getting this off screen. Run the simulation again. Keeps entering this part. Let's get this out. Stop the simulation. Th should be fine. Undo that run simulation again. Extend this out, stop this, right? Yeah, I think you should be fine. Now those things divide and so to be divided and then we saw that back in. Okay. Something is loaded in here, clear this out and do that. I see some issue in your. I think I need to pull the points these points, I need to get this up a bit higher. Let's make sure we have this on the other side also up a bit higher. Lower part is fine. Lower part is fine. Select this. Option, click. Let's do Cat and sew. It's going to cut and then create a similar and then itself back in. Is that done already? Yes, it's done already. Select this something is missing down here. On do that. On do that. Select this all soap. Let's do the cat and sew now. Much better. Select this. Right click on it, let's do coat and sow let's run this simulation for this. Let's see what we get. Yeah, this is fine. This will work just fine. I need to get this extended out. I think I need a more subdivision level for this to hold this a bit more tightly. I'll need some more subdivision to hold this properly. Okay? Now, typically it's not supposed to be this way at the lower part, but since we're not really working in the lower parts, we just need something to kind of increase all the way down, just be too much polygons to work with that we don't actually that's not going to be visible on our camera setup. I won't mind too much in the lower part, but one thing I like to tighten these parts. Create some tightens a waistband we need a waist band for this, so I can let's create our own, let's create something new. Let's go to internal aligned rectangle. Let's create a new rectangular shape. You can do something like this should be fine. Something like this should be fine. Let's see where this is. I'm going to select it. We move, select this. Come on so Where is not a Gizmo. Better. Then let's use the show arrangement points said this way should be Sharrangement points. I would like this to wrap itself somewhere around here. Undo that. I think we need to this. Let's make this slightly longer for now. Make it slightly longer for now, maybe a little bit more. Let's go back to arrangements point set this here, select it and set this here. All right. Okay. Let's turn off the arrangements points, turn this off. We just need to sew the end to the other end sewing segment. So this segment we reverse this. Let's go over to edit sewing let the edge reverse sewing. Let's run this. As this song together, yes, it does. But once you need to do it starts scaling this down. Pret you must start scaling this down. Scale down from the simulation. I need to push this great. I think I have a better way to do this actually. I'm going to remove the swing in there. Let's take this back to this and I'll shrink it down more a bit more, more go back to show arrangement points. I would set this on this side. I'm going to rotate it we have to do just one of these. I'm going to rotate it this way and I'll push this this way. This way, some more. I'm going to do duplicates, Control Copy. I think we can do symmetric pattern with sewing. Let's symmetric pattern we sewing for this. All right. Let's see if there's any sewing going on in here. Is there any sewing going on in here. Let's strong simulation. Let's see. Undo that. Now we need to stitch this together. Let's figure out where we need to stitch together. You can use the sewing on a three D view, I think, should be much easier. I much easier segment sewing. You need to sew these segments to these segments in here. Now, basically, that means I will need to move this all the way to this side because I believe the stitching should be around here. So this segment to come on. This making sure I'm not saying something else elsewhere. Then let's run the simulation for this. You should grab this now. Stop this. Grab me but not grabbing it as well as I would like it to. Let's run this simulation again, let's push this in in some more. Let's get this in, push this out. Push out, some more, stop this. I think I can select these two. We can lift it up some more. Select, select this, shing them in some more. Run this simulation again. Stop this. I think I would like to do like Where is that? Yes. I think it should be around here. It's one of these two selected actually. The layer in here let's say this layer two. This should be on top. Slide this again shift this to shrink it down a little bit more, a little bit more this simulation again. This should keep tightening this even more. Keep tightening this even more. But I don't like how we get some gap. There's much gap in between the I believe that gaping is caused by this thickness. Let's set this down to zero. Let's simulate this again. Is that even working? Select the two, run the simulation again. That's it now. A stranger. Yeah. 18. 17 Robe Refinement In Marvelous Designer: Okay. Welcome back, guys. Moving on with this. Now we have this thing here, I would like to close up this gap in between years, but I don't know where that butler gap is actually, let's go to edit sewing. Let's see if it's this or maybe is one at the back. Not too sure actually. Let's see. Maybe let's do this from here instead. Edit sewing. Let's select this. Let's select this. It's the one at the back actually. I think to make this a bit more accurate, I'm going to select this and move this all the way in front. Then we can go to sing. You can select these two let's bridge the gap in between them, make them one single piece. I'm going to option, click in between them. Unless we merge. So do merging between those two now, that should clean the front parts out. One of that I like to do, let me save this. One that I like to do is to get a different pose in there. Because m is way too spread abroad right now. So let's reduce that. Also, before reducing that, I would like to let's see. I'd like to make some corrections to this where the arm is supposed to be around here. Let's go and do a di curvature. I'd like to push this in slightly a bit more. I'll do the same for the other side, push it slightly a bit more. Maybe some more go back in here, push this in some more. Pull this in some more. Then I'll say, not yet. Let's repeat the same for the bar, pull this in some more, pull this in some more. Okay. I should be fine. Let's see. This is the part that clips in. I would like to select these two points, pull them slightly higher. Select this, go back in here this part and select this, select this, select this to leave that up a little bit more. I'll run my simulation again. Let's see what we get here. I think this is a little bit better. Except this is better. Stop the simulation. Now one thing I would like to do would be to add more particle distance to this so we get the simulation a bit properly. Let's go back to move. I want this to simulate with a bit more currency to it. I'm going to increase my particle distance for it. Yes. I'm just looking at this color and I feel like I should reduce them slightly. Run this again, let's see. If it looks good, I'll keep it if it doesn't, I think that looks a lot better actually. I just looks a lot better actually. Awesome. I'm going to stop the simulation. Let's check our main reference. Let's see what we get. Get this up up a bit small. I think it should be fine. Just need one in between. I think I need to get this increase back a little. Increase back a little. Because I want this top part to be slightly higher, color to be slightly higher. When I create another extra line in between here. I'm going to create an extra line in between here. I can see around can say an extra line around that parts. I would like to have those that in actually. Let me move this down some more. Okay? Get something a bit cleaner around these parts. Stop the simulation. I'm going to select all of this now. Select all of this. Let's increase the particle distance for it. But the particle distance is what gives more subdivision, more or less like our subdivision level multiplier. You need to have a bit more subdivision level so it simulates a bit more. I simulates a bit more accurately. This we need to bring in front and bring this down out a bit more. Okay. All right. I think this we can work with. Once we add more particle distance and simulate this with the CPU, we should have more refinement across this getting a bit more refined edge to it. Now, this part is begin to feel and look a little bit funky. Let's fix out some more. Okay. All right. Select all of this. I'm going to set this part with distance let's do ten instead. It's a bit on the eye side, but that's fine. That should give us a whole lot more subdivisions, subdivisions to work with. You cannot give us a more cleaner and neater result to it I'm going to change my simulation from GPU to normal and then run this. I'm going to use the space about to run this simulation now. With this now, you should be getting something way cleaner more with a lot more accuracy to it. You can see how it gets a lot cleaner and more time cantatically simulate, but that's fine. So long you get something realistic in here, that is what I need. Now, this feels a lot better. I can say g in this mesh bit sickness is now actually let me stop the simulation. The sickness we're adding previously is now working, sickness we added to this by setting this to zero is now working accurately. Now we're using CPU. Because using the GPU, it was not working as accurately as I would like it to but right now it is working on do that. It's working way better now. Lestronsimulation. Again, and fix this get this up a bit higher. Stop this. Maybe that's way too high. Select these two getting a bit close and let's cage this down more. Let's take some extra edge of it, then run with simulation again. Run simulation again, taking a little bit of time too. To run through, let's give this a little time. I should run through and give us something better in here. I'm going to stop this. I'm guessing I should give this now giving this two piece a different type of materials. Let's create d. Let's do dd in here. This fabric two, I'm going to give it more or less a leather materials. Let's open up the pre setting here. Let's look for something that is a bit doesn't fold with too much. For later in here. Let's try this. Let's try this. I want to ele this soup. Give us a separate color. Let's use more greyish colo tone and apply dragon drop this in, dragon drop this in here also. Okay. It's it's not really changing in a three D view. I have no idea why. I supposed to be changing on a three d view. But it's not do Let me undo this color. Let's run this simulation again. Now it makes this fab stands a bit more without having so much of a much rink in there, which is precisely what I want a bit streets. I'll stop this. M right, I think now we can save this and we can add our animation in there for the pose precisely for the pose. Let's bring in something for the pose. Let's get his arm resting a bit more. Let's Which one should we actually use for this? Let's write this. Click Okay. Let's get resting pose. It's more or less more resting A pose right now. I'll stop this let's see what we get. Yeah, this is fine. This we can definitely work with. Awesome. A lot lot more refinements in here, which is what I want. We have a lot more refinements in here that we can definitely keep. Just for the sake of getting another extra level in here, we can also separate or divide cut this apart if we need to currently cut this apart if we need to or we can just add that in z but I think it will make better sense to add that in Zbrush. Let's close this get this aside. I believe we are good, I think we are good in year. I think this should be just fine. Basically depose is going to be somewhere around let's get depos similar to our reference in here. So the pose is let's see. Okay. Let me save this first. Let's try the more not the resting pose. I don't want that wresting pose might begin to his why I don't want to put that completely on straight down pose because we're going to be having a lot of interception from this sleeve with the rest of Europe. I don't really want that. I think this is more like a good position. If I need to do anything else I can actually do that inside of I can actually do that inside of Zbrush, so that should be fine inside of Zbrush. All right. That's fine. Let me stop this for now. In the next lesson, we're going to work on creating topology for this. I'm going to be creating topology for this in the next lesson. I will see you guys in the next lesson, by for now. 19. 18 Robe Retopo In Marvelous Designer: Okay. Welcome back, guys. In this lesson, we're going to be working on creating topology in here. So you don't need to do this external software, we can do all that inside of Marvelous Designer. Let's get right to it. For that, we need to go over to the topology to set. Let's select the parch topology. Set this usually by default should be at zero, just set this to ten, always like to use ten. So we can zoom in here. I click one, two, three, Okay, I go up to the origin point. So she gets something like quads in here, so oklcon creates. This precisely what we want. Let's do the same for this piece also too. So it works better when you go like four sides instead. Create. So we have this symmetric car, so it should work on both sides. I should have separated this out a bit more. Should have separated this out. Let's go back in here and I can just move all the way move this all the way. Then go back in there. Let's continue on. So we just make this four sided, and then we should be good in here, click on Create. I'll do the same also on this. So just basically help us work a bit faster in her by creating quick topology around this. Say regions where it looks a lot more lots more complicated life for this, this is a lot more complicated, so we'll do something for that later. Let's just tackle the simplest parts first. Go all the way down. Yeah, click on Create. I might still need to add a few more in here though, but let's just carry on. It's working symmetrically on both sides, that's fine. Let's do the same also in here. I'll go. This one is a bit tricky. Let's do come all the way down here. Back to my origin points, let's see if it's not fine. Yeah, click on Create. Now we need to make some adjustments in here. Now to do that, we need to go back to edit topology. Under the edit topology, we would select this I leave this up. Let's get this down here. No. Stay right here. It can be a bit funny sometimes just to get this where it needs to be in her. In here, Come on. Then set this up here. Let's put this back down. That is fine. Let's do for this final piece. We can go back to patch. We can start here. We do so. I think we have done one, two, three, down here, do that. I didn't do that correctly enough, so that's won't work. Let's do this again. Let's do one year. Overlapping part cannot be created. Click on Create. I don't know why it was shown previously, but that's fine. I need to go over to Editpology then I can start moving this down. Let's get this calculate as we need to This should go in here should be here. They need one across. You need one across. To do that create topology. We're going to control and shift and add one topology here. Then go back to this topology. The point in here that's going to drag this all the way down here. This will be in here. Not sure why this is in here though. Let me get this back down. Okay. Something feels awfully wrong here and this is going to be an issue actually. We're going to have an issue here. Let's undo that. Let's actually create this again. Let's undo this. Let's create a completely new piece. I need to go do one step. Let's see if everything is in there, that's fine. Go back to the patch topology to come close Okay Let's do something all the way down here instead. Let's down here instead. Then here, then all the way up, cannot creates shin knows that though boti created Editpology get this to the end. Going to add some subdivision label some additional codes across this box. For now, this should be fine. Let's go create topology, add in here, undo that add one year, add one year. Yeah, that should be fine. Let's go edit topology. I get this all the way up here. Said this year. There's something new to do in here. Pre topology, add one year. Editpology, let's move this this way. Awesome. That should be fine. This should work just fine for what we need it for. I'm skeptical on this part though. Skeptical on these parts. Maybe we should create dA one in here and then move this in here. That's a lot better. That's actually a lot better in here. Okay. So now let's move to the opposite side. Pat Pat two, we can go all the way. Then yeah. Then all the way up here. I don't know where keptre that creates. Then we can create let's do one around these parts. I did topology. No, undo that, undo that. I think it should be a bit lower. I should be around here instead. Let's do topology and move this down here. Undo that. Let's create one that holds itself around. This can go in here. This can go in here also. Then we can put another one. Let's put another one across here the topology move this in place, move this in place in place. Let's just get them in here. Just to get something tights on those parts. I think this should be pretty much Okay. Now one thing you can do is to all of this now we can increase the subdivision level of co. You still have something you need to fix in here actually. Let's create something here. Er topology move this in place. Let's get this as tight as we possibly can. Should be sitting completely on the edge. Let's look for the other side. Ao. Now, this should be fine. Now one thing that might be an issue is when you add more subdivision to the entire ten. So to extra that out, we begin to have a bit more issues in here. I want to try the first time if it doesn't work, then we have to manually add more codes across just to get what we want. Now, to do that, I think I can click out here and we can do um can we select all of this? Let's select all of this. Let's see if we can not current pattern actually. I want to do this for the entire outin. Is there something in here? Disk No, let's go back in here. Yes, better. So now that we just need to click out, then we can add all divisions. So select that. So that would basically add extra codes across the entire mesh. So it's not left to kind of decide if we want a bit more in here or want to actually keep what is here already. But basically, the idea is that we need a whole lot more subdivision level in here to kind of hold the ship a bit more, most especially when we kind of especially when we extract this as an actual match, you can see they see a lot of gap in between. A lot of gap in between that would actually become an issue for us. Let me click out. A lot of gaps in there. What we should have done is to help this out a little bit more. Let me do this again. Do areas where I feel I need more subdivision level. I'm going to manually add more subdivision levels there first. Great topology. This, for example, we need a subdivision level, and here. Just web those work on the other parts too. We need one year. We need one year and her. Maybe let me just add a few new ones across some of these parts. So once we subdivide it, we're getting something more that holds up the shape and then records in the fabric details in there as accurately as possible. Let's do one year here, this should hold up the shape some more. Adding more in here or here as much as we possibly can get them to be as even as we possibly can get them to be. Let's do the same for these other parts. Let's do one year, across this as well. Let's do. All right. Okay, I think we definitely need a few ones. Let me just set one year first. Let's set one year also. I think we need to tighten this even more. Let me do that. When we add more across the add divisions to all of this is going to hold that part or more. I think this part should be fine. I can click out. Etopology click Out. Then division quick save. Let's do quick save for this. The quick save still saving out. Done saving, so let's out or division. This is not even where the issue. Issue is when we want to get this out. We're going to might up this I hope I pray we don't have any issues, most especially on where we have tight edges across this place. I hope we don't have any major issues in there. Now next thing we intro to get this out, extract this out as an actual geometry now. To do that just right click and let's do remesh all duplicate. Don't use it, please, though. Let's duplicate instead. So we still have our original mesh from this. So it's loading up now. It's loading up down here. Let's give this moment. Fantastic. This is what I was what I was trying to avoid. T now that two continuous points are crossed, please remove a point point pattern 1701. Now this where the issue is actually because the tells you patterns 17, blah, blah, one. We can't really see where that is. You can't really see following patterns that already. Now the idea is to figure out where that pattern 17 naturally is so one variety we need to do is to look for tight edges. We need to look for tight edges. So issue should be occurring on tight edges where we have multiple we have multiple points in there, point vertics in there, so let's check this part. This is clean. That was why debating between working this myself or doing it somewhere else. We have issues in here. Get this up. Get this up. That shouldn't be so much of an issue. Let's go across and then let's check. You want to check points that are quite close to themselves just to see. On these parts, I don't see any major issue there or any points crossing themselves. So it's just more or less like a rabbit to trying to figure out where this is. So maybe I'm going to go around and then come back and show you guys where the issue actually is, so we don't waste so much time. Okay, guys, I kind of found where the issue is, so let me kind of zoom out first to show you guys see some crossing in here, so it's on this front piece. I can see some crossing around this part. So let's get in there and then run. So the idea is just to base carritosr space things out. So once you space things out some more, we should be good. Okay. You can see one issue in here, space this out. You see an issue here, space this out. Try and make sure we eliminate any crossing as much as possible in here. Space this out. Okay. Why? Get enclosed, get this out. I think we actually have a bunch of them in here. We have a bunch of them in here all the way down here that we need to fix. Let's start by just extending this out, extending this out, extend this out also. Then move this out. You need to extend this out also. I strongly believe this is where the issue. As to check for the other side also too to be extremely sure. Once we fix this, we should be good. Get this out of the way. Move this out as well. All right. You just like the trade off here, you need to actually come in and then move a few things in place and it should be good. Come on. Let's get in a bit close. Just keep snapping to the original position. Let's move this out. Come on. Now this is a tricky one. Is actually triq one. There's even more across this. Let's get this out first. Now, it's running a bit slowly because I guess they need to optimize a bit more on this a bit faster because it's quite a bad experience for me trying to fix this and then it just keeps running slow. At the very least you should run a bit faster. Now, this one is tending to be an issue. Let me move this out some more. It doesn't work when you're using vertex, you can always use the face instead to move this out. I think we have moved that out a bit better. We need to do some moving across here to get this out. Let's go. Great. Quite a lot quite a lot of them in here actually, I need to move. Extend that out. While you're extending this out, you also want to make sure you're not messing things up somewhere else. There's quite a lot of movement going on in here. Fix this, but I'm sure you guys get the idea already, so let's just try, quite a lot. Almost done. Almost done. Can I select this? Let's see if we can move a set of them out. Yes, that helps. That actually helps. It's just that bad experience things moving too slowly in here a little bit frustrating in here. I always come back when I'm done. Let me just do this. I believe I've corrected that. At least most of what needs to be corrected in here. I'm going to click Out. Decide. Now let's try this again. Option click. Let's see if we can make this work, right click out. Unless rematch duplicates, hopefully we don't have any issues. That's basically it once we are fixed the issue in here, we should not be having any other issue because issue usually from the edges, once separate them out, we should be able to get them duplicated out. I strongly believe at least fix those points crossing themselves. Let's just wait for this moment and then we should have this separated out. I don't pause the tutorial on this, I don't want to pause on this level. Okay. I think it is in the net. Let's go back in here and we can get it out as a separate piece. Yes, we can. That's basically, so now we have this as a separate piece. Let's set this back to move. Should be getting a separate piece in. That means we actually fix this correctly. Let's save this. Your next lesson, we're going to export this out and then work W with this inside of Maya and Zbrush I'll see you guys in next lesson, B for now. 20. 19 Robe Prep In Maya: Okay. Welcome back, guys. So let's carry on from where we left off. So we have kind of extracted the retopo version out of this. So this is the retopo version up here. Then we have our original version that has the pattern and simulated in here too. So I'm going to temporarily hide this. Let's hide this for now. Hyde, hi hid hide, hide three d pattern. I've hit in this now. Now we can only see the retopo version. This is the retopo version. If we should go into the surface and click on this measure, we have the utopologize version on top of this. You can see the quals are quite spread out evenly. Let's go back in there and set this to surface, monochrome surface. This is basically what we need to export out. So we're going to be exporting this mesh out instead, then we're going to make some corrections inside of zero just to get a lot of these to work just right. Let's export this out. For the most part, I think for the most part, it's going to capture most of the fold and wrinkle detail on top of this, which is precisely what we want. Then we can also add a few more zebra. Let's export this out. I'm going to select this. Retopo version, and then we go over to file exports will be selected and then we can export this year mnm be up group I'll save this still very much have the it's very much of the topologize version, so you can always go back and make edit and then get another piece out of that if you need to. But I won't do that for now. So let's export this out single objects worded, SS. Let's make sure the skill this is yes. Ski for this should be on CMDR studio, that's fine. Then click in here. I'm just going to give you a moment exporting out now. I think it's done exporting out. Let's open up Maya five for this character in here. Let's open up Maya five. I'm going to open this up. And then we're going to import a rube into that file. I come back. Let's bring in a rube in here. I'm going to go over to MDRobe. Let's drag and drop this in here. So it's usually offsetted, which is fine. We basically just bring this in where we need it to be. I'm just check. Let's give you a different material. Let's give it a material that can easily properly see. I'm giving you a blink material now. So this is what we have. I'll select this, let's do an to smooth. Unautmn in here now, we can begin to see more of the foods in a bit more accurately. There's still a lot of things you need to fix in here, but with this on autos, at the very least, we can see this working a bit more, at least cutting the food that we need in there. That's fine. I'm going to select this. Say let's put center pivot on this and lift this up. Let's try and match the gluten for him, at least. Extend this out a little bit more. He should be resting properly on his neck. We need to make quite a lot of corrections in here. Let's just get something close enough in here. So probably scale this out a little bit more m up more. Let's see. I think I made this too big. Let me square this down a little bit more. Live this up. We are slowly marching this. The main marching is going to be inside of zebra. Let's just get at least the proportions as accurate as we can, most especially for the scale, especially for the scale. Let's see. Okay. All right. Let me move this back a little bit more. Yeah, I think this que should be fine. This should be fine. That's the duplicate for this. There's a duplicate for this piece, and then we need to do some fixing in here. Let me just isolate let's duplicate first. We need to rename this to rob Let's add the original. Let's work with Jose this piece. I can solo this. Definitely, if I run this through, you can see a separation in here. So I would like to merge the points in here together. Let's get them out. Solo this piece out. I like to merge all the vertices into one single vert let's go over to modeling two kits. Okay, shift right on hold. Let's do merge vertices. Let's go to the options in there. Usually, value of 0.1 seems to work just fine. Apply. Apply. Let's test this out to be sure if this is merged in. So let's smooth this. Autosms merged in that's precisely what we want. Go out of isolate. Let's do the same for let's do the same for this DD piece in here, isolate this. If I don't auto smooth, obj click out is, let's select all these arts and then just click on Apply. If you click out now, don't auto smooth, that should fix that right to go to isolates. Okay. Those has been fixed. It's quite a lot of weirdness happening down here though. Smoothing that out fix a little bit. But we definitely need to move this to Zbrush and then do a lot a lot of smoothing in there close actually. Let's see what we can actually do in here before. Before moving this out, what can we do. Basically, we're going to extrude this but I'm thinking before I extrude if I'm going to have any major issues, especially around these parts. It's a bit weird. But we can really smooth that out inside of Zbrush. That we can smooth out in Zbrush. Let's do an extrude for this, I'll do an extrude. So extrude should start. We're having this issue in here, we can easily fix that by doing the extrude from locals instead. I'm trying to figure out the right amount of thickness I need for this, maybe a little bit more. Then we add a little bit more take this down. Let's add two divisions in the Okay. Oh, yeah, do that. Let's undo this first. Just before we add thickness to this, before we add thickness. Let's do another duplicate of this. Okay. Let's get another duplicate. Then let's extrude this instead. So Local Z gets close. Let's look at actual references and let's see if we are using the right scale for right thickness for this. I think this thickness should be fine. Let's look at it from a distance. Usually, looking at it from a distance helps a lot nervous thickness to use. Let's add subdivision level to this object mode, less than to smooth, let's see where we get. I think this would actually work. This would actually work. Let's smooths out the edge is a bit small, but that's fine. Not at the same time not necessarily need to basically just checking this out first. Let's isolate. Let's isolate this back piece. I need to add coats here just to hold the edge because this is the edge is falling apart, let's hold this edge. I don't want the edge can fall apart so I need an extra edge loop to hold the edge a bit properly. Do one ear also. We don't need a new one for the lower part. The lower part holds holds itself properly. Let's go out of isolates. Now if you smooth this or let's go to Object mo, if you smooth this out and let me save this we smooth this out now, this edge you can hold itself a bit tighter. Shouldn't just completely fall apart it did before, that's fine. You need to do the same for this also, let's slow that out. Need an edge to hold this do that control, do that. Trying to figure out how close we need this to be let's do something quite close. All right. I think what is there should actually hold. I don't think we need to add tra need to add raedge loop at the edge that might just be too much polygons to work with. But let's just add it just to keep it at a bit neat and then sits in there. Lower part will work just fine. Go out of isolate. I think we need one ear. Hold down shift here, let's isolate this. On the Multi coats cats. I don't think we need for it actually holds its own properly. We'll leave that that should be fine. I think we need one across here. Let's look for where the same is. Add one. That should be fine. I think we are pretty much done. Go out of isolates. Objects mode, select, don't ask again. Okay? I think he's holding his own quite nicely now. Quite a lot of corrections we need to do in here though. Especially in Zbrush but that's fine in Zbrush, it's a lot more easier to do in zebra do what's necessary to hold that bit. I think we definitely need to add definitely need to add in here. You can do this without having IolctdO year. Okay. That should hold. Let's go back to object mode. Let's moo this again. Let's see. Okay. All right. I see that should be fine. Now we can export. Before I export this out, let's make sure we delete any UVs we have in here. Let's actually delete them. Let's delete any UV we have in here. I actually comes with UVs. So if you should come in, let's open this up. I don't think I want to add UV yet. But that's the layout first. Let's see if we have to hold up quite nicely without any issues. Okay, surprisingly, it's holding up quite nicely even without us having to create any new UVs for it. Let's see. So UV UVs. Let's see if we have two sides on the UVs. It's creating It's creating Simon a very accurate place. So we have one here, let's see, for the bug. Okay, we have the other parts for the bug. But surprisingly we have very accurate UVs in here that we can actually keep yeah, these UVs we can actually keep quite accurate. Sometimes it's just going to create some weird edging and some pinching around some part, but for the most part, this is actually quite nice. To actually do any other UV changes in here. That's fine. Let me save this. Now, let's expot this out to Zbrush and then start making some major changes to this especially on the SIM because it seems flying away somewhere else. Seems just moving around somewhere else. Okay? Let's see. I'm looking at let's see where is that. It's our main reference in here we send to let out create this piece though. This will still need to create. It shouldn't be so much of an issue. We can always create that in Marvelous Designer. But let's just work and get this in place first. Looking at this, I think we can just add that in Zbo create. We can do that in Zbo that shouldn't be an issue. Moving on, let's put this out for sculpting in zebra, so sports. Let's make sure we do this correctly. Checking this calf again, see. I want to figure out how long this is. I'm not sure it's that long. It's not that long. We also need to create this piece. Let's see. Let's copy. Let's copy this. So it should be on input. Let's copy to five parts. Copy this five partece these five parts in here and we can name this roof. Should be robe exports go into Zbrush. Now this is the wrong file. It's a file. Let's bring this in. I was going to do a pen pen fare select this fare. Then we go over to imports. Let's import this in the imports robe it looks a bit weird for now. So we still need to make quite a lot of corrections in here though. But I think we are in already. So if we should subdivide this a few times. So basically what we need to do now begin to make some adjustments and to push and pull things in where they need to be, but I won't do that now. I won't do that. Let's see. I won't do that now until we get this extra piece in this red scarf in. That's what we need to do next before we start, I'd like to get every asset we need to get in FL before we start making some adjustments to this. We're going to focus mainly on Zbrush and then make a new correction we need to make on the model. I'll see you guys in the next lesson, bye for now. 21. 20 Scarf Rod In Maya: Alright. Welcome back, guys. So let's carry on. Let's see what we can do in here. I'm trying to create this metal. This metal piece that has this scarf in here. So that is what we are trying to recreate. Okay, also, why we are also at I think our grab I think we can grab or crew this piece also. Yes. Yes. Okay. So let's start with this piece. Let's start with this metal piece. To do that, I will go over. I think I would like to minimize this and we can close this. I'm going to open a separate five for Marvelous Designer to work with. Let's temporarily close this for now. I don't think we need it anymore. Then back in here to do this, I need to go over to the top view. I'll do this from the top view. Let's do this from the top view. I'll go over to create curve to I think the Bs should be a good one. Bzi cove should be a good one. I'll create half of this to begin with. Let's do something like so. You should cave around this week, undo that. Let's do something far out. Far out of sothing like so. Around there. Let's go all the way around these parts or maybe not, maybe do this. We can do half of this should be just fine. Then I'm just going to mirror it to the other side and we should be good. Okay. So I think this should be fine. Except maybe just for the sake of getting this, maybe we just want to nail this just once so we can we can just recreate the two all at once. I enter to accept this. Then you need to go over to a perspective view and lift this up. Let's go and control vertex, select these verte, select these verte lift this up. Up some more, let's see this from the front view. Leave this up from the front view up a bit higher, select this up a bit higher. Select this. You should be down this way. Okay. I think I can select this, undo this let's do this on both sides, select this also. Bend this over this way, select this up some more. Select these two, push them back a little bit more to create gap I think that's way too much. That is way too much. Se let this get this way, extend this out a bit more. It this way. Let's see what we get. I think we're supposed to have a point here about maybe nought. Let's see, the way to ask some points in here. Let's select this and what is this? Let's go to Objects. Duplicates duplicate down. Let's work with this. Let's redets go to Curve, rebuild side. Let's rebuild this. Okay. Rebuild. I even working? Not even sure if it's actually working, I don't think it's working. No, it's not working, but it should be just fine for what needed for though. I don't think I necessarily need to do anything else in here except maybe extend this out this way. Object mode. I'm going to select this and let's go over to I believe Sweep mesh. Now we need to make some adjustments to this starting with let's select this in now Vertex, I would like to select these Vart and I'll move this up. I don't want any interceptions in here, so I don't want to intercept. Let me get this way. Instead, select this. This way, I'm trying to figure let's see I think we can extend this out some more, create a bit more gap in here. Let these two leave this up some more. Get some curve. All right. So let's go into the sweep and then make some corrections to this. So yes, we need to increase the sides a bit small to get some more roundedness of smoothness to it. Well, we need to proof scale for this to take this down some more. I'll select these two. Let's go to Object mode and select these two. Come on. Let's put them in a group first. Let's put them in a group. Because I would like to put it where it needs to be then make corrections based on that, center a votes. Then we make corrections based on that. Now we're using this now we know we need to get this sweep, even smaller. Profile should be quite smaller go back to the group. Let's move this in place. Let's do this from. Let's go to the side view. Get this closer. You need to actually rotate this out some more. Should be down, scale this down. Let's see how big that should be, scale this down some more. Okay. All right, so let's go back to sweep. Let's crank this up. Let's the value of 100. Soon doing sweep it kind of messing things up. I think I'm going to delete this select this again and let's add the sweep in there. So now we can work a bit better in here. Rectangle polygon. I don't know why not smoothing this out. No cap wouldn't do anything. A bit of segments in here actually, it's make this work a bit better. Let's see where we can distribute. No this polygon. Let's open this up. Let's see corner sides. Take this down. Let's get something even out. No. Okay. This is for the size. I'm looking for something that has to do with poly. Let's take this down some more, yes. So just a matter of playing with some of this kind of figure out. Whoa, can't figure out what works best. H's quite straight. I don't know why this is like this, though. Tone that off. Tone of the cap. We need to play with this and try to figure out what works best for us. I think one part at the end of the day need to mirror this to the other side, maybe not so. Let's just get this to the size it needs. I think we need to make shrink this even more, shrink this down even more. This is a value of 0.1. Let's see what 0.1 gives us. That's way too thin. 0.15. Let's see. I think we need Nope there's just not so much. Let's see if we can find not this. Trying to increase the subdivision level for this actually. That's what I'm basically trying to do here for the most part, we can't really see something precise. Let's crank this soup to Nope. I think this value is fine. This only increases this for the edge, and we don't want that for the edge. We want something naturally rounded. Miss on something actually rounded but. If you use this now, that's a lot better actually. This is a lot better. This is actually a lot better. But it's going to increase the Polycount goes around the should we call it around the horizontal axis around the vertical axis. Transceiver can increase ply coount around the vertical axis. Let's see if there's something we can actually do to increase that taper no. We don't want any taper in here actually. Why is this at? Let's say this to zero, do that. Is not fix 19. Precision. Perfect. This is what I was looking for, what I was looking for, optimize. This is what I'm looking for, I need to get this. This is what I need. I think this should be fine. Let's go and reduce this actually. We don't need so much of this on the horizontal ax is just a few. But the precision, we need to increase a bit small. That is what we need. Ton of optimize. Let's get this evenly spread out. Yeah, we're getting there. I think I need to increase this bit small. Let's do 1.0 0.18. All right. I think this we can leave it. Then we can now go into this vertex. Select this vertex in I think I can move this forward and leave this up some more. You also get this bend around here for out a bit small. Yes, this is perfect. This is perfect. I'll save this. And I'll duplicate. Let's do duplicate of this Control D to duplicate this. Let's hide this. Add this also. Those are going to be our original version, so we can keep that for later on. Yeah, this is fine. This is fine. Except we need to delete something in here. I'm going to delete This is looking a bit weird. Let's see if there's something we can do shortly fix that. Let's k two mata mode because we're going to be adding. We're going to be adding. Let's rotate this don't do that do that, trying to get it opened out a bit more. Yeah, pretty much like so. Probably that was just an error. I fix that now. Save this. Now we can just add phase in there. Can add phase in the phase I'm going to be adding would be a cube. Let's create a cube. Once sell out this cube. Then basically just undo that. Let's do an auto smooth auto smooth for this then convert this into actual geometry. Just convert this into actual geometry so smooth merge to polygons. Then let's get this up and set it where it needs to be. Scale for this is way too big. We need to scale this down some more, scale this down. Scale down, have to zoom into it, scale this down some more and get this in place bring this closer this should be fine. It should be fine. Get this closer. Can we do a mirror for this? We can do by type t, go to phase one, select this pace, select the entire phase and then let's move this in place. Let's frame into that. Get this roughly in place. All right. Let's go to Object mode. This should work just fine. You can select this and this. Let's do a combine for them so it should be one single piece. Let's bring this. Let's just rest directly on the garments around there should be fine. Probably down a little bit more. Okay. This should be fine. Now export this into Marvelous Designer and then add clothing piece that goes in clothe, clothing piece that goes in there actually. That is what we're going to be doing next. Think that should be fine. I'll see you guys in next lesson, bye for now. 22. 21 Rode Seams In Zbrush: Work on bad guys. So let's get to creating or kind of working caring to work on this piece. So we're still on this piece. So I kind of have a change of heart. I'm not going to be using Marvelous Designer for creating this caffeine yet because kind of testing things out and then trying to simulate. It was kind of falling right through this piece for some reason. Just falling right through this piece. I'm not going to be creating it inside of Zbrush instead, so that's going to be fun. So now let's export this out. Let's export this piece out to Zebra. I'm going to select a spot selection and then go over to Z Imports. So now the imports, I'm going to be exporting this out as rubrod. Yes. Okay. Yes. Let's give it a different names. Let's give it neck pendants. It has a better naming for it. So I'm going to copy this expose selection. That should be fine. Then let's go back to Zbrush and then import this in here. Let's import this in here. Let's go to sub two, and I'm going to do appended on appended sphere, select the spare, and then let's do import. I'm going to import this in. So come in here, let's go over to where that is. So Zimput should be neck pendants. Right, perfect. So we have that in place now. So not next we're going to do is to go back to our main robe and then begin to make some corrections in there. So let's do that real quick. Let's select this. I say quick. Can't do that quick enough. So we need to spend a little bit more time in here. So let's do let's first get this to the highest possible resolution level we need it to be. We have this at 2:48 k. Let's just increase something around 3 million. Something around 3 million should be fine. It's three to 7 million, I guess. Let's control D, control D, 3.4 0.3 0.9. I should be fine. Let's go in and test this with the dam standard, let's just see. I'm just going to draw draw any line in here. That doesn't seem to be affecting anything. Increase the bro size here. Okay? So I think we need a bit more because looking at this is not smooth enough, do that. Let's subdivide this one more. So we have this at 15. 15 should be fine. So if we drag this out, yes, we get better definition in here that we can work with, let's go and let's include the subdivision level to the higher subdivision level first. I solo this out, solo this out, and then let's go over to layers. I'll go over to layers in here and let's create a new layer. This layer is going to be let's just name these two edges forms. Can me what name you wants to give it to. But basically, I'm naming this edges form because I would like to use this layer and then to kind of fix some of these separations we have on the same. That's basically what I'm going to do to kind of fix separations we have on the same. So I'm going to go to lower sub dibtion level now. Let's go to lowest subtion level 15 is fine. Shift F to go to Poly group. Let's go to poly group menu and do Auto Group. Then on the auto group also, let's go down to display properties, double sided. Should be fine shift F. So now we need to start moving in place. One of the key places I need to move since in would be for this color. For this color, actually, you need to move of things for this color. Yes. So let's go on subdivision level higher. Control shift. Let's just do bring bring our giz more order control, select this polygroup polygroup Let's mark that polygroup alone, Shift F, Let's go over to move brush. Is a move brush now, we can begin to close all these gaps we have in here. Basically just going to push it down, so it touches that same. That's basically what we're trying to do in here, just to make sure it touches the same, get this up. Okay I feel like make this work a bit better with more resolution in it, there's something we can actually do. Something we can actually do most especially for this color. Let me just show you guys if you go back to this, you will notice that for the vertical axis, you don't have enough edges, you don't have enough cats to hold this a bit properly. There isn't enough coats hold this a bit properly. What we can do is to duplicate this. I'm going to duplicate this, hide this. I'm going to solo this out. Click on this, let's solo this out instead. Then I'm going to add Let's see for a segment in here, let's add two vertical codes in there. To do that, we can use the insert. Let's make sure we are on edge mode. He rightly can hold. Insert Edge loop, open the option in there, bring this out. Let's do multiple edge loops. Let's do two. It should be fine. Close this. So we across the entire out, we just do two across it. Let's see here. I'm going to do this across. We're going to subdivide this instead of Zbrush. You should have good topology around this color. This color is going to be more visible in a camera view. We need to at least have some resolution that should hold it a bit tightly in there. Continue one, so. That should define more of the edge a bit more. Almost done. Stay a bit more to go. All right, so as well, also. I think that's pretty much it. Yes, that's pretty much it. Let's bring everything back out. I'm going to export this out again. I'm going to spot this out. Again, for the ba, don't need too much in there. The fine. Be fine. Let's export this out again. Spot selection, ZimputRub object moles select it. Make sure you're exporting something that's already selected. Rub Import. Nothing is selected, that's strange. As a bit strange. Let's go back to our selection to select this export selection, OBJ exports. Working now. I should have gone out of this min SAT edge loop before going back to selection and selecting that to export. Let's go back in here. I think I can name delete this instead. Ist complete deleting this, I can go over to this and let's do Delete. Let's just detent outing. Let's just degentoin. Delete Let's done a pen these areas where you just need to think ahead, figure out what work best before you start doing the coopted details in there. Import input, let's import the robe. That is fine. Housing here now, so now we can subdivide this subdivide this should be able to have enough resolution in here now to work with. Let's go back in here, let's see if we have. I think that should be fine **** F, we have enough. Let's subdivide this. Well, most of division, we have it at 19 million now, that's fine. 19 million should be fine. Let's go over two layers. We can create a new layer. Let's name this two. Let's just put primary. Primary adjustments. I'll just put ADG instead. So let's go to lowest of division level now. And then we're going to put the same process I have to go to Poly group, Poly group Auto Group, then we go down to display properties, double sided. All right. Sided for this, that should be fine. And then what we're going to do would be to go to Gizmo Oder Control, select this color piece and start making adjustments to it, just like we did previously. Let's start pulling this down where they need to let's make all of this touch as tightly as we possibly can. Not too tight though because you don't want to completely hide that seam we have in the class seam as needed. Moving on, let's come over this, move this down in place. You can see how this is way too high. You need to get this down. Okay. I think this should be fine around there should be fine. There's a need to make any other additional corrections to this we can. Even extend this out a bit more. Let's extend this out slightly a bit more, increase the bros size. Let's slightly extend this out more it more or less overlaps on these parts. I just slightly overlap a bit of height to it. Let's do the same around here. If you slightly overlap, that's fine. Okay? You can move this down. This is also slightly overlap. This needs to make your corrons in here but for now, let's just make this overlap. Let's come to the other side. Moving things or fixing things in here a lot more faster in zebra Let's just go with the flow and continue to move and get things to overlap a bit more. Stand this out some more out a bit more to get that to overlap all the way down here should be fine. Then we need to definitely push this back in. That's fine. Since we're in here, I think, we bring out our gizmo control, select this and let's bring this out. Should should actually come out. You should be more visible outwardly. Let's get it out. I in way too much. Let's get this out. Okay, though, this part is not going to be visible on a camera, though, but let's get something looking good in there by pulling it out. Okay? Down here right here also. We can do the same by fixing it in here also. Okay? I think we should be good. We should be fine now. That will work just fine. Then moving on, let's see. Yeah, so one piece at a time, let's go to the next piece. So the next piece should be this extra piece we have in here that's kind of dark. Okay? We still kind of fix this in here though. But I think we can do that easily inside of Maya. We'll do that and then bring that in. As separate piece. All right, so I'd like this to capture as much resolution as possible. I'll most likely be putting this cap in one single in one single UV set and also in one single swap too. That is for that. So moving on, select this. I think I would like to smooth things out a bit more. Let me control shift click. So I isolate this. Let me smooth this out a bit more smooth out 27 that's fine. Let me smooth this out a little bit. Okay. Con do that. I need to smooth this. I think that smooth intensity is way too much. Let's go on subdivision level higher. Let's go on subdivision level higher. Probably let's even Let's even use deformation to smooth this. Let's do polish. Polish is slightly too extreme. Polish is slightly too extreme. Let's do polish by group. Let's mark this part out. This part you need to polish. Blow this out some more. Let's do Polish crips edge. Let's do actual polish. The actual polish is a bit too extreme. Turn this off. Yeah, much better, much better. This work just fine. This work just fine. Clear that out. Whoa. Now, that is a bit too extreme. That's slightly too extreme. Let's just go in and use the mark pen actually marks out the exact place you want to work on the max, blow this out, use a small value. Then this value is actually to high increase subdivision level, increase subdivision level again. Let's do this now. So we should have soft that transition in here now. Who see there's a lot of issues around this part. Let's do more nor smooth instead, increase the smoothen density, smooth this edge. Smooth some more. There's a lot of issues. I was saying here. Smooth this down. Let me clear this out first. Let's see. Yeah, this should be fine. Except we need to lift it up some more. Let's mark this out invite the mark. Come on. Mark this. Okay. All right, this is fine. Then let's go back to move. Shiv D, go to the lower subdivision level, let's go to geometry. So you can see the subdivision level that's actually in there. And then it shouldn't be down way too much the way it is right now, we need to do a little bit of lifting in here. Let's do some lifting. It doesn't collapse too much at this up some more, reduce the brows size. So just a matter of fixing, going back and forth and then getting it to look right. I think we can work with this. This we can work with except of the otherwise. Okay. Now let's do for the edge, let's go to a lower subdivision level. Let's go on subdivision level higher, increase the bros size. Should overlap also. Let's get this to overlap a bit more. Look for an angle for this. The should slightly overlap. Move this out as well. Get to overlap this way. This way, also. I want to make sure it's as neat as it possibly can. I want to get this to be quite neat. Here, I think this is a better angle to do this. It's a better angle to do this. Leave this part up some more All right. That is fine. Yeah, this is fine. This we can work with. Okay. Let's do for the other side. No, do that. We need to fix something in here. Let's do some fixing in here, get this closer. Okay? All right, that should be fine. Let's do your other parts. Let this gizmo, select this. All right, so extend this out some more. Get this at a better angle a better angle. No, I think this angle should be fine. Extend this out. Yes, that is fine, precisely what I want. Get this out. Get up and out. Let's check what we have in the let's see if they are overlapping it needs to overlap. There's a general idea for this supposed to overlap, use this broad side some more, get this to overlap, get this back in.This should go in. We're going to talk this in on the left hand side, let's talk that in on the left hand side, Tug this in. Let's get close up I think we didn't do this accurately enough here let me zoom out. Just check. Is Okay. I think that should be fine. Clear this out. The one to actually undo that. One is to actually be air tight. You can see there's a lot of gap in here that we need to take down. All right. Clear this out. Let's look for another piece to work within here. Okay, we see we can use this. We can move this in. This should taper in. Is there another piece in there? There is the other piece. Let's be mindful of that. We get this extended out this way, this way. This should also overlap this get this in, get this overlap. It's just two or second piece in here, so clear that out. I think we should be working with this instead. This is where we need to actually talk in some more. Let's talk this in some more. Oh, your piece is at the back. We need to be careful of that. Get this down. Okay? In out. That's fine. That should be fine. Clear this out. Yes. Now we need to do, let's do the back piece. Look for the back piece. We need to push this. I think I did not do for this piece. Let's do for this piece. This should be in and talk this in some more, lift it a little bit higher. Roduce the bro size. Is it done on the other side. Yes. I think we can just leave this part up some more. Get this close. Let's do the same for this piece. Let's see. Push this in here. Get this down here. Yeah, that should be fine. Let's go back to the back piece and then let's move this closer where it should be. For the most part, we already have the sculpting detail we need in there, so we might not need to do too much extra additional sculpted detail in there because what we already have in here is already working quite nicely. What we have from Zebra Marvelous Designer is already working quite nicely in here. There's some issue around these parts that we need to fix. Let me just quickly swap this to this and then get this down. This is just was up way too much. Get down, get this up, down. Okay. Let's make sure we get this up a little bit small around here. Let's go back to the back piece and fix on the opposite side. Get this quite a tight or water tight. That should be water tight should be rightward. Let's move this down. Make this settle around here, move this closer, smooth some things in. Just so we get it as close as we can. Yeah, that should be fine. Carrying on, smooth this down. Get this in. That should be roughly around where it should be. All right. We can go and then smooth some of these down also and then push them in. Yeah. That should be fine. We can do this. We can do some smoothing down here also, and move this way, it should be smooth this down, pull this in, get this closer closer. That is fine. Here we can work with, clear this out. Let's do for the other side. For the other piece. We can start by smoothing things down. Smooth intensity, smooth this out, then move this closer. Let's do for this piece, smooth this down. Back in the gizmo elect this gets closer, smooth down closer. All right, so this is basically how I get this in place. Now I need to this I will need to smooth out some more let's get better edge in there, so this down some more smooth this down. Smooth. Trying to remove those sharp edges we have in there. Basically just doing the manual smoothing of things in here to get it how we need it to be smoosy edge also. At least visible edge in a smooth down shouldn't be this thick, let's just get a slimmer edge to it. I think I actually made it too thick. That's fine. Let's just smooth all of these down. Bring everything back out. Saving let me give you some moment to save. Moving on. I think for the most part, we already have this where we need it to be. For the most part, I think it should be fine. For the sleeve, let's see, let's fix this in here. Let's go to our Gizmo. Then I down control drag a selection around these parts, invite the selection. Then we'll just use the move brush to just move this in here. Make this at close, bring this a bit closer. Smoo this in, bring this a bit closer, clear this out. Let's do for the opposite side. Bring out a gizmo, and control drag selection around this. Do that. Let's drag in that selection. Clear the marks, drag a selection around here. Okay. Come on, control, clear the canvas. Get in a bit close, so do that, smooth this down a bit more and then bring them in close to themselves. Bring these two edges together, more around the bit more around the up a bit higher. Let's fix here also smooth smooth. Clear the marks. It maxm bring this closer. We're doing this accurately enough, so we should just continue on with this and then bring this closer and get in down here and bring this closer play this, bring this out, and yes, we should be fine. Yeah, this is going now just fine. We want it to. Let's bring everything back. Let's bring back the head. Now this color we need to fix, let's go to lower subdivision level. The color will need to get sanding out a bit more. Let's see. I need to move to start affecting the parts. Let's bring out Gizmo again. Bring out the Gizmo again. Let's isolate this first. Bring out the gizmo, the gizmo visible? Yes. Control drug selection around there. Yes, I think we can do this now a bit more accurately. Reduce my bro size, get this out extended out some more. All right. Okay, this should be fine. It the max. Let's do for the opposite side. Do this think our moving parts, I'm not supposed to move, reduce the broad size a bit more. Get this out. Okay? Use the process out some more, we can smooth this part down. Let's see what we get out of this. Come to the front. I think we need to bring this out more, more, a little bit more on the part out a bit more. Okay. Let's smooth this down. All right. Invert the max, extend this out some more. Let's bring everything back out. Let's see what we have. Yes, we have mess things so, I figured we messed things up there, that's fine. We can just undo that. Let's use the max last soap. Max this part out, blow the mark, and move this back in place. Let's go at some ablution level higher. Make sure we get this overlapping also. We need this to overlap. Yes, get close down some more. I still overlapping, that is fine, precisely what we want. Extend out, extend this out. Let's see inviting max. I think I would like to smooth things down here. So more smooth out some of these edges so we get something softer in there and not too edgy. I don't want something too edging yet. I'm not going to smooth smooth this we have soft edge around that part. Okay. Pull out some more, right, clear this and see, I think we can raise the back slightly higher. Let's do a max in around here. Blow the marks, divert the marks, blow the mark some more with a move brush. Let's turn on symmetry for this. We can extend this out a little bit small. Okay. Bring this clue. Okay, now, I can extend this out. All right. Yeah, that is awesome. Let's mark this out a bit more. Let's do Let me clear this. Let's max the lower parts of the here. Let me clear this. Let me solo this out first. Let me solo this. Let's do something like so. Okay. Let's do a bit more down here. Bring everything back out, invite the mark, blow this out some more. Trying to lift go to lower subdivision level actually for this. Can we do this with symmetry to? Let's do this from the front view? No. Ton of symmetry. Let's do one side, and then we do for the opposite side. Let's get this higher, get this a bit higher, compensate for it around. I think we can gently smooth this down. Yeah, that should be fine. I should should work just fine. I feel like I should bring this should be closer to the neck some muscle. Let's get these closes out to the neck, invite the mouth, blow this down. So asymmetry, bring these clothes out to the neck. Around there should be fine. Yeah, awesome. I think we can actually work with this, this we can actually work with. Then the next lesson, we can start adding some I see something in here we need to fix. Invert the max. Get this down and inward, inward. Okay, clear this out. All right, so I'll see you guys in the next lesson where we start adding some of these some cuts in between, like so and then making some corrections here and there, make this look a lot better. I'll see you guys in next lesson, buy for now. 23. 22 Rode Edge Seams In Zbrush: Okay, welcome back, guys. So let's carry on from where we left off. We're still on this garments or the ropece. I'm going to solo that. The few things we need to do a few things we need to do in here. So let's go to the layers. Let's go to highest subdivision level for this. Put the side. Okay. So let's go to the higher subdivision level. I'm going to create a new layer and for this layer, I'm going to name this to SIM. This is going to be a same layer for this. Let's go over and create a new layer. Name this new layer to SIMS let's use all caps for this. SIMs okay? That is fine. Now let's check out some of the references in here. Let's see let's use references in here creates a more better representation of something realistic in here. Let's use this for example. You can see a thin edge around the edge of this fabric. Okay? So we're going to be introducing that into our model. Let's look for something a bit close up. The detail they are not extremely we used but. Please the idea enough for us to actually see. I'm going to use those and then replicate that in our sculpting here. Let's see if we can find anyone in here. Not really not as intense. You can see seem around there, but more is a depth around here also too. Let's start creating that, but I'm going to start by creating let's go to our main reference. Creating this separation around here. I just when we just need just, justment will be fine. We'll do that next to set this around here. Let me put this here instead. I need to use there are a few brushes we can use. Let's start by checking my brush sets and look for a SIM brush. Let's see if we find something in here that would do a better job for us. So brush SIM. Okay. So there are a few ones in here. Let's look for something quite similar. No, I don't think this would work. Let's go to the end. Okay, this one seems like a good one. So I'm going to let's double click on that. Okay? Let's go and do a test from for this, increase the intensity, and let's do a quick one. Now this is the space in India is way too broad. It's way too broad. I'm not going to use that. I think a better one to use the dam standard. I think this damn standard will work just fine for this actually. I think the dam standard seems like a good one, but we need to use lazy mouse for this so we can get this a bit accurate. Let's increase lazy Come on. Increase lazy mouse radio, so we get something a bit more accurate. That's a bit strange. Let's take this back down. Okay. But intensity for this is way too much so let's reduce the bro size. Let's see if this would work. I think this would would actually work, but we need to increase the lazy mouse radios for this. Now let's go in and then create that. I don't think we can do symmetrically because this is not perfectly symmetrical, I'm going to ignore that for now let's try and capture the essence of this a bit more, increase the bro size or more. Okay. Let's see. All right, Let's continue on first. Let's continue on and then just undo that. Think my hands are not straight enough anymore. No. Need to get something as no nos not giving me the desired results. I think I need to do this again. The amounts are not straight enough. Basically I just need to do this until you get something straight enough to work with. I think it should be fine. Let's check this out again. I think the depth information is way too high, is way too high and that is coming from the intensity or let's reduce intensity. Go back in here, increase some more, get a good angle so No, a bit intensity, we just need to find the right value for this, It's just a matter of going back and forth until you find something that works. I think this would actually work. No need to get the continuation as accurately as we can. No. The continuation needs to be spot on. I think we can work with this. This we can work with. Still make some corrections in your body should be fine. Then let's isolate this. Let's continue this from the back side. All right. I'll go, no. Let's do this again, come around these parts, go all the way down. Now, this part is now quite debatable just to see B I would not want to get this all the way down though. Let's see. I want to do this on one side. I want to make sure the other side I get something too but it's not looking distorted. I have a better idea just to make this look a bit more interesting. I'm going to collapse this year instead and go all the way up. This will look a lot. This will look a lot better. Undo that. That does not connect well. Nope, that does not connect well either. All right, that should be fine. This should make better sense. Now we need to do a lot of cleanup in here actually. Let's start by smoothing this out more, remove some of those weird dimple detail in here. We're getting in there. Let's just smooth this out a bit more do that smooth that out. I'm just going to pinch this to tighten it up some more. Let's get a smooth in between all of these. Yeah, this needs to be smoothed out. Get some more smooth around here. Then let's go to the lower subdivision level. Then on the lower subdivision level, I can easily pinch this let's go on subdivision level higher. Let me make this visible for you guys to at least see the subdivision level I'm in. Then let's use the pinch brush now so BPI. Let's start seeing this undo that increase the brows size. Pre the bro size a bit more. I would like to do this in one stroke. C do that is not smooth enough. I'm not going to go around and then tighten this out some more because when we use the dam standard, the gap in between is way too much needed to tighten it up. Okay. We use the bro size. Let's get enclose in here. Now, let's go to a higher subdivision level. Let's see what we get. I think I did not do this lower part, once sublution level lower, let's tight in these parts. Nope. It's bleeding out to the other side. Reduce the bros size. Get enclosed, reduce the bros size. Okay. All right, so we have something like this now. Let's increase the subdivision level. Let's go to higher subdivision level. So on a higher subdivision level now we get this, which is okay. We can actually work with this, we can work with. I think I still need to tighten this part some more, increase the brows size. Okay? Just a little bit of tightening up some parts. This should be fine. Okay. Let's go out of this now. Let's bring everything back out. I think we can definitely keep. Yeah, this we can keep, go to the lower observion level. Isolate this, think I need to reduce my smooth intensity, then smooth the edge. You need to smooth the edge a bit more because the edge is a bit slightly too thick. Okay? All right, bring everything back out. Now, let's go in and we can continue using the Dem standard brush, getting some SIM around this edge. I think let's see if we can actually use some of these SIM brushes in here. I think we can use it seems like a good one. Let me double click on that. Let's go to die subdivision level. Go to the subdivision level. We're still on this SIM. Let's isolate this piece. Produce the bros size. Though I would like to actually do this on a lower subdivision level, let's see if we can actually keep this or do that reduce intensity for this. Basically just testing this out just to see if I need to keep this or not do that. Let's go to lower subdivision level for this on lower subdivision level. Now, it's messed up in lower subdivision level. Let's go on subdivision level higher. I'm basically trying to create something quite fins not too obvious increase subdivision level, let's see. Typically, I'll go for using the dam standard doh to do this, but I'm testing this out just to see. No, I think the dam standard broach the better one. Undo that, reduce the brows size basically just creating this is fine, some deep edge around these parts. I think it's supposed to be slimmer than this. Supposed to be quite on the edge. This needs to be quite on the edge. Let me reduce the bros size needs to be on the edge. The windows needs to be on the edge want to be careful so you don't break this deeper edge we have in here. Basically, just do this a few times and see I get this as accurately as I want. Yeah, this is fine. So I'm just doing doing this with carefulness in here. Doing this all carefulness, right. Okay. Get up in her do this around here also undo that. They do it on the lower subdivision level. So when you increase your subdivision level, it's going to give us a more smooth tile or more blended edge to it, something like that. Undo, go to the lower subdivision level, and I'll continue this on around here. This part seems a bit tricky. This part is a bit tricky, but we're going to get it right. Go in there so continue this on, continue this on. I think we are getting it well now. Let's carry on with this. Okay. Moving on. So we're basically going to do this quite enough quite a lot of this extra color piece we have in here. Do this continue on. So you want to come on, come on. So you want to be extremely careful. So it kind of maintains that as accuracy on the edge, okay? Undo, undo this again. It needs to be quite on the edge, quite close to the edge. Yeah, it should be fine. So moving on. Continue this on. For this, I'm going to continue this on all the way to the end, all the way to the end. Okay. Let me stop this before. Noticing that I was already stralling off the edge, so make sure we do this on the edge stay through to the edge. Moving close needs to be quite tightly on the edge almost done for this edge. All right, that should be fine. I think we need to do this on the lower side. Let's do this from the bottom part all the way up since we already close to this part already. Let's going to do this up. So we'll be going upwards instead now. I kind of feel old like I'm going to go upwards from down to the bottom, su more stable for my end. Let's just do that instead. I get more stability doing this from top to bottom instead. Um, let's get this down. So it just takes the amount of being careful, then you get the right amount of precision on it. You just be careful and then you get the right amount of precision. Basically, going slow and steady in here just to get accurate precision around this. Okay. Go down. I think I'm strolling off and do that. I think I strayed off. So it was getting too close to the edge. Stop this, continue this again. All right, that's good. All the way staying through to the edge, connect this, okay? Connect this, then go from here, stay close to the edge. I think we missed this part. This part was not added to it, let's add that in it looks a bit off. For me, it looks rather off do undo that. That seems a lot better. Get this around here also. Do this again, connect get this around here, connect this. Go all the way connect this. Let's do from here. Get close. All right. That should be fine. That should be fine. Let's bring Gavitin back out. If we should increase the subdivision level now, it should look a lot better properly refined. This is just going to help us add some extra additional shadow depth to this, make it look a lot better. That's fine that we can work with. Then we need to do the same for this piece. This piece needs to have the same let's go to lower subdivision level. Do this in here. This feels like it is way too deep though. This feels like it is way too deep, do that, go on subdivision level higher and we do this again. Okay. Yeah, I think we can work with this. This we can work with. This is going to help a lot with some shadow depths. Also, it's going to like a part to kind of add stitches in there in case we need to actually add stitches in there, that would help that would help greatly define where we need to add our stitches on. So we need to go all the way down. It's not that long, so we can just continue on. I think this angle in here is a bit off. Let's get this at a better camera angle so we can reduce it a bit more accuracy. Yeah, I think that's fine. Get closed. So you want to get this straight undo that thinks I missed it. Let's come down instead. Then we can undo that, get a better angle to this. Yes, we can do, no. Yes. Much better. I think we really need to do this on one side though. Let's see. That actually inside, that's fine. At least we have it around here. We should be fine. Yeah, this would be fine. I should work just fine. It should work just fine. Now that elevates this seem on the shoulder. We need to let's get close. Oh, the other side completely forgot the other side. Let's do for the other side. Get this in. Okay. We're going to carry on go down. Let's see if we can do this as quickly as we can. This is not so much detailing though, basically just the one symbols. I definitely adds a lot of lots of interesting shadow depth information in here because it basically trans like a bevel. A bevel close to the edge ditly catch light reflecting on this on the soft edge. Almost there. Yeah, that's fine. Okay. Yeah, this is fine. This is fine. This we can definitely work with. See if I need to add one year. I think I need to add one year. We need to add one year also. I'm still going to elevate this up also. Let's just add one year. Awesome. Let's do for the other side. Add one year or so. Get this way there should be fine. That seems fine. F I think I will need to add. I will definitely need to add across this let's do one across this piece, come down down, come to an edge. All right, so let's do for the other side. Yes, let's do for the other side. Now, this extra level of detail might not be that obvious when you actually texture the bots. It's just good to kind of have it in there kind have it in there. Connect all the way down across this. That is fine. I'm going to ignore this lower part because that part is not going to be visible in our render, I'm not going to signal. I'm going to ignore that part. Let's do for the back piece also. I don't want to g back piece is not going to be visible in our final render. I don't want to neglet it regardless. I shouldn't take too long. But I'm doing this with a little more patience because even though it's not going to be visible in our final render, I still want this to be accurate enough also. We can do the same on the lower parts. Don't do that. That doesn't seem accurate enough. Let's do from down here instead. Right now, I'm just basically focusing on if you actually need to use this and show the entire outing, you should add this across the entire mesh on the seams. It's going to make it look a lot more realistic. I'm only going to do this where its going to be visible window for the back pins is not going to be visible, but let me just add that in there. Okay. All right. Since we're in here, it doesn't take so much time. We can just add this around here so down do that getting close. Okay? Can do the same. That doesn't look accurate enough. Let me do this from this part instead. I'm just going to work a little bit faster in connect dots. Connect dots. You shouldn't take too long, find a good angle for this. Okay. A and go all the way down, that should be fine. Yeah, we can do for this also. Since we are doing this for everything, let's do for this also. Need to go around this and we should be good. I do that. I don't think I lost my accuracy in there, so let's get this in again. Okay. Almost to the starting points, undo, undo that. Undo that, get close. That's fine. Let's do for the lower parts. Maybe I increase the brush size a little bit more undo that, get this curate. Okay. Move to the side. Move to the side, undo that. All right. Let's get this in here I think I'm strolling, I'm strolling off. Let's do this again. Strolling off. N this to be close to the edge. Yeah, that's fine. That is fine. Let's do that again. That's fine. I think we can actually work with this. This we can work with. Okay? You can see some discrepancies around this part. So let's go to lower subdivision level for this. I think I would like to mark this out, bring everything back out for the mouse, go on subdivision level higher. We move brush. I think I like to buy this leave under the shoulder pattern. I like to buy this in here instead. I think it makes better sense to increase the blow size, actually buy all of this in here. Yeah, that makes better sense. I'm just going to go around and then bury it inside. All right. I need to do for the other side also too. Let's bury this in. You see it kind 24. 23 Facial Details Elevations In Zbrush: I Welcome back, guys, going to continue on this. I'd like to make a few corrections to this. So I'd like to adjust some of this a little bit more. So let's make sure on the head. So let's click on the head. Let's go to the s subdivision level. And I need to make some corrections and adjustments on the eye and on the lip and roughly on the jaw and you need a bit more. Okay? So let's go to our layers. Okay, I'm going to go over. Let's solo this out first. Okay. Let's see what we can adjust in here. First of all, the lip looks way too small. So I'm going to hide the lip now. Okay. Add the details for the lips. Yes, I think I'm going to let's hide all the pores for now. Any pores we have in there. I'm going to temporarily hide them. There's adjustments. I'll go over to I think I can leave the noise pause for now. Noise book. Let's hide the noise pose also. Then I'll just go over to asymmetry. I'll turn that on. Okay. I'll go to the lower subdivision level now. Let's go to lower subdivision level. Alright, I'll put this to the side. I think we t to go lower. I think the lowest subdivision level actually should be fine. Okay. So let's let the move brush. Zoom this out a little bit more. Making sure symmetry is turned on, I'll increase the brush size. Okay. I'll come in, increase the brush size a little bit more. Move that in. I just want to get a slight angle in there, ph in some more. Okay? I think I would like to extend the jaw out a little bit more. Okay. Let me do this from the side. On the back side instead, move this up out a little bit more. Now I want to make subtle changes to that and then you check that out again. So obviously, I noticed now that I did that way too much. So I'll do that a little bit more. Okay? I'm going to compensate for it somewhere around here. I usually brush a little bit more compensate for it somewhere around here. All right, this is fine. It's a bit more good now. Shift F. So now we need to work on the lip. Let me start with let me start by extending now this width of the lip. So I'll use the bros size. I'll extend the lip out some more. Okay? In ordering one side, it's going to affect the other side, so I just want to adjust it a little bit. Till this up some more. Let's get a neutral a neutral posed to him. Okay? Till this up. Yeah, something like this should be fine. Now, I'm going to go to our gizmo, I would say, like this. Blood is out some more invert the max and I like to extend. I like to max out and do that. I like to max out the nose. I want the nose to be affected in here. Blood is out some more. I'll lift the size of the lip a little bit more. Okay. Yeah, that seems fine. Invert the max. Okay. Get enclosed, use the brush size, move this up some more. Okay. Invite the max. Let's get this done as well. Zoom out, clear the max. Let's see. So now we have more like a fuller leap to him. Okay. Bring back the max. Move the max. Pull this out some more. Okay. Extend this down a little bit more. Go up, extend this out some more. Okay? Don't do that. Invite the Mx. Let's close this up. Invite the max. Bring this down some more. Okay. I think this should be fine. And compensate for it around there, bring this down, invite the max, bend this up. Yeah, I think this we can work with. And for the eye, I would like to leave the upper eyelid up some more. So I'll go over. Let's use the Max lasso instead. So use the Max Larso. Shifflet's see okay, yes, we have max in India already. So let's go to Gizmo, select this. Okay? Blow the mark some more, bring everything back out. You just need to open the eye a little bit more. I'm just going to leave this up some more. Okay. Think that should be fine. Now, let's go over to the miniscus. Okay. I'll max out the top parts. Symmetry turned on for this not clear that out, let's turn on symmetry again. Okay. Invert the mark. Blow the edge a bit more. Blow the max a bit more then put this back in. Okay, clear this out. He, this should be fine. Yeah, yeah, I think this is in a good place now. Yeah, this we can definitely work with. Okay. N label food, I feel like I should let me go back to the Ns label food, I think I'll need to bring this down a little bit more and bring it down some more. Okay, I think somewhere around there should be fine. All right. Just little adjustment should go a long way. All right. I'm just trying to give him more boxy facial kind of look. I think the lower lip, I think I might need to lower lip. I'll need to take it up a little just a little bit more. Reduce the bros size. I'll just move this up some more. Just a little should be fine. All right. Yeah, awesome. This is fine. This we can definitely work within a year. I'll do a quick save. Save this up. All right. Now on the foid, I'd like to give you a bit more age in swim. I'd like to sentus some of the details on the foid actually. So I'm increasing the subdivision level now. Increasing the subdivision level. Let's see what we can add in there. I think I need to make this a bit more tense. Let's get it a bit montense. So let's change this string dynamic to standard brush, ton of symmetry for this. Let's use the map cap gray instead. Okay, do that. I can you say increase the subdivision level some more? Let's increase the sublution level some more so we can get better resolution in there. Increase a little bit more. Okay. Let's go down sublution level. Okay. All right. So just to introduce a bit more depth in there. Okay? I don't know if I think I went overboard in there actually, so I'm going to undo that. I need to reduce the bros size, actually. I need to reduce the bros size. Okay. Let's do that again, reduce the blouse size. Come in close. Okay. Undo that. So I like to flesh it out some more. Let me use a standard brush instead. Want to add a bit more t in there. Okay. Add a bit more t as well. Zoom out. Let's see. I'll use the move brush and till this up a little bit more. Just basically trying to add a bit more character to him. Remove brush also as well. Turn off symmetry. I'll move this years back in, okay? Redem standard brush, reduce the intensity of the brush. We already have rinks on there already, so I'm not going to use the standard brush and then elevate that tone off symmetry. Reduce the brush size, add some smaller ones in between. Okay. Just to add a little bit of aging to him. See on the standard brush. I'm adding some breakups here and there now. That didn't turn out well, let me just smooth this down a little bit small. Okay. Get in her, reduce the bro size. Weduce the subdivision level actually. So on the lower subdivision level, we can do some extra work in there. Standard brush. Try to add a little bit more food in here. Take down the smooth intensity, smooth this down some more. Also we have shadow catching in there. The depth should add should give it a bit more depth in there so we have to catch better shadow in. Okay. All right, them stand out brush. Add the depth in the middle. Add the depth here as well. So this should kind of break things up some more. Okay? I don't need to look too regular. I shouldn't look too regular. Break up here and there should would go a long way. Then smooth that down. Okay. You should just be barely in there. All right. Smooth this down as well. Okay, I use the standard brush. Undo that. Let me reduce the intensity of the brush. Add a bit more lump in here, here as well. Okay. Blend that down. That's basically adding some more interest to the entire character, so it doesn't look too generic. Okay. I think I need to move this up as well, using more brush. Find a good angle for this, move this up some more. I think musically brush, build something on here. I think that's a bit weird. So undo that. Let's undo that. Okay. Instead, we blend smooth. All right, that's fine. So let's go back to the high subdivision level. Go back to the sublution level and turn on the let's turn on back the other layers we have in there. Talking about the subdivision level. I'd like to see how all of this plays out. I might need to I might need to tighten the detail a little bit. So let's use the paint brush. Let's use the paint brush. Tighten these details some more. Okay. All right. Come in there, go to lower solution level. I like to. Let's move some of the details out. Move more of the details out. I not too intense. Could the blows size. Okay? Like so it should be fine. A, let's go back to the subution level and the lesson on the other ley. I think this is fine for now. I think this we can actually work with. This we can work with, no doubt. One more subution level, and then we can bring back the other details. All right, so let's turn on the noise pause. Don it. Turn on the flip pose as well. Okay, I give you a moment to save. Okay, the others as well. I think this is come out quite nicely. Then the lip Okay, let's get inks. Yeah, this will work just fine. This except for one s though. I would like to accentuate the edge of the lip. Edge of the lip doesn't look like we have actual edge in there, so I'm going to, I need to go into asymmetry and record this again. Let's add some little bit more thickness for the outline of the lip. Some reduced bro size. Let's go. So I'm just going to add some more edge to the lip. Just to make it a little bit more edgy. Let's do this same for the top of the lip as well. Okay. Let's now. Now we'll get to the lip, which is fine. Alright, this will work just fine. We can definitely work with this. Okay. This is fine. Yeah, I work just fine. Worked just fine. So let's say you want to renders for this. Let's put this aside. Shift S, bring a copy out of this. So if you do render shiro render this have got out though. It's not going to render out the screenshots. Let's let's just see render for this. Let's see what All right. I think, as far as this goes, this is fine. This will work just fine. All right. So I'll see you guys in next lesson. Bye for now. 25. 24 Neckkerchief Base In Zbrush: Okay, come by, guys. So let's carry on, but there's still one tiny thing I would like to do, though. But this time of check it just feels like there's something else to do, so let's get that in. So I'm going to go to the lower subdivision level. More or less giving the lower subdivision level, go to the move brush. And I'm just going to average this out. Let's average out. Okay, go on sublution level higher. I go on subiviti level higher now, should begin to see this play out quite well. The tiny smooth, increase the sublution level again. Let's see if the shape hoods up yet. Hoods up quite nice now. Now for the forehead, let's go to lower sublution level as well. Go over to increase the brush size, actually. So with the move brush, I would like to get an expression in there, increase the br size a bit more. Okay. To till this down some more just to get an expression in there. Okay. Something more or less like so. Put this down some more. Okay. Yeah, something pretty like this. Get close. Move this up some more, till this down. Okay, let's increase to the higher subdivision level. Okay, I think we still have eyeglasses in there as well. Okay. Now we get good expression in there. That's fine. So let's ignore that for now now for now and then let's go to let's create an op symmetry for this. So Citron can figure out where I should create this from. I was actually thinking of doing it inside of Marvelous Designer and then bringing this in. I think that's actually a very, very good idea. So we can experiment with that or we can just fool on just create it inside inside of Zbrush instead. So I think let's let's just create it instead of Zbrush instead since we already here. So we need software of choice actually, let me just in Zbrush instead. So to do that, I will just need to let me move this to a different canvas. So let's copy this. I'll move it to a different canvas, let's open up this canvas in here, and I'll just pate that sub in. Okay, I'll select it. It's buried in a Let's hide this for now. Okay. This is it. So basically, what I need to do now will be to go in and then apenpen let me select this. Let me make this visible again. Then B. I'm in primitive. Let's use the Q cube, select the Qcube then go down under geometry Oh, there's nothing happening in here. Let's select this instead. Okay? Let's append instead. I think append better. No pass delete that Append. Yes. Less happen is fair. I'll hide this cube. Cylinder instead. Let delete it all together. Okay? Cylide is fair. Okay. Then let's go over to geometry. I believe under modified topology, let's mess from brush, okay? So this is what we have. Let's go to move brush. Let's do transparency. Okay. Were that inspirat select this. Squatg this to begin with. Okay now see down here, squirtg this here as well. Okay, I'll do duplicate of that. I spoke with one at the top. Let me zum this out a little bit more so I can actually get a good view on it. Okay. Yeah, I think this should be fine. So let me extend this a little bit more. Set next I need to do Let's do poly group for this. Let's do group by normal. Okay. Unless delete the part we don't need so Control Shift click. Let's make sure that beside is turned on. Okay. Yes, this is everything we need. I'm going to do delete ding. So let's do modified topology delete ding. Do we have these es it is? Okay. So if I actually subdivide this now. All right. Here, this will work just fine, subdivide this again. I pull this down, down here, swell down here. So now just think you cannot get it in place. Let's let me start by shrinking it down this way. Okay? So I'm going to go in. Let's do delete lower. So for this, I'm going to use the bend curve. I would like to increase the resolution, slate it to, shrink it in some more. Okay. Let's use our gizmo and then push it in place. Yeah, it should be around there. Okay. Let's go back to the bend curve. Slet it. Okay. I would sit a little bit this way. C a little bit this way. Add a little bit of twist to it. Okay? Select this as well. Add a little bit of twist to it as well. His will just give it basically trying to simulate something that looks like fabric in there. I think we can work with this. Then I'm going to accept it. Become the gear icon accept. Okay. So now, it's just a matter of using your move brush now to carefully move it in place. Okay, this is the front facing. Rotate it this way. All right. Get in there, I'm begin to move it in place. So I'm going to do this just before adding sickness to it. I need to make sure I have this position properly where it needs to be first before the smooth before adding sickness to it. All right. Move this in, increase the brush size, move this in some more in some more. All of this we still need to move some more. So let me just grab still on the max last I'll grab this via the max. Look at this. Look at this the front. This is the front. This is the side. Move this this way. Move clad mats. Move this this way out some more. Let's get in there. Okay, G or close, reduce the brow size. I will need to move this down. Alright. I think as far as this goes, we can work with this. Here, I think it is about time we had tick ness to it and move this close and do that. We still have groups in there, so let me clear this out. Let me kind of separate them into distinctive groups. Let me select this to begin with. And I'm going to get close, grab all of this. Give us a different poly group. Undo that, undo that. Select this portion control, better now. It's a bit cleaner now. Okay? And I'm going to select this and this same ply group, invite selection, same ply group. This is fine now. So now we can just quite easily select them as we need to. So if I go to A gizmo, I'll max this part out. Blow the mark. Now I can just move this closer. Okay? All right. This is fine. I'm going to do the duplicate of this. So let's duplicate this. Let's work with what's at the top. I would like to before I subdivide this, let me polish this. I'm going to max out the top part a little bit. Blood is out. There's a polish. Just to clean things up a little bit more, okay? Now, let's add thickness for this. Let's add some thickness for it. You still have rotation, which is fine. Less add thickness for this, let's go to dynamic sub div ton it tone. Take down the smooth, add thickness to it. I think we need some more thickness. Okay. I'm going to add one segment in. I think something pretty much like so should be fine. We click Apply and subdivide, Okay Let me shift F. The As are now kind of smoothed out, so undo that. Let's put this to one, apply. We subdivide now. Undo that. I think the thickness is way too much. I think this should be fine. Apply, subdivide. Okay, I think this would actually work. And we can go in and then do inflates. Let's inflate balloon. Okay, just to add this that's bit too much. I think somewhere around there should be fine. Okay. Soon this part down. Okay? I think we need to go back to lower subdivision level. Let's grab the two and this edge as well. Give the same polygroup inverts, same poly grouping everything back out. So we can just quite easily select them if we need to. Okay. Let's select this blow the max. Not supposed to be able to move one of the back bots. On to clear the marks. Okay? Yeah, perfect now. Bring it closer. Blow the marks just once. Okay. Let's clear this out. I'm going to max out the top parts. Let's make it a bit tighter around there. We're going to add a notes in there. So let's kind of bring them in some more, do some smooth. Okay. So I'm going to select this let's add something pretty much like this around here, extend it out some more. Invite the max, do something similar here as well. Okay. Let's see who is up, bring it closer. Bring it closer to themselves. Okay. We don't need to kind of make it completely identical to the reference, just make it look good. I think that's way to bring this down. Clear. Okay, so I'm going to use this, so I'm going to do let's move Dt lower. Let me make a duplicate of this first, so I'll duplicate this. So let's use this now I'm going to dig it lower. Okay. So now we need to kind of grab a note from this. Use more brush, move this, extend this out some more. Okay? Moon this down. All right? That is fine. Well, I'm not even sure of the lens yet, but that's fine. That's fine. What's going to do saco back to that. Now let's create a note for this. So to create that note, I'm just going to I'll just go and create see basically going to use a cylinder, so B I L just use a cylinder. I'm just going to drag a cylinder in here, like so, let's get the orientation right down shift, snap this wrong place. Snap it this way, like so. And let's split this. Let's get it splitted. So let's go to sub two and then split the marks points, select it. Bring this down. Let's get roughly the height for it. Just getting close. Sharing this down. Okay, roughly there. I think roughly in here should be fine. We'll take these little bits. Pull the back some more. Okay, so shift F. So we need to delete what we don't need. So let's go over to polyp group a normal. We don't need this and we don't need this. Okay. Let me do duplicates. Slide one at the top, unless the delete dent. So I'm going to do delete dent. So modified topology deletes dent. So this is what we need. So now let's make sure side, it's turned on already. So it's just a matter of modifying moving things in place. But let me kind of grab these mark, give it a poly group, so we know we kind of deduce a bit more properly. So in case we want kind of separate the poly group, we can at least have them separated and then modify them properly. Okay? Okay. I think this should be fine. Bring them closer. All right. Shift F. Yeah, I think this we can definitely work within here. Go underneath it, bring it closer. Okay, pull this out. Let me see if I can I should be able to shrink this. Let's do some polish to shrink it. So polish by group, polish by group. Turn of the dots polish by group, pol by group. So that one actually helps you push it inside some more. Okay. So do need to pull it out where it needs to come out. Though it's kind of taking into account the ply group we have in there. We're going to smooth that out in a bit, let's just get this in first. Then we'll use the normal polish. This one I don't like this polish because it kind of shrinks the entire outin down. Shriks entire outin down. So let's do relax instead. Okay, I think we're close enough. Just the brush size. Just a matter of just being careful with seats, checking these from all angles, smaller brush and then just kind of get them a bit closer. Okay. Get in there. All right. Get in there as well. Put this down. Okay, I think I think we should be fine at this point, except I would like to extend it out some more. Okay. So now let's add some thickness to this so. Let's just do dynamic sub div solo this out. This is way too thick. I think we can work with this. Okay, I would apply this subdivide. Then I'll just do a polish for this. I'll polish this out just to smooth out the edge. So this will work just fine. Okay. So the we need to do now just to add some fool details in, and then we should be good. Extend this down some more. Feel like extend it down some more. Should cover more parts. Okay. I think I would like to duplicate this. Let me delete delete are, hold down Control, duplicate this. Let's see what we can do in here with these duplicates. Okay. By this in out. By the top part in. By this in in as well. Invert the max, pull this out some more. So let's have two of this in there. I mean, it's odd to have two of this in there. I think this will work just fine. Okay. Alright, so I'm going to clear this out, so we need to kind of merge them together so we can start sculpting detail in there. So I'm going to select the top one. I'm not going to merge it down, so let's do a merge down, so merge down. So I will love this merge there's not single piece now. Okay? Yeah, this will work just fine. So we still have our poly groups in there, too, so this is fine. Okay. Grab invert this. Okay, better still, let me just select these two. Then we'll do auto grouping here instead. Auto grouping here. Okay? This is fine. All right, pull it out some more. Pull out some more. Oh, I think it needs to even go closer. I think somewhere around there should be fine. Okay. So now we can bring it where it needs to be. So let's just copy this up too, so I'll copy this up too. Let's go to the original file, paste this in here. Okay, obviously, we need to make quite a lot of corrections in here, actually, so Let's your correction sold this out first to begin with. So what I need to do now will be to max out the top Let's mark out the top parts, invading marks blow, invading max hing this. Okay? Bring everything back out. I think we should be getting roughly around the size we need. Okay. I'm going to so this out again and max out these bits. So I just need to get the proportions right. Also I get the proportions right and then we can move on from there, load the marks. Okay. I think I think I went a little overboard. Blood is so more. Let's pull it out a bit more. Okay. All right. I think we still need to do a bit of a little bit of pulling down here as well, get close. Okay. The front partner will just manually push this down in. Now I can shring this in as well. Play the marks. Put this back in. I'll select these two actually marks them out, invert the marks, shrink them some more, use the more brush and then compensate for it. They're looking actually way too big. Okay, invert the max put this in, do some smooth. Smote as well. Smote as well. All right. Christa obviously seems like he's tilting towards a particular direction. So let's get that tilt in there. I'm just going to mark around here inverting max, blow this out some more. I'll bend this this way. Okay. You can extend it out a little bit more. Yeah, I think we can work with this This we can work with. Let's push it a bit closer to the garments instead. Okay, since Can is here, we need to actually fix. Not this actually. Let me just mark this inding mark. Okay? We will just push this inward. Okay? I'll just smooth this down, down some more. Just trying to get some nice finss in there, get something clean enough before we start doing sculpting details in Ivding mark. Get in some more, reduce the bros size, pull this out. Let me kind of sold this actually, so I can do this without so more distractions. Okay. I think we can work with this. All right. Smooth this down. Let's bring everything back out. I think this is fine. So next lesson now, I think we need to extend. I'll need to extend extend this out some more. Should be quite bigger than it is right now. Okay, invert the max. Let's select the one at the back. Okay, I will extend it out. Okay. I think we can work with this. I think that's down way too much. Undo that. I think it should be fine. Let's just make it slightly visible on the opposite side. Okay. Make this visiblawyT is fine. So I think we have this now in the right place. So the next thing I'm going to do would be to, let's see. Next thing I want to do just kind of scope the details in fold detail. I think I need to get this out of the I think I put this way too much. Pull out. It should be fine. So next lesson what I was going to go in and then scopes, fold the details in there. I'll see you guys in the next lesson. Bye for now. 26. 26 Neck Collar In Zbrush: Welcome back, guys. So previously assume we kind of finalized on the neckerchief. So let's work on creating this extra color piece. Okay? So that's what we're going to be working on. So let's get to it. So there are a few ways to do this. I'm going to use, like, a clinda just to create the shape, and then we should be good. Okay, so I'm going to temporarily hide the garment for now. Okay. And I'm going to append a let's append a cylinder. Okay? Yeah, I think this will work just fine. So I just need to go over to let's go to polygroupGroup by normal. I don't need this. I don't need this. Let's make sure do sd is turned on. Okay. And I'm going to do a delete agent. Let's do delete agent for this. No, we don't really necessarily have to do this across the entire neck. We don't need to do it where it needs to be since Oh, actually goes across, okay? That actually goes across. Looking for the best possible way to do this. Let's do delete den first. Delete ding delete ding Modified topology, delete Eden, right? Okay, so basically what I'm going to do here is I'm going to split this enough. I split this enough. So grab. Let me grab all of this. To do this properly. Okay, gout a separate poly group. Oh, better still better still, we can I won't do that. I can just select these midpoints. Select this at the back. Give this a separate poly group. D deletes den. All right. Let me squash this down. Just roughly get it where it needs to be. Okay. So you just need to properly align this on the neck. Stand this out some more. So now we need to use the move brush to begin to move things in place. A now I'd like to do would be to select the one half, give it a separate poly group. Let me solute, this is fine. So I know where that is, then I can just begin to kind of get it in place. Move this and do that. Donnel symmetry. Move this down. Bring the closer to the skin. Okay. So that roughly trying to get this way it needs to be. Okay. I think I'll need to bring this closer this way. Alright oh You know, just a matter of pushing and pulling things in place name ton of symmetry for now. Okay. Invert the max. Let's start with this. This should go in. You should go inwards. W this down. Getting close. Bring this down. Okay. Let me bro invert the max. Move this in. I think I'm supposed to move all of it back some more, but let's just let me just roughly get it in place. Okay. Then I'm going to use deformation. If I do polish, let's see. Polish was a bit strong. Let's do polish by group instead. I think that makes polish by group is a better one. Tal symmetry let's get this out again. Okay. I think at this point, I need to bring out the fabric, but before I do that I would like to do some more work in here. Turn off symmetry, push this in some more in some more in some more. We have not a thickness yet, so we just need to get the shape properly in there first. Okay? Let me just max these bits. I use the Gizmo. Bend this in. Okay. Clear this out. Polish by a group, some more. I'll bring this neck closer. Bring it closer. A Okay. Let's bring back the garments. Let's bring back the rope so you can properly get the shape in there. Okay. I see that I need to bring the entire out down some more. So it's initially way too high. So you need to kind of bury this down some more. But I think we have this perfectly where it needs to be. Okay, maybe a little bit of adjustment won't go out miss. Okay. Tono symmetry brings more of this out some more. Okay, let's see what we gets. Okay. I think we can work with this. Yeah, I think we can add sickness now to it. So let's hide the Rube game for now. Okay, see some corrections you need to make in here, bring these out. Okay. I'm not really worried too much about inward parts because it's not going to be visible. I just need something that would be good enough to work with Okay. Let's check the back. Open issues at the back, no issues at the back. All right, so we can duplicate this now. Don duplicate of it. Let's so this. Need to do some adjustments to this. Need to push this in. Okay. Okay. So let's see what we can do. So let's polish this. Let's polish this some more polish by group. Put this in some more. Okay? That is fine. Let's add thickness to it. So let's do dynamic sub D take down the smooth. For I need a good amount of thickness for it. Let's add one segment in. Shift F. Let's see what we get. I think this is a good one. We can work with this. I think we need to pull some of these down some more Okay, Let me apply this first, subdivide, let's see what we get. I think we need some more thickness. Apply, we subdivide this. Yes, I think this should work just fine. Okay? If we divide this some more, we get something smooth now. Awesome. So for this, I don't think I need to do any extra working here. I think this will work just fine for what we need it for. Let's just see where we can adjust in to make it a little bit better. For the most part, I think this is just fine. Okay, we extend this down some more. All right. Let's see. Maybe we can even elevate it up a little bit more. Let's get this elevated up some more just to make it a little bit more visible. Okay. Get it back in some more. Alright. Yeah, I think I think we can live with this. Okay, minor corrections now just to make it feel a little bit better. Um. Okay, perfect too. I think we can work with this. Let's just subdivide this one more and then we should be getting quite clean edges in there. All right. That is fine. This we can work with. Okay. Yeah, this is fine. This is fine. I don't think there's anything else you need to do India as far as this goes. Yes. All right. Okay? So thinking next lesson, we can start arranging this for UV unwrapping. Yeah, at least any bits in here we need to UVon wrap, we can start preparing those now. Turn of symmetry in here. Move this up some more. Okay. Just making additional corrections to this. Just basically trying to create an angle to this. Okay. All right. Not to make any major difference, though. Let's just get something in. Okay. So, that's fine. So next lesson I'm just going to start arranging all of these for exports. Okay, so oh, yeah, I think, there's something I like to do here, though. Let's use the Dame standard brooch and create some depth in. Let me just subdivide this one more. Not that it to make any major difference, though. To make any major difference in bots M. I'm not exactly sure if I need to do this, though. Not sure I need. I necessarily need to do this. There's no need. I think if I'm supposed to add anything in there, I think we can just safely do that inside of Substance Painter instead. I think that would be better way to go. Alright, so I'll see you guys in next lesson. Bye for now. 27. 27 Posing In Zbrush: Welcome back, guys, we're still on this. So there are a few corrections I would like to make, and then we can start kind of pause this can see how I kind of tivity or is it upward a little bit. So I'll need to pause this. Then spot it out for UviN wrapping. So let's make some corrections to this. Most of this is not going to be visible, though, but let me just correct that as much as I can. Okay. I think we can do this symmetry toned on, I believe. Better mtonosymmetry. So I just basically need to get this out. Okay. Though it's not going to be visible on our final renders though, but let's just get something in there. Let's make sure it's working correctly also. Okay. Bring this down. It's going to make sure I wrap this around a bit properly. And I'll do some smooth all too. Move this up. Okay. I think we can work with this. All right. Yeah, I think that should be fine. Okay, I think we have all of this in place. Yeah, I think this will actually work. Now let's just pause this. I'll pull this to the side. Now to pose this, we need to go over to zip login. But we need to pose everything that's visible. Let's turn on. Everything that needs to be visible. Let's make it turn it on. Don't need this anymore. I'm going to shoot this up, down shift send this all the way up. Okay? I think this should be fine. Yeah, this will work just fine. So now, let's go over to Zip plugin. Then transpose Master. Okay. So now I'm going let's make sure we turn on layers because anything I pose in here, I want them to be applied on a particular layer. So I don't want to be affected without it being in a layer, so we can work in a non destructive fashion. So I'll click on C pose. So it's going to get all of this to our lowest subdivision level and then bring that to our lowest subdivision level, and then we can now pose this. Let me just give this a moment, kind of go down to the lowest subdivision level for everything and then to come back. Oh, so we have a low resolution mesh to actually work with. Okay, so that's kind of drop all of our mesh now in to kind of melge them together and put them in a new canvas. I think the origin now should be around somewhere. I'm not sure if this most likely guessing Probably this though. Yeah, that's the one. So anyway, let's carry on Shift F. So FT nice the lower subdivision level, which is fine. So we just need to tilt this head up a little bit more. So to do that, I'm just going to I think we can hide this. Okay? This is basically everything we need. So let's make sure we in the Max lasso because we're going to business. We need the last lasso for this. So Max lasso, so, come on. So let's just mark so the region we need for this. Can go around there. Bring everything back out, blow this out some more invert the marks. Blow this out some more. Okay. So I have everything in there selected, and I'm just going to let me find the angle first. Let's find the angle. You don't want to do this too much, though. Let's see. Let's do a little bit more. No, that's a bit too extreme. Is the original and then let's move it up a little bit more. Okay. Let's find that angle again. Yes, I think this is it. So the angle should be somewhere roughly around here. Okay. Yeah, I think this would actually work. Okay. So I'm going to scroll back down to where it was before. This is why I'm doing this is because I would like to I would like to save out the defaults. If I select that pose again, I can use save tipos. So this is going to be like our default pose. So this will be the original pose. Let's go and then create a new folder. Let me just name this to T pose. So let's open that up. And I'm going to rename this to default C pos, it does fine. Then I'm going to scrub back to the pose we have. Then I'm going to save this again, so I got zip lug in C pose. Save this again. I'm going to rename this to head C Pose. I'll save this. Does fine. So now we go back to zip login, then we can now send this over. So in here now, we can send this over. So we'll just use transfer T pose to swap too. So let's just select that. So once you select that now, it's going to go around and then transfer pose over. So he's still doing his things. Let's just give you some moments. So you give you a moment, it's going to run through and then transfer pose. Just click Okay in there. Still no don't see transferring. You can see over here is kind of walking out out and then transferring our subdivision level details back in. Okay? Now it's done, it's going to pop up a message to tell you it's actually done. But for now, it's still transferring. Okay. I believe we should be almost done now. The moment and it should be done. I want you guys to actually see the process that's why I don't want to skip the CSS done now, so it just took a minute. So we should go to the head now, select the head, then we go over to layers. You can see this new layer now in therefor turn that off. It's going to send that pose back to the default. You can see there's a default pose. This is a new pose we have now. Okay. So yeah, so that's pretty much it. So I'm going to save my file again. Then we can now start the exportation process by sporting a lot of this into a new document and then prepare them for texturing. So I'll see you guys in next lesson. Bye for now. 28. 28 Half Close Eyes Pose in Zbrush: Welcome back guys. So I think I do something in here, and this is from now reference. Amin character kind of has kind of almost like a short hide to him. So let's kind of get that also into our sculpt. So I'm going to select the head. I would go to the highest subdivision level first. Then I think I will create a new layer for that. I would like to put that on a new layer. So this selected yet. So I'm selecting the head now, head selected now. Okay, so let's go over to layers. We just need to close the upper eyelid a little bit more. So layers. I'll create a new layer. Okay, and I'll scroll down. I'll name this layer, close I let me use all cups for this. This cups for this close. Not sure I spelled that correctly. Okay, that's fine. I'll go to the lowest subdivision level for it. I need to do this on the lowest subdivision level, so Shift F. Let's grab the up parts of the eye. Then we move brush, I think we can do with symmetry tone on. Let's blo this a little bit small. Okay. Blow side some more. I would like to exclude I think I wasting the marks last. So let me exclude these bits. Undo that. Let me do something a bit more proper in there. Okay, like so blow the mark some more Scret some short to him. But I don't do it too much, though. No, no, that looks rather odd. It looks rather odd. I think we did it a bit too much. Okay. I think I'll come in close. I'll just tighten this a little bit more. Alright, I think I can turn up symmetry for this as well. Let's push this in some more Tonal symmetry, bring this closer to the eye. Let's see where we get. Clear this out. Let's increase the subdivision level now. Let's see. Okay. Yeah, I think this will work just fine. Yeah, this will work just fine. So now we can start exporting out the mesh and then doing some bigs for it. Okay. So now I'm going to let's go to lower subdivision level. I would like to be like on subdivision level two. Okay? So I'm going to be exporting milo from subdivision level two instead. Let me also save this file. Let's save. Okay. So also, there's one other thing I did. For this metal piece on the neck, putting the handkerchief on the neck or neckerchief, whatever word you prefer to use, I kind of added more subdivision level to it. So nothing too fancy let's add a little bit more subdivision level to it just to make it smoother. Something going to show you guys though so you get see it will be on the same page. But at this point now, I think it's time to begin to export. Also to let's open up a new Maya file. Opening up a new my i fi cause I'm not going to be using that previous one we used just to bring in the garments and then block out the eyeglasses. I'm not going to use that anymore. I'm going to use a fresh document. So let's use a fresh document instead. Okay? So as I was saying, let me turn this off. This piece, the metal piece, added some more neck pendants, added some more sublution level to it. So all the way to subltion level five, so we have a 231 k. I just to get something smooth out of it. Something smooth so we can actually make no more maps out of it. But as far as this goes, I think all of this should working just fine. So I'll go to my preferences under important exports, I will turn off group turn on smooth. Okay? So I think let's follow the Iraqi in here actually. Let's follow the harchi in here. So starting from the Iris, I'm going to start exporting that out. So the Iris, there are no subition labels in there, so that's fine. So let's export this out. I'll go over to doctor Khan to Z Exports, open that up. Let's start with the Iris, export the Iris. Let's go to the main character now. So this area on subduction level two, which is at 49 K. I'm going to exports. Go back to the same documents. Okay, Exports. We're going to replace the one that's actually in the outer eye exports. Go to Export export that out. I exporting this out because I kind of posed it I've posed it already, so we need to export the posed version out instead. Alright. So I'm going to do on Exports. I'm exporting out the miniscus now. Let's put this out. Okay. Next one, eyeglasses, eyed subution levels in there, so this is fine. What do I need to be? Let me get inclusive. I need to increase the sublution level for this. Glass increase subltion level Let Definitely not. I'm not messing that up. I think at this sublution level, it should be fine. 29. 29 Export Mesh For Uv Unwrapping In Maya: Come back guys. So in the previous lesson, we kind of started spotting things out and the immediately two pose on the eye. I kind of noticed something a little issue with the eyeglasses, so I would like to fix that. So let's make it duplicate of the eyeglass first. Let's make it duplicate of that. Okay? So let's work on duplicate. So if I should go in, make sure I turn on double sided for this, display double sided turn on. If I go in and then select this now, you can see, you can see two edges to it, which I don't actually need. Let's work on it as an individual piece. I'm going to do a split ding. Then in here, I'm going to do auto group in here. They will need different piece. We don't need different invert the max, invert the selection, then let's do delete ding. Modified topology, delete ding. Can be executed because as layer, the layers in there. Let's just do big. Then we can do that again. Okay. So go back to geometry modified topology, delete Eden. Okay? So this is fine. So I'm going to now I can just add an edge loop to this because it's going to be bi too weird. So I would like to zemage this first to begin with. Let's merge this. So I'll go to ZimrserTto adaptive eve groups. It edge, take down the smooth. Then let's just do a Z rematch for it, okay? Let's go, put out selects, put out select again. Let me make sure. Once actually see the polycun we have in there. Let's go out one more. Here, I think this should be fine. Should be Let's do Alpha more again. Okay. I think this should work. Okay. Here, this will actually work. This is low enough. So I'm going to add thickness to it. Let's add thickness to this, so I'll go over to dynamic subdiv, there's dynamic sub div dynamic take down the smooth. Let's add thickness to it. I think we need a little bit more. That's way too much. Let's see what we have. Okay. Let's go to our Gizmo Center, the Gizmo hold out center. Gizmo move this in. So more I think we need to even mirror this to the opposite sides. Let's even mirror this to the opposite sides, so M fact topology mirror weld. I this even mirroring at all? In symmetry. This is not. It does not look like it's mirroring. Let me up it a little bit. Let me select this part ControW with a separate poly group, deleteden mirror weld. You can see this mirror now. It seems like they're not perfectly in the same place. But that's fine. Let's scale it out more, a little bit more. It's only scaled out perfectly in the right position. I believe it is check the side, scale it out some more. Okay. Now I'm going to mark the other parts. Invite the max center the senior let's just move this in place, and we should be good. Some more. Okay. I think we need to push this in some more. It down some more. Let's do transparency so we can actually can actually see this bit properly. So it's roughly in place now. All right. This we can work with. Maybe we're going solo it out again. Let's solo this out, clear the marks. And then I applied this I've not applied this yet, so let's add some segments in the segments and apply this then divide Okay. Now let's see if this is actually in place also. Let's do transparency. Let's see if it's still in the way it needs to be. This one is kind of a little bit out, so we need to push that back in. This one seems to be sitting in perfectly. Okay. So I will need to max this center, invite max center the Gizmo. Come in close, move this in some more. Down a little bit more. Okay. I think this is perfect now. All right. I think this will work just fine. So now let's just delete slower. Then go over and then merge this down. So I just need to merge that down F select this now, I think. Let's merge this down. I go to merge down. Okay? So you are both in the same place now. So this will work just fine. So this now we can actually spot as our eyeglass Okay, so let's export this out as the main eyeglass. Before that, let's subdivide this a little bit more. So you can get something quite smooth, then go to the lowest subdivision level. Let's now export this out. Okay? Exports eyeglass, save this. Oh, I think I need to go back to my preferences and set this up properly again exports. Now let's export this out. Okay. Then we'll just replace. Yeah, that is fine. Then you saw down at the top. I'm not going to shoot this up down shift, and I'll shoot that up, since we don't need that anymore. Now let's come down to the neck pendants. Go to the lower subdivision level. Maybe not too low, actually. Let's go on subution level higher. Three k should be fine. Three k should be fine. So add a subdution level in there just to get something smooth to big with. So over to yes, Export that out. Let's go to the next piece. Oh, it's supposed to name this. So let me name this to neckerchief. So there's a better naming convention for it. Okay. So let's get this to deliver subdivision level. Stick, actually, let's go on subdivision level her 14 K should be fine. I'm trying to get as good as good enough quality as possible for this. Export that out. Now for the robe. I think we need to name this also, too. Well, let's go lower sublution level for the robe. Is 19 k good enough? Let's go on sublution level higher. I mean, why not? You can actually handle this cause not too much going on in here, so let's export this out. You have to expose set in India now. I'll save this. So I just I need to rename this. Let me rename this to inner color. Inner, let's just do neck color instead. Neck color. Yeah, I think that's a good one. Let's go to lower subdivision level. I think Fok should work just fine. So let's export this at Fok resolution. Neck, color, that is fine. Export that out. I think it work just fine now. So let me save this file. Save this file, then we'll go over to the new Maya file we created and then just import them in. And then the next lesson, we can just get into, we can study v wrapping at least study von wrapping in there. I'll see Let's go allow this save out and then we'll come back when this is done saving. Okay, it's done saving. So let's go over to a new Maya fire. I'll start by saving this. Let me save this I think let's copy the five parts. Place the five parts in there. I think we just put me in here mean in front. I'll see if that's, that's fine. Now let's go in and import. Let me put this aside. We can import all of this in here now. So let me just select all the OBGFles drag and drop the OBGfle in here. Okay? I think it's done inputs in. Fantastic. That is just great. Now, yes, in Zbrush, we have this issue where sometimes when you export something out correctly, it tends to it just tends to flip itself in a very weird and pretty much annoying way. So we have the head now flips. Let's see if there's any in that actually flips in. Let me hide this. I think the eyeball it also kind of flips the eyeball too. The eyeball is flipped. So we need to re export out the head, miniscus and eye and the outer eye. So let's go back in. Let me delete this actually, delete them. I don't want to go through the trouble of beginning to rotate them. There's going to be a whole lot of fish in putting them back in. So let's go back to the head. Export this out again. If it doesn't work, then we make corrections to it from the export settings. Okay. Then let's go up. Export the iris as well. Export the eyes as well. Export the outer eye. So there's something that happens within zebras. Most like definitely a bug because we have this exported out correctly as it should be, and then we're getting these flips from some unexplained reason. So let's go back to Maya and then let's import them in again, let me start with the head. Okay. You can see how it has imported you now correctly. So just the bug. So closing and opening your softight just fix the issue for us. So let's eye risk, minusculs and outer eye. Hopefully, those are in place also. Let me hide this for now. Those are actually in place. So once we've taken note of the camera angle is a bit old. So let's fix that setting this 285 millimeter lens. Okay. Let's make the robe visible. All right. So we have this imported incorrectly now. So we can begin the v wrapping process now. Let me start by adjusting the name because we have really weird naming convention in here. Okay. Did any additional naming in there that we don't need. Because Zbrush has this issue of bringing in some weird naming in. Let me just clean that up a little. Okay, last one. I'll save this. All right. Select this. Let's give it a different material. Let's just give this blind material and those darken into a little bit more should be good. All right. I think we have everything import heading correctly as we should have them. So let's start the UV wrapping. Let me start with the Rube. So I'll go over to UV Editing. Okay, open crates, cards and food. Open the arrange and layout. There's one thing I'd like to show you guys do before move on. Is my set up in here. Was that layout layouts. Supposed to have something like layouts in here. Where is our layout sets. Let's do UV editor. Okay? UV, it's not actually. It's not in here. It's not in here, so I think we need to come down here and then double click on this. To bring out the sets. I want to bring out the settings. It's even wrapping on his own radio. Certain we need to find in years. Let's go over to modify layout. So set I was looking for. So let's use the same setting up here. So the same messes unfold, fk resolution, then Shell pading should be on 20 pixel, type pading ten pixels. And then we should be good. That's pretty much it. So I'll close this. Now, looking at this, I think if I remember correctly, I think this is the UV that came with I came from New Marvelous Designer, I believe, yes. So let's see if it's something we can actually use. So let's do check a pattern. Let's look like something we can actually use. So if I do, let's come in. Let's do shell padding. So if I come to UV, let's do UV shell. This is the first shell. Okay, we have the second shell in there. Okay. Yeah, this will actually work just fine. We don't need to do any extra working here. So if you have this, it will work absolutely just fine. So that's a bonus for us. So now let's move to the eyeglasses instead. Don't know UV is in there, so let's isolate it control on tow. Come on. Let's isolate Let's isolate the eyeglasses. And let's create some UVs for this. So let's start with camera Bs. Turn off the checker pattern in there. So do it piece by piece. I'll select these two. I think we can always do this all at once, yes, I believe we can. So let's go to the edge. Let's find a good edge. I think this edge should be fine. I'll click on this edge. This edge cannot go around. That edge should actually go around. Let's use this instead. Do the same for the opposite side. Get close. Lo click on this edge, do Cats. Okay. I shouldn't be too much of an issue to actually unwrap this because we have loops going across this that can actually help. Sley that edge loop with coats as well. Okay. Yeah, that should be fine. Okay. We can do Let's see let's see if we need to do. Now for this, double click. Double click, let's isolate this. So that's going to add the loop from the top. Yeah, as well, do a cuts. So let's go in, select the entire outne. Let's done on fold. Let's see what we have. Okay, so it's unfolding down yet, so let me just give you a moment. Unfold. Okay, so we have this now separated out. Yeah, I mean, there's definitely a few things we need to do in here, no doubt. But let's first select all of this. Let's do layer. Let's have them in one space. Then we can now go in and then do some additional work in here. So this we need to work on some more. Yeah, I figured we need to do some more work in on this. Okay? So let's get that work in. Let's see where else we can add some additional loop codes to this. Let's do it cuts around here. Okay, as well, the cuts select these three. Let's done a food. Okay. Let me move this out. I'm not entirely sure where this is coming from. Okay. That's where that's coming from. Let's on food that as well. Alright. Yeah, I think I think this is in a good place now. So, select that. Let's select the entire out now. Before, select the entire outin let's do an Orien first to begin with. Okay, Orians select all of this now, and then let's go over to layout. So they should should arrange itself now properly, based on textile density in there. Okay. It's completely glass. Soda piece is completely just glass material. Then we have the glass sheet in there. Okay. Okay, this is fine. This we can work within. So if we do checker pattern, let's bring everything back out. I will check a pattern. I think this is working just fine. I work just fine for what we need it for. Okay. So let's do a quick sieve. The other as vida already, so we won't need to do anymore work in there. All we need to do just be the normal map out. That's fine. So next let's see, we're going to carry on and then, I think we can do let's do the Let's do the neck and next won't be too much of an issue to actually do. Okay? Let's start by selecting the entire outing. Let's do camera base. Okay. Edge mode. We just need to select an edge. This egg should be just fine. I believe that egg goes across the entire aten. Yes, it does raise the cuts. Select all of this unfold. Okay, orients. I think let's get them fits in this way instead orient again. Okay. So it's laid out properly. Let's do a checker pattern. Let's see. Yeah, this will work just fine. This will work just fine. We don't need to do any extra working there. Okay? So in next lesson, we're going to carry on and then continue to if you wrapping for the mesh. I'll see you guys in next lesson. Bye for now. 30. 30 Uv Unwrapping In Maya: Welcome, bad guys. Previous lesson, we started working on the UVs for this piece. So we've completed UVs for this. Let's go to the next one using neck pendants. So let's isolate that getting close, Let's just do camera base to begin with. This one shouldn't be too much of an issue though. Let's see front facing. Yes, let's go to the back. I'm going to add upgrade the UV around the back parts. I don't want the UV seems to be visible. Though this is going to be a meta piece, and then we can also do trpena mapping on it. So it shouldn't be too much of an issue, but at the same time, we still need to hide UVs quite well. Okay, so I'll do codes. That is fine. Okay? Do a click on this. Trying to add a UVs. I think it is properly ding the codes. Okay? Select all of this. Let's do an unfold Oriens. Let's do a layout for this. So perfect all good. It will work just fine. Probably we can just maybe orient this a little bit more in this fashion. Maybe I might just add some kind of ornament design in there. But let's just arrange this this way. Okay. Arrange it this way as well. Select all of this again, another layout. All right, that should be fine. Also probably I'll just select all of this, scale them out just a little bit more a little bit more shouldn't should be fine. Okay, so let's go to the next piece. I totally also need to be hiding what I've actually done what riven wrapped. So we can just work on what we have not unwrapped yet. The rest of these are already von wrapped, so we need to unwrap them again. Since the miniscus vs in there's no UVs for miniscus. Anyways, I want to add that later on. So let's just work on the neckerchief first. So let's do camera based. Okay. Let's isolate it. All right. Let me start with the inner parts. Isolate these inward parts. Let's look for where we can add our UVSM you can UV extra units here. Let's see what that gives us. But I like to do it in a way where it does not completely go across. It doesn't completely go across. So to do that, I will need to kind of do this in a more more manual more like a manual way instead. So basically, I will need to, let's see this set should be fine. We can either sim then I'll just do I'll do something pretty much like selecting I select this control, go all the way. Okay? This comes across this way. Okay, I'll deselect dn Control. Double click. Can the select that way? I do cuts, okay? I'll select it, pull it out out on fold. So, it's pretty much what I want. It is pretty much what I want. There's something pretty much like, so I on orients. Select and orients, okay? That should be fine. Let's go out of isolates, select these two, isolate them. For this, we can just quite easily add the same at the back because it's not gonna be visible. So let me add it somewhere around there. Here as well. Then add one here. Okay? For the one at the top, I think we can, we can still hide this in here or get in quite close. Add one here. Am I right do that? I want to be sure if I'm aging this correctly where it needs to be. Oh, we can easily Let me undo that lower one. Undo this lower. I can just quite easily add it inside instead. Yes. Inside should be just fine. Inside should be fine. The cuts selects unfold. Okay, select these two orients. Select this. Let's go to transform. Let's do 90 degrees. Select all of those. Okay. Perfect. This will work just fine. Let's UV checker pattern. Let's see. Yeah, I think, this will work just fine. This will work just fine for what we need it for. Okay, moving on, I'll hide this. So lastly, this a has UVs. You mean head area has UVs, At no. Oh, no. Oh, no. The outer eye UV is lost. The Iris has UVs. I need the outer eye to have actual UVs in there. I want to see something that I need to even fix for the miniscus. Oh, no. So we need to import a new out eye an outer eye that actually has UVs on there. But it's important to have I have premade premade textures already. So we need something that is on Okay. We need something that has UVs on there. Let's see. I think we can let's check the original let's check the file. Do you still have the Or file? I believe the other file should have its Yeah, I believe this should This one should actually have it. So let's do UV and wrapping. W we actually have all those Bs machine there. I believe this one should come with the UVs. We can just spot this out and use Fantastic. Vs are not on either. I guess there's one thing you can do. I need to import a new one. Have an actual one we can actually use. Have something we can actually use. Let's just use that. I, I, I. Okay. This is the BX, so I'm just going to drag and drop the BX in here. Okay, we just need the outer eye. So the outer eye comes with the UVs on this off. This is what we actually need. So I'm just going to hide this old one. Delete this. I want to work with a new one instead. No worries. I'm going to provide the file. The file is going to be provided. So this is the one we need. So we just basically need to actually place put this in place now. We just need to set this in place. So we need to do some extra work by actually arranging this in place. Okay, so let's do phase, select this phase. Move this in. Move this in. Okay, I think we can now pull both of them back some more. Okay. Okay, Let's see what we have. There's anything we need to actually adjust would be to build the miniscus. We just need to adjust the miniscus. Okay. Lye forward just a tiny bit. All right. Yeah, I think this is a good. I believe this is in a good place. We can check this out again just to be sure we select this. Okay. Just trying to make sure we have them properly where they need to be If I double click on this, use this side some more, I think that should work. Let me isolate them. But let's just do let's isolate them first. And let's see, I think this is fine where it is. This is fine with its. This we can work with Yeah, I think this is fine. We don't need this anymore, so I think I can just delete it out. Don't need that anymore. This is what we're going to be working with. So we just need to kind of creativi for the miniscus now. I think all of this, I can just select those and push the back down. Cause there's nothing specially going on for that spl one. Okay. But let me actually use the sculpting brush in here. I think we have scoped brushing. Should be move or rather pull brush. Was the brush size. Okay. Is what we need selected? No. I see what we need selected. Can we push this in now? I anyone giving us the option to even push this in? No, no, I think we want to do the correction inside of Zbrush instead. We do the correction instead of Zbrush instead. So let's just create some UVs for this. So cameras nothing too complicated to actually doing here. That's it. So just do something random in here should be fine. So I'm just selecting a loop. Let me isolect it instead. Let's do this from In instead. Okay. I'll just do this from the Let's do this from here instead. So selecting an edge loop. Select an edge loop. H's do cuts. Okay. Select the two unfold. So I'm unfolding this. Then let's do Oen. Let's just cause it's going to be glass material, so it's not supposed to look extra special or anything. Okay. All right. I think I can just select, select it. Let me see if I can actually move it. Well, now, I think a better way to do this would be to do this instead of Zbrush instead. Okay? So I'll save this. I think as far as this goes, this should be fine. I don't think there's anything we need to do here because of the areas you vis in here now. So nice lesson. We're going to import it in yes. So the next thing I'm going to do is to import them back into Zbrush and then just start the baking process for it, and then finally just make adjustment for it for this, okay? Let's even do the adjustment for this. Let's do the adjustment for the minuscule and for the outer eye. So I'm going to export and I'm going to replace let's replace the outer eye. So it's supposed to be an OBGEpot. O I replace that. Okay? So let's just go over to Zbrush and replace the outer eye. Let's do it Import a new outer eye we can just replace that. It has been replaced. Let's hide. So we just need to actually hide the eyeglasses now and then make adjustment for the miniscus. So let's just hide the eyeglasses. Go over to the miniscus, get in closes. Tn up symmetry for this with the move brush. We also have layers in from the pools we did. So let's just do big cal. We have this way it needs to be. Move this down. It's getting loose. Move this to the side. Okay. Let's move this down some more. Rotate these out. Let's get some edge in there at the very least. I'll do some smooth. Okay. Move this down. All right. I think that should be fine. Oh, I'm supposed to even import supposed to even import that, replace that as UVs anyways, what I going to spot this out again and create the UVs. It's still not going to be a major issue for us because there's not so much work to actually do for the UVs for that. We can even use automatic UV for it also too if we need to smooth this down, getting close. Get proper and good sweets. Okay. Hers fine. Bring this down. Let's do some smooth. Smooth here as well. He is fine. Her is fine. So let's export this out again. So we're exporting out a new miniscus. Yeah, this is it's in here. Before I want to export this let's just do quick. Since we're in your let's just do UV master symmetry poly group, on rap. A default even rap should be fine. So then we can export this out now. Export this out, so this is going to come with new UVs. I think is a smarter way of doing things. So that's going to replace that. Go back to Maya. We can hide this and bring in the new miniscus. Let's I can drop this in. Yes, perfect. Yes, it will work just fine. It also comes with UVs also. Not the best kind of UVs, but it will work just fine. It's even overlapping in there, so let's just select all of them. Orients. Let me rotate it this way, select all of them, and let's just do layouts. Let's just get them laid out properly, and that's pretty much it. Okay. Okay. I think I missed something. I say something in here. So let's just Come on. Let's just select Let me do this weird name in here. Okay. Let's do face mode. Select that face. Bring this in. Let's check on the opposite side. It's funny like that, that's fine. Okay. Yeah, I think, as far as this goes to work just fine, save this. So in next lesson, we're going to begin to start putting them out and then big out normal mouth for them on displacement map. I'll see you guys in next lesson. Bye for now. Bring everything back out. Okay. I'll see you guys in next lesson. Bye for now. 31. 31 Baking Maps In Zbrush: Locumb guys, so no less starts putting this back in and then baking the necessary maps for it. So I'll go over to sub two. Okay, so we already have UVs and no mouse for the Iris. I'm going to ignore that. For the head, we already exported out our base mesh, and it came with kind of the forced UV, so we don't need to import this back again. All we need to do just to big out the necessary maps we need. So we just going to make sure we're on the same subdiion level. We exported out as our low. That's what we're going to being out maps from. So I'll go over to UV. Let's set this to eight K resolution instead. I'd like to be my normal map at eight K resolution. Okay? So I think turn on tangent, smooth UV, smooth normals, that's fine. Then we can click create normal map. Then let's give you a moment to kind of go through and create a normal for us. So it might take just a little while. So you can see to the top now kind of going through, trying to create create a normal map for us. So it's now that it's done, we're going to export that out into a separate folder. So this is the same step we're going to be using repeatedly for the mesh we have a normal map in here now. So I'm going to clone the map. I'll go over to texture, flip V Exports. I always prefer to export this as a JPEG instead. P engine instead. So I'm going to create a new folder in the Z export folder. I'm going to name this to Z maps. So this is going to be let's just let's just do normal at the end. I copy that's. Okay? N to save ds. So you save now. So let's go in and then actually check. ZA. Let's check. And let's see what we have out of that. So on kind of check to be sure we have this exported out correctly. As you can see, for the most part, most like to as check would be on only the eye, on the forehead and on the lips. This part tends to be a bit tight, so tends to have some minor issues there. So this might be some of the minor issues you might have, but you see if it gives us any issue, bringing it into sotanspental, condos going in and then fix that. But for now, so far looks good. So the next thing you need to be would be our displacement map. So let's select displacement map. Philip smooth, UV on, Philip VN. Yeah, I think this is pretty much it. So let's create an export map. So select that. Let's export that to the same fold as well. A does DIS PL, that should be fine. Okay, let's give you a moment. It's going through to kind of create a displacement map. Should don't take too long. Okay. So you want to export out the image, I'll use no. Okay, so let's go in and then check that as well. Export out at eight resolution, okay? Seven at the back. So let's just go and view this. Let's see, we're just going to get close and then see, this baked out absolutely perfectly. So this is fine. Okay. So let's go over to sub two and continue with the big. We don't need for the outer eye miniscus, but we need for the glass. So let's reimport the glass. But before we import the glass, there's something we need to do. Go over to UV. Check if there's any UV mapping if there's any UVs in there. There isn't any. That's fine. So let's import this again. Okay. So let's go over to eyeglass, select that. Import that again. Okay. I can't see any IV map in here though. I can't find any IV map in there. Something seems wrong. Let's go back to I believe this is the one. Okay, let's export this out and replace eyeglass. Okay, eyeglass replace that. I'm thinking maybe I did not actually export them out. I don't think I exported them out again, so let's export them out and replace neck collar. Okay. Neck pendants. Neck pendants. All right, neckerchief. Okay. Then lastly, for the rose doe for the robe, Export selection Rube. Okay, so we're going to import them directly on top of themself. Okay. So let's import the glass again, so it should work now. So let's import the glass again. Eyeglass. So now you can see more vine now. So for this, we need to export out the normal map. And while putting them back on the same subdivision level, we exported them out from, which is fine. So if you didn't go in on the engine, you should still have them on the same subdivision level, we exported them out from. Let's just create normal map now. So Fok resolution normal map. It one shouldn't take too long because there's not so much going on in there. So Clone texture PV exports Z map. I'll just space the normal we had before. Okay? But this but, I don't need to export out displacement because I don't really need displacement for this. So normal map will work just fine. So screw down. Neck pendants, let's replace the neck pendants. So imports, neck pendants, neck pendants. That's the one. All right, UV map, ****. But just to be on the safe side, actually, I'm going to delete UV. I'm going to import this again. Neck pendants. Okay. So I want to be sure I'm importing it. It's replacing any LV that was there before. So foc a resolution normal map. Normal map, clone map Philip V Exports. Okay. As going to go in and then check them, check all of them actually to be sure if we have all of this imported biked out correctly without any issues. So neckerchief, the neckerchief UV, there's no UV in there. That's fine. There's imports. Import neckerchief, select that. Okay, Fok resolution normal map, create normal map. Okay. Clone flip v exports. Place the name at the end, save this. Let's go to the next one. Rub Just to be sure, delete a new UV is on there for now. Forky resolution. Okay? In pots like the Rube. Normal map, great normal map. This might take just a little while because we are quite a number of polygons in there actually. All right, loan, Philip V exports, normal in the saved out. Then lastly, let's do for the color. A Bicol is the last thing in there, select the color. Let's do wrong place, UV map, delete Us imports. Nel that's the one. All right. Now let's go over to normal map it. Let's make sure this is a FokiRsolution. FokiRsolution, normal map, put. Okay? Le. Not so much happening in there actually, so I might not really see so much of the normal map detail in there. So let's save this now, we need to go in and then check. So let's go in and check the maps we exported out. Let's start with the eyeglass. Okay. Fair enough. Next, neck collar. Okay. Next, Neck pain down, not so much happening in the white at all, actually. But as for neckerchief, let's check the neckerchief. I think this is fine. I don't see any weird issue in here so far. This is robe. Okay? Okay, this is fine. I don't see any weirdness in here as well. So far, it came out well. Okay? Okay. Yeah, this is fine. All of this came out correctly as it should. Okay, so I'm going to save this now. So the next thing we're going to do would be to let me close this for now. I to open up Subtan spinter and then bring all of those into Subtan spenter and then begin baking instead of subtan spenter and then start texturing process. Okay, so I'll see you guys in the next lesson where we do that. Bye for now. 32. 32 Baking Maps In Substance Painter: Ocambaguys. Okay. So now let's set this up, then you can actually have it sent into Substance Painter for texturing. Okay? So let's get right to it. For the robe, I'm going to give this Lambat material. Okay? So Lambat material, I'm going to rename this to robe. Let's use a cups for this robe mato. Let's go to the next one eye glass. Lambat material as well. Let's name these two eye glass. Okay, eyeglass mats. Then we need to start giving them different colors as well, so just to clearly differentiate them. Okay. So anyone we have done, we're just going to temporarily hide them. I copy the name for this. Okay. So let's give it a material as well, and bat material. The name is not even paste. Is not even copy with its neck polar mats. All right. Oh, so it's kind of tune down. Let me delete any history we have in there. Let's tune down the diffuse some more. Tune down the diffuse. The diffuse is quite strong. Okay? Neck pendants. Okay. Give it a Lambat material as well. Copy the name. Place the name in the put matt at the end. Okay. Yeah, I think I need to change the color as well. Take down the diffuse, go to the next one. Lambert material. As dit in history we have in there. Okay. Mats at the end. Let's give you a different color as well. Take down the diffuse. Right. Next. Give you a lambert material. Okay. Copy the name and just use doctor can instead instead of putting the entire out in so token mats. All right, let's just use a more darker sheet instead. I think the out eye already has particular color assigned to it, so that's fine. The we just put mate at the end. Okay. Then the iris, give it a new material, Lambert material. Bit an HG we have in there. Let's just do iris mats. Okay. You can use the color at the end. Take down the diffuse. Okay. Then finally, the miniscus. Let's just give this irregular material, and then we should be good. Great. So times, something like this actually happens. So I want to make sure you're copying it correctly, let me delete this. I just needed to copy the name. Needed to copy. All right. That this even more. Save this let's make everything visible. Let's make all of this visible and then select all of this and put them in your group actually and just name this to doctor Khan. I think I guess that is fine. I'll save this. So now let's open up. Let's open up Substance Painter now. Let's open up subtanpnter. Let's just do a dub Subtancepnter, open that up. Okay. Then we also need to kind of make sure we have the eye material also brought in because we need that we need the out eye color out normal. You past should just be where it is. Then we also need the this also the color map and the normal map as well. I don't think we need displacement map for now. Okay. So, we're supposed to actually export this out. So let's export this out. Select all of this, export out. Let's export this out. I'm going to go back to the outside documents instead. Export this out as an FBX. OBX instead. So doctor Khan. All right. I think this should be fine. So I'll save this. So let's put the selection and then back to Substance Painter. Let's get this in. So select, you need to find out from the folder. So this is in the FBX of select darts. Let's bring in out maps. Let's import our Biko maps, select all of this. We need all of this open, as well, we need to add the I also, the I textures we need. Okay, 16 years. So we need the column, normal map, roughness, column ma, normal map. Let's see, we can just roughness, let's just use roughness also and the opacity as well. So open those up as well. Okay. Then click Okay. So let's just give you some moment to actually get itself imported in so read everything correctly, so we shouldn't have any issue importing this. Let us give you some moments. Okay, so we have this successfully imported in, but our camera angles all off. So let's go to display setting, scroll down to camera, the focal length, let's say this to 85 millimeter length. Okay? So 85 millimeter length should work just fine for this. So let's zoom out. Okay. Yeah, this is fine. So I like to change up my lighting. Let's change up my lighting. I always like to use a default light setup so we can see the colors a bit more properly. So the Tumarko studio seems to work just fine for more neutral light setup for it. Okay? So I'm going to save this file. Let's save a file. Okay. I will just do PK Khan, save Softnspnter file. Then you need to go in individually and just do normal maps for them. So you can actually bi out a normal map in here. So let's start with doctor Khan. So go to the textual set settings. So let's allow this load up. So this is a normal map, select that. Okay, so I need to isolate it. Let's solo this out focus mode. Let's get close. Okay? For the most part, this imported incorrectly as it should. For this, I'll call it minor issue we have in here. But let's uppres the textures for the preview textures for this to focus so I can actually see this properly. So right off the bat, I can see the issue we have in. You can see this dark shed, we have in here some other dark shed, here and here. Also have another dark sheet in here. So that is coming from the map itself. So let's fix that. So if you go to the texture itself, let's go over to the text shows. It's something you can easily just fix inside of Photoshop. So let's go in. Okay. This is it. I believe I have Photoshop opened up in here. So I'm just going to just drag and drop this in. Okay? So I'm just going to drag and drop this in yes, I'm just going to drag and drop this in. Okay. Turn off this background and then go to our Zoom brush. You just going to zoom basically into the lips. So you need to zoom into the lips. Let me sum into the lip some more. So the issue is where we have discoloration in there. So that we can easily fix by just using the healing brush. Helm brush would work just fine. So let's go over to Let's use the sports brush instead. So, we use the brush size. Then we'll drag in there and then we should be good. That's basically how to actually fix that. Don't need to do too much in, can just dump in stump that in just to completely remove it. Can reduce the broad size a little bit more so we can do something a bit more precise in. Okay. Here, well. Here, well. Here, Alright, that's fine. So it's actually an easy easy fix. We don't need to do too much. Just use this spot healing brush, and then we should be golden in there. So we can actually clean it up quite well. Almost done. Single quite so much in here. Okay. I just tap in in as well. Move this along. Okay. Fix all of this. All right. So displacement map doesn't have any of these weird issues in there. So eventually, when we kind of doing the look developments, we're going to be using displacement map instead as a main source for capturing most of the surface details. But just to make sure we have something good enough instead of subtanpna. We just need to do this just to fix some of the issues up. Okay. All right. I think we're almost done. All right. Yeah, I think this should work just fine. Okay, I think we did a pretty good job fixing all of that. Let's see if we have anyone somewhere else around the eye. I think we are good. So basically, we just need to receive this. We just need to receive this. I will just use we have the original already, so let me just name this to two. Let me just put in front, save this. This is going to save us eight K file because we brought this in as an eight K file, so it going to save us an eight k file. Then we're just going to import them back again into Subtan Spencer and then update it, and then we should have everything working correctly as it should. Okay, so it's done now, let's go over to Substance Painter. Okay? The f is the second fy. Let's drag and drop this in. And we need to import this as a texture file. Okay? So let's go back in there. We're going to use the new one, we just worked on. Okay, you can see it has updated now and then we have this cleaned up properly, which is more or less precisely what we want. So that's fine. So let's move on to the next. So eye glass. Let's bring the normal mouth for the eyeglass. So eyeglass, select darts. You shouldn't see so much happening in there anyways, but that's fine. Iris gets close. Iris normal, select d so you should have this applied in here now, but it's fine. Next, miniscus, do we even have any Oh, click on something else. No ready to come in here yet, so let's go back. Do you have any normal math for the minuscule? I don't think we do. So I'm just going to skip that. Neck color. We have no mama for neck collar, so let's import that in neck collar. Okay? You shouldn't see so much happening in there because then you actually scope details in there. Neck pendants, neck pendant, select that. Neckerchief This one we have some details in there, so we need to import neckerchief detail. Okay. Yeah, we have this india now. Outer eye, yes, we definitely have no mouth for the outer eye. Outer eye. Okay? So we have some little veins going on in there, which is fine. Next is Rube. Yes, we obviously have details in here. So normal map, Rube normal. And I think that's basically it. Do you have this apply? Okay, this is applied. Okay, that's fine. So now we can actually big now. Let's go to big mesh maps. So you go to bring us into the layout for the big. So now we need to bake all of this, then it visible, make everything visible. So everything now we have normal map for everything apart from the miniscus. So let's turn off the miniscus for now. We didn't turn off the visibility. We really turned off the mesh itself. So it's not going to be biked. So for the erst go to the s. Let's turn off normal map for the others. Can we have this supplied? So the select select all mesh maps. Nope. That is not what we want. A Okay. Okay, apply to texture maps. Ali selection to texture maps. Okay, select that. If it's coming now it's coming now, so the normal map is off. Normal map is to off norms to off that's precisely what we want, okay? So now we need to go let's go back to the first one. Let's go over to Coverture for this butler, the coverture, I want coverture to be generated out from the normal map itself. So once we do this snap, I believe it should be affecting the orders, too. Yes, it's affecting the orders. Can see it's affecting the s as well, also in here. Let's go back to doctor Khan. For the ambient clusion map. Save inclusion, I'll do sim mesh name. So you should also apply to the orders, too. Okay? That is fine. So now we're going to do big selected selected textures rather. Let me save this out again first, since we are all of this setup correctly. Then now we can make selected textures. So it's going to go through and then make all the necessary maps needed. Let's just give this a moment. I'll come back when this is done. Okay, so that's on the first half you call it fatuf. Anyway, that's the first half of the baking of the necessary maps. So the next map we need to bake now would be checking this out just to some weirdness in here. Okay. I think this is supposed to be a major issue in here. Let's see. Well sale back to that. But for now, let's back. Let's now back. Let's invert the selection and Bk. Okay, invert texture sets. Okay? So the miniscus now will be toned down. So for the minuscus you need to allow turns paint out to big normal map for it. Then, yes, yeah then for the coverture map, you need to big for mesh itself. Ambient collusion sets and name is fine. Let's just do big minuscus map. That will be like lit baking. Let's see. I shouldn't take too long to actually bake. Then bake that. In't take too long to bake. I'm seeing some, I think I need to fix this. Definitely need to fix something in here. Let's return to painting mode. You can see now for this neckerchief, you can see some weirdness in here. And that weirdness actually come directly from the mesh itself. Is going from the mesh itself. So let's go in. Let's go in. So let's go back to Maya. Let's compare texture resolution we have in there. Okay, I see. I think we need to actually export a more higher mesh for the neckerchief. We need to export something a little bit higher for it. Let me go to the neckerchief and then let's solo this for now. Let's see if dish is coming from the embient seclusion map. Okay, it seems like this is actually coming from the embient seclusion map itself because as far as this goes, this is actually not too bad. We can actually work with this. This we can actually work with. So this is actually from the yes, from the seclusion. So it's not going to be a major issue, I believe. We have something in here actually messing things up. The embien seclusion actually messing some things up in there. But since we're going to put in the embent seclusion and you find out texturing, so I think we're actually good. We're actually good. Okay? So we should just go in and then just turn on shadows in here you see how shadows are affecting this. I think for the most part, we should be good. I think eventually I might just export out a displacement map for this neckerchief just to get some more resolution out of it when we're kind of doing loop development. But as far as this goes, this is fine. We have something good in here to actually work with. Okay? This we can definitely work with. We can get some mbrant lighting. I think we can actually work with this. I think we got everything all the necessary things in here to work with this properly. Okay, so that's fine. So the next lesson, we're going to go into the actual texturing phase for it. I'll see you guys in the next lesson by for now. 33. 33 Hand Painting Skin Tone In Substance Painter: Okay, well, come back, guys. So in the previous lesson, we kind of worked on biking out of the necessary maps we need. So in this lesson, we're going to start the texturing process now. So I do have a reference reference board of how to kind of texture realistic skin. So I'm going to us in my reference book to actually capture most of the details in here as much as I want. So just to get you guys mindset within for that. So let me put this to the side. I'm going to be explaining my process also, too. So we're on the same page. So let me so load the head, but I need the outer eye just to hold up that space in there. So the doctor can selected good layers in here. So any layer you have in here just delete that. Also make sure on the textual set settings, you said this to force resolution. You can get the possible resolutions prev resolution in there. So usually what I like to do is to use as a base, I like to use my own skin texture. So I have a smart material where I have a Bs skin texture to actually work with. So if I should go in the let's use that, I'm going to set this to smart materials. I'm not going to type in KC skin KC skin base. So I'm going to I'm going to be providing that as well. So usually, I'm just drag and drop this in so it automatically create something like this for us, okay? Create something like this for us. So let me go and do a little breakdown inside of that. So you guys can actually see everything going on in there. Alright, all of this. Okay. So I have Ibbs tone, then I have this dark red Bz. So basically, what I'm trying to recreate is let me show you guys what I'm trying to create in here. Like, yes, okay. So I'm just trying to create this. Now this is like a reference for I believe UV light, so we can see the broken doll versus underneath the skin. So I'm basically trying to create this parchment of redness in there this obvious is supposed to be red. So I'm trying to create that parts of skin in there. Okay? This is another one. So on the skin now this UV I can see the skin broken up into patches of redness in there. So the idea is to kind of imitate that and we create that also to form an undertone for the skin. That's why I have this base. So then I have on top of that another base. This one has more red blended tone, kind of blowed out tone around the entire sin, just to flush out some redness to flush in some redness on the skin. And I have marble red veins. This one comes with, like, let me see if I can find an exact example in here. You can see we have veins in there, red veins, blue veins, green veins. So I'm also trying to create something similar to that, also, too on the base skin tone. This is it. So I have another one also, too. And this one is a more largle type of vein in there. Then we have green veins also on it. Then we have purple veins on it as well, okay? So now that is like the entirety of this. So I can also select this also, and it won duplicates it. Then come to the BW spots, then just randomize this. Okay? I can randomize this. I can take down the balance. It's not all over the place. So just to add a bit of redness to it as well. So covering the entire m, which is precisely what we want, okay? So with this nine here, so the first thing you need to keep in mind is that the to you're going to ad for this nine is going to be like the because you're basically trying to work from a dark ern to more light out. So I can come in here and then pick referencing here, okay? So I can actually come in here and pick a base a base almost light stone to actually work with. Okay. But I also have another reference in here too. That has a more realistic skin tone for it, and this one is more or less for like an Asian. So I'm going to pick a more darker tone from this to actually use and do, like, a paint over on it. So to do that, I'm just going to create a new feel layer on top of this. Turn on roughness. So the roughness, I'll put the roughness somewhere around here. A. Okay, we can do something more roughly somewhere around here. Okay. Now, where is that tone? I need to pull this up. It's supposed to be on top. It's supposed to be on top the entire outsin. Okay? So I'm going to use the color picker and then just pick. I need to pick a dark sheade of tone. See you have a dark shed here. Because we're trying to work from a more darker sheade to a more brighter shede. Let's make sure we turn off shadows are turned off there already. Okay. So nick of actually floating the entire outsin. Alright. I think this should be fine. I'll close this. So one thing I need to do is to add a black mass. Let's name this to floyd. To white. Or. Let's do light brown. Let's do light brown. Light brown. Done Okay. Yeah, something like this. That's a good base to begin with. I'm going to add a black max in there. Okay. Then I'm going to use a brush. Let's go and select brushes. So let's type in that brush. Actually different types of dirt brushing here to use. I think the one I've always prefer to use is either this or this. Let's try this for now. Let's see what this gives us. Now, I don't want to paint with cemetary tundon, so first, we need to reduce the brush size. The floor already a 50 or paste take a 50% or so. Okay? Then we come in and begin to basically spray paint on this skin. Okay. If we change the brush, says need a different brush, douse the brush size. We're getting something like this butler one is just all over the place. I don't want something that's all over the place. I think this one will work just fine. Okay? This will work just fine for what we need it for. So you need to reduce this again, take down the stroke opacity, take down the flow even more, and then just paint over the skin. Just paint you can use the symmetry turned on for now. This is just going to be the first pass of light skin on top of the entire outin. Okay? Because this is pretty much the entire workflow, painting over the entire outin with different color tones, just to get something interesting in there as much as we can. So let's use this as a base to begin with. I see on the keyboard to go to the base color without any light information in here. So you can see it's not perfectly symmetrical, so we can adjust that. We can adjust that. I believe we can just adjust this to kind of get this a bit more perfectly centered, like so. Okay? So what I was going to go over and paint across the entire outne. But we still very much want to keep some of the redness in there also. So let's just paint over. You don't need to be too precise as to getting the entire outinlololo filling in across the entire surface and completely covering this base skin parts we have on it. We just need patches of it around. That's basically what we need. We don't want to entirely cover the entire outin yet. So we just need patches. So they just to create patches over and over and over again until we get a more blended looking skin across the entire out. This is basically my own method of fatally painting realistic skin. So let's just continue on. For this, I'm using a small bro size because I don't use the big bro size that would completely floathg the entire outing. So I'm using a smaller bro size. You get smaller patches in there. So you get smaller patties in there. Okay. Like, so let's go all the way to the back as well and then float fill all of this. All right. I think this would be fine. Okay. We can see go over it one more time. Let's do the same. For the top of the head, I'm going to increase the brow size because this part is going to be covered by hair. So we need a bigger brow size to actually cover most of this. So for now, it might seem like one really drinks too much, but once you add them layer by layers, it all begins to all begins to come together quite nicely. And that's the general idea in here. So it's a more careful process. So it to be more careful process across the entire sin just to get it to look right. Alright, I think we have our face pass I M on the keyboard to go over to material mode. Okay? This is the first pass. I think our first pass is just fine. Okay? So we need the second passe now. So a second passe would be to look for a different coloton. I think I kind of like this coloton in here as well. Is dark brown colo tone. Kind of liking this. You can see some redness on the cheek. Which is cool. Then we have some more yellowish tone around the eye. So basically the coloring for that, if you show you guys a more broad explanation. I can just find, this is it. So you can actually use this as a guide. So initially you have like a pale be skin tone, which you are basically trying to do now, a bear skin tone, and then would start biding on top of that. So we have the subdomal color zones where we have some more whiteness around the forehead and yellowishness also in the then some dark gray or dark tone around the eye around where the hair follicles are supposed to grow out from around the mouth region and the jaw. Then some redness and yellowishness on the cheeks as well. So that's the general idea we're going to use. The one's going to blend of those together, we get some good looking realistic skin in there. So with that in mind, with that in mind, we can continue on. Let me go back in here and pick a more darker brown tone for him. I'm just going to duplicate this layer. Just about black marks in the black marks in there. And I'm going to adjust the reflexivity a little bit more. At create a new layer, I want to new f layer. I want to adjust the reflexivity a little bit more. Just to create a bit more variation on this specular passe on top of your mesh. So now want to keep in mind, let's get in some more let's pick a more darker brown tone. I think this is a good one, okay? So I'm going to let's use the dirt brush this time. This is the dirt brushing time. I think I might even need to, let's start painting first. At some point, we need to gone kind of switch the layers and figure out which one works best. So take down the floor, take down the opacity, reduce the brush size some more. Let me turn off symmetry for now. Okay, let's go over and then paint. So I see on the keyboard. We're actually painting something in there feels like it's not actually there, but it's actually in there. Folks, if you turn this off now, we can see how we're actually painting something in. Okay, so let's carry on. Let's go over and then paint. Maybe increase the opacity a little bit more so you can see more feet pecking through. Okay. Paints over some of this. Okay. Paints over. We see still need to keep some of the redness in there, but just painting over this. So just to be quite patient with the process and then paint over and over again with different colour tones, just to get something wood enough pecking through. Okay. Go over lower parts of the head. Okay. Go over to the pictorial muscles and then they'll just get something in there, even on the clavicarbon as well, paints in there. Okay? The next to the next colour we're often going to use is going to be a bit more more yellowish tone now. Mish highlight some of those yellowishness on the skin surface. Let's just get this in. Pin this coloton in just to fill up some of these gaps. Some of the redness in here as well. Okay, so you just take your time, paint over just to get a proper blend. Okay. B over. Okay. I think I will increase the opacity just a tiny bit more. So it can go over some more. Okay. I think at this point, I can turn on symmetry because this is for the top of the head itself, so we can just do this instead. Okay. Yeah, that is fine. I think maybe before we start adding that yellow ishnessO the skin, can we can add some more some green and some gray around the eyebag and then for the regions where beards you can actually poke out. Okay? I think we are moving. Oh, I think we need let these parts. Let's make sure we get something in. Let's go to the previous layer. Let's pint something in as well. Okay, let's not neglect these parts. We need to show every single piece of this. Put the layer on top, paint some dark brown sheets in there as well. Hits on the keyboard. Okay. Yeah, that's fine. We're actually getting something in here. I can see how we're kind of properly blending the skin with each layer of paint over this we're actually blending the skin a bit quite nicely, which is precisely what I want. Okay. But I'm kind of liking the way spotlerkin is. So I'm going to let's introduce some gray so duplicate this layer, duplicate this layer or the black marks in the first potler one, we can use can just use around the bluish tone, more darker bluish tone. Go to the paint layer. For this, we're just going to paint around this part of the eye. Okay. Just to get a more darker shade in there because we need at least some darker shade around those parts. Okay? I think we can turn, no need to turn symmetry for this. Let's just do some manual painting in here. So around these bits, use the process a little bit more. Okay. So roughly where around the beard for acally build off from. So we're just going to do some paintovers in there. Okay. Increase your bra size. Paint somewhere around here. I'm still going to blow this down a little bit more though, it shouldn't be this aggressive in. Shouldn't be this aggressive in there. Okay? Something like so. So carnon, let's just add some dark sheds in here as well on this opposite side. Make sure we continue that on as well. Underneath the neck as well, a little bit more should be fine. Okay. Yeah, I think we can work with this. We definitely need some more on the top of the head, where the heads are supposed to grow out from. The first part lava autonom symmetry needs to be actually symmetrical. Okay. I'll increase the brows size some more. So we can do some first pints in here. Okay. Use the broize so we can get good eyeline. Or are some lines in there. Okay? Rotate light some more. Get some more airline around here as well. Okay, I think this should work. All right, so next we need to do will be to blow this out a little bit more. Let's add a little where I'm there. It's going to blow this out some more. So I need to actually rename this two dark blue. Okay. The more darker blue tone should be fine. So I'm going to add a filter to this. Let's add a blue filter. Okay, let's blow this out some more. I don't want it to be too aggressive in there. I think we need a bit more on these bits. Okay? Shodu little bit more turn on the blow. We don't need this to be quite strong in here as well, so we need to reduce maybe we won't drag it just below this layer instead. So dragging it below this layer is kind of it's kind of flooding it out with more, but I think we can do to let's duplicate it, drag this on top and change to more darker tone. Okay and then reduce the visibility for it. I shouldn't be too obvious, but still in there. Something pretty much like so should be fine. Yeah, something pretty much like, so should work just fine. Okay? All right. So now we need to introduce more call it some more yellowish tone. And I think we can see more of that around. Let me duplicate this first, drag this on top at a black max. So for this tone, I think I can pick that tone in here. But it's really not that obvious there actually. So I'll need to use I need to use something that is a bit more obvious. Let me pick this yellow tone instead. I think somewhere around there should be fine. Then let's kind of figure out where we actually need to paint this in. Okay? So you can see around the forehead, around the neck as well. So let's get that painted in, I ton of symmetry for now. So I'm using the death brush. That's fine. You see on the keyboard. Take this down some more. Okay. All right, so I think this yellowish enough. Let's see. Yeah, I think that is yellowish enough. But we still gonna tune it down. Let's take down the opacity. Adjust this a little bit more. Okay. So now we can use this to actually paint over the skin. Paint some more white around the ir. Undo that. I think I went way too much. Okay, introduce some. Introduce some as well. Alright. You should use some around here. Let's see see on the keyboard. Corou some around the cheek bone. Yeah, swell. Okay. We're going introduce sibrosz introduce a little bit more around air and a. All right. Yeah, we definitely need to introduce more around this bony clavica bone, some more around there should be fine. Swell, something light around there. Okay. Can do a little bit more here also. Alright. I think something like this should work. It's M on the keyboard. Though it's kind of way too strong, though. We need to actually take this down some more. But I think as far as this goes, when a good place, a good place. So I'm going to reduce this some more. I don't want it to be too obvious in there. And I'm going to create a layer. Let me name this to yellow light yellow. Done. Delete that one at the end. So for this, I think I'll just need this to have some, some measure of reflection, actually. It's a little measure of reflection, so it doesn't look a bit too much like kind of paint all over. But yes, I think we're getting something interesting, no doubt. Okay. So I'm going to introduce some more darker shade around the eye. So let's introduce some more darker shade is more towards the brown, actually. A black marks. So this partler one is going to be around here some more around some more. Okay. Just to darken out a little bit more. Probably inside the nose as well. All right. Yeah, that seems like it to work just fine. I think I'll go back to the white or to the yellowish don. I'd like to introduce some more yeah wound around the neck, maybe a bit more. Okay? So I'm basically alternating between visualizing this us without color information and also with color information to actually see how we need to kind of pin this in a bit more accurately. Okay? Maybe add some more roughness in. Okay. Now for this, I think I need to add some blur filter to this as well, the yellow tone. Okay. I think this is fine. This we can work with. Okay. Getting something, no doubt. So now we need to break up the skin a little bit more by introducing some more redness in. I can see some more redness for the eye, I think. Less dark I ring. Okay. So there's some a few things we need to do in here, though. For one, we need to introduce some more broken particles of redness in there, which we're going to be doing with this that's three. We're the dot brush actually. So there's one. Then at least for the most part, we're making significant progress. You can see in between the coverture, we have some ywishs between the Cvture which is also cool. We can also introduce some more India as well. So we still have almost there, but we're getting we're actually getting good enough detail to actually work with India. So I'll see you guys in next lesson will carry on and then continue blocking and adding some of those interesting detail in India. So I'll see you guys in the next lesson. Bye for now. 34. 34 Skin Tone Blending In Substance Painter: Welcome but guys, so we are still very much on this piece. So we're going to carry on with it. So one very important thing to keep in mind is that. You don't want to add too much redness on your skin tone. Why? Because when we kind of did look development, we're still going to add some subsurface scattering to it, and naturally subsurface scattering actually adds some redness to it, so so's going to make sure we don't have too much redness that would kind of ruin the skin pale skin tone, we're actually painting in here, so just want you to actually keep in mind. So let's carry on with it. Can see some redness in here, I need to kind of fill up as well. So I'm going to let me hide this blow for now. So I'm going to kind of flood fill that as well. Let's fill that redness up. Okay? Let me just wonder rednessing we don't want too much actually. We just want enough to sell it as being skin but not too extreme. Flush the greenness on the eye as well. Because I'm going to paint some redness around the eye. But just before we do that, I would like to create a new layer. Let me turn on the blow now. I duplicate this layer actually. I'm going to add a black marks to it. And I'm going to increase the like yellowish nature of it a little bit more, but I'm going to pick the color instead from in here. So you can actually use the X code. Any color I've been using to paint on this, you can actually copy the X code and use that also as well. See it using the same thing. So I'm going to name the two yellow color vulture. Let me use your caps for this. Or let's do yellow cavity instead. So let's use a more shortening for it. So I'm going to increase the opacity for it. Add the black marks already, which I've already done before. Then I'm going to there are a few things we can do in here, we can add a few layer, then add the co votual map for it. So this is Abend. Let's find the core virtual. Let's find the coverture, so I'm just going to type in Cvrture. So let's find the covature for the head. No, this is not the covature for the head. Okay, this is the covature for the head. So select that. So basically, it's going to create something like this for us. Okay. This is not ply, precisely what I want, but just help to kind of create some details for us. So if I see on the key, but let's go to the max itself. So I want to visualize the max. So this is the max we have. Okay. So with this in place now, we can we can do we can actually do a few things with this. There are a few things we can definitely do with this. We can even use let me duplicate this layer actually. We can use a more brownish tone for this. Creates a bit more brown overtone across the entire outin so if actually tone this off and on, you can introduce a bit more brownness to it. But instead, I would like to use let's see if we can find you can use a brown tone from this instead. It kind of almost like kind of goldish brown, sort of. Almost like a kind of goldish brown, so let's say, I pick color foam this's find more goldish brown tone. W s way too brown. But I think this should work. At least this should work. But I'm going to drop this under. Let's drag this down instead. Let's get close. Let's see if I should turn it off or not, let's see what we get. So it introduces a little bit more brownness to the entire skin tone. Which is actually cool, but we need to kind of make some modifications to it as well. But we get that brown overtone on it, which is actually cool. Okay, but we need to clean it up in some areas. Let's go back to the yellow tone, and then let's add some more blood out look to this on the ear. We don't want it to be too strong on the air looking a bit strong on the ear, let's just let's lighten it up. Okay, I'll come to the lips as well, reduce the brush size. Then maybe even reduce your opacity as well and the fluke. Let's just clean this up some more. A bit more so it should be fine. As you going to come back and paint better skin textures for the lips, but for now, I think they should be fine. So now we have this brown cavity, yellow cavity tone underneath this, which is fine. I'm going to rename this brown cavity. Let's do brown. Yeah, I think that's fine. That's fine. Then go back to one at the top. So this one at the top, I think. Let's use something different in her. Let's use the generator instead. Let's add a generator to this instead. Let's use the curvature. So this one will give us a little bit more control. So we have more control over this, act go down and then open this curvature setting up, if you do cavity, do Okay. Cavity edges. Let's increase this some more. It's not giving me the desired result I'm going for, though. I'm not getting that desired results in a processed, let's see. It actually want the yellowishness to be in between, like so. So we might just need to use a different mark instead for this because it is not giving me the desired result I'm going for. I fee for now. Okay, Let's take this down. Let's see if you give us something to work with. Not really. It's not really give me that desired result I'm going for. Let's do some adjustments here, let's see if we can fine tune to get something. Let's don't take down the sharp. I think the sharp needs to be all the way up. Okay. I'm getting something, boy, not precisely what I want to. Let's just continue making modifications to this and see if we can capture the essence of what I actually needed here. See can find still not yet. Not yet today. Okay, maybe just maybe something like it should work, but I'm going to add a blow filter to this filter blow filter. I think we already have blow filter in coverture already. I believe we do, yes, we have global blow in there. But it does not give me good results. It's just going to blow out the entire acne, so I need to add a manual blow filter to this actually. Okay. Well, not too much, though. Something like this should be fine. It's aimed on the keyboard. So I'm going to put this in a group folder. So Control G, let's add the black marks in there. So we need to specify where we want this to be applied on. So with the white now, we can specify where we want this to be applied on. Are you see on the keyboard again to bring in the marks. Okay. Nope. This is not working. It's not what I'm going for. Oh, Is that group? Is there something naturally in there? There's something naturally in there? Okay. Add the black mark again. I'm supposed to be able to paint in where I need this to appear. Yes, stink is working now. Imagine the black mask is working now. Because I turn this off and on, you can see the difference in here. So we really need to kind of paint this on specific crevices on this. So pins here as well. Opens here as well. Here should be fine. Okay. You have on the forehead, some crabss on the forehead. So let me introduce a little bit more on the forehead, as well. Alright, that's fine. Probably around the neck as well. Okay, I think we can work with this. This we can work with. All right. So now we need to introduce some brown spot across around this as well. Let's introduce some before we do that, I need to paint in some redness around the eye. Let me name this to yellow cavity. Okay, so let's duplicate this, bring this up. Okay. I'll add a black max in there. So this needs to be a little bit more of like a reddish tone to it. Let's get this towards a more reddish tone. Okay. So I need to actually pin this around the eye. So let's go to the pins to increase the opacity. Let's introduce some redness around the eye. Introduce some redness on the eye. Okay. Something like soup should be fine. All right. But I don't want to introduce too much because I still going to house surface subsurface scattering, so this just enough. Just something like, so it should be fine. Let me use the death brush now. That's three brush. Oops, that's way too aggressive. I want to introduce some redness around the nose. I'm reintroducing some redness around the nose. I was to kind of darken this some more get this darken a little bit more shouldn't be that red. Okay. So I'm introducing some more redness now on the nose, as well. Course we need some measure of redness on those parts. So I'm just going to add something like so. Not too much, but just enough to sell this out. So more. I'm just going to blend this down, though. So we're blending this down. Let's remote. Let's see some more regen we'll need to introduce some more redness, as well. Okay, I think I think around there should be fine. I also need to kind of blow this out just a tiny bit, actually. So let's add a little bit of blow to this. It shouldn't be that aggressive. Let's turn it off and on. Let's see. I think my blow intensity was a little bit too much. So let's take this down some more. I think something like so should be fine. No, I don't want to add too much redness because soft scratching is going to add some redness to it. I'll go back to that one. I need to go back to this yellow tone. Just introduce a bit more yellowishness around the shoulders as well. Okay. I don't want it to be too ready because I'm going to be adding subsurface scattering to this. Don't have the blow for now. Okay? Increase the blow size some more. Let's let's increase the opacity a little bit more. Okay, rotate our light source a bit more. I'll bring some more yellowishness. I've been the wrong brush all do why, so let's be too aggressive. Take this down, take down the flow. Okay. I don't want too much redness salsa was carting is going to add some measure of redness to this. Okay. I think we work with this. All right. Let's turn back the blow, and then we should be good. Okay. Now, I feel like around this chin region, I like to add a bit more of that golden brown. This brown tone, I like to add a bit more, so I'm gonna duplicate it at a black mark. Okay, let's introduce some more goodish brown in there. Can I Let me pull this up around here instead. So let's introduce some more brown tone. Some more goldish brown tone around. G some more Okay. I can see some around there as well. So introduce that also. So I'm just kind of blending between various different reference images just to get more realistic looking results out of this. You should help by a lot. Okay. I'm on the keyboard. Let's see what we get. At a bit more around here as well. Produce the bro size, introduce some more here as well. Okay. I think with this now, we should be getting a little bit more of an interesting result to it. Getting more of an interesting result. All right. But the gray. I think this bluish tone, I need to increase that a little bit more. Make this a little bit more visible. Okay. Go back up to the brown. Use bit more brown in here as well. Yeah, this is fine. I think we can actually live with this. Okay. We can introduce some more also, too. So more brown around the neck. Okay. I think you should be good at this point. You'll need quite a lot of brown in here actually. So let's bring in some more of that golden brown we will increase the intensity a little bit more. Make it slightly more obvious around here. The reason I'm doing that is because first so you guys a reference for this. Here at the back of the neck, you can see a bit more brown in there. A bit more brown in. Okay. Yeah, that's fine. So now let's add some speckles to it, or some spots to it if you prefer to use that word instead, so I need to add that. So I'm gonna be using this spot brush to actually introduce those in. So we're gonna be creating different variations. We're gonna have some red ones and then some actually dark brown ones also, too. Let's do a quick sieve. Let's do a quick sieve for this. As far as this goes, we are getting actually good result out of this. So let's create some spots. So I can just duplicate this and name these two red spots. And I'm going to add a black marks in there. Okay? Let's start with let's start with let's start with the more brown spots instead let's start with the brown spots instead. So I'm going to before we duplicate, let's just add it first. Let's add it first, so we can duplicate and convert it to a brown spots instead. So let's go and type in spots. You are various types in here. So we just need to pick one that would look better on our mode that was less to the ground spots. I will use this randomize. I is obviously way too much, but we're going to make it work. So detail don't want it broken up too much. So I'm going to add a blow filter to this. Okay. Then I'm going to use a more dark something like so. Should be fine. Yeah, something like so should be fine. Okay. Now let's go to the balance. We don't want it all over the place. Let's take down the balance. Just if you should be just fine. Okay. But of a bit too obvious, so I'm going to let's take it down. We don't want it to be too obvious. Just barely in there should be fine. I think something like so. I think I will need to even increase. Let's increase it balance a little bit more. Get some more in randomize this and take the upper down by quite a lot actually. So it should just be barely in there, but stay in there. Stay in there. I think something of this nature should be fine. I'm going to duplicate this spot brush now, this spots layer, actually, then I'm going to name this to dark brown. This is going to be dark brown spots. Go to the ground randomize this. But butler. I'm going to use a more bigger. Let's get something a little bit more big slightly bigger in shape. Then we change the color completely. This is a more brownish tone instead. More dark brown tone, like so. That doesn't do much, actually, so we need to actually change that in the grunge instead. Increase the tiling for this, get a little bit more in there. Randomize, randomize, kick down the balance. Okay, but we don't want this to be all over the place, so we're going to take it down as well. We also want something faintly in there. It's still very much in there. Okay? I think this is good. This is actually good. I'll save this. So at this point, I think we can now tackle the details for the painting details for the lip now. So I think we can use this. I'm just going to get in there. We can see how we are those spots in there as well. So everything should be working just fine now. Okay. So let's get some detailing for the lips. So I'm just going to duplicate this red spots. Well, I'm supposed to name that deletes red spot. Let me duplicate that actually, drag this up. Okay. I'm going to increase the opacity for it, and I'm going to add black marks in there. So you need to actually paint on the lips now. Take down the bro size. Let's getting close. Okay? So initial let's start by painting some redness in there. Okay? But as let's in next lesson, so you can be a bit more specific on it in there. So I'll see you guys in next lesson. Bye for now. 35. 35 Lip Painting In Substance Painter: Combat, guys. So in the previous lesson, we kind of blended the general tone of the skin. So in this lesson, we're going to paint the leap details in here, so let's get right into it. I'm going to zoom in it's a bit closer. Okay. So now, the first parts we need to have for let me change this to lip part. Let's do lip blush. So the first, we need to paint in there will be more pinkish tone, kind of, so. Let's start with let's start with the more reddish tone, actually. So let's go and just pick this skeleton. Let's find the most darkest one. I think this should be fine. Okay. Probably push it towards a more dark out tone instead as well. And let's go in and then just paint that in, reduce the brush size. Then we'll just start by just filling it up. Reduce the bre size a little bit more. Okay. So you want to kind of respect the edge as well because we're going to blow this out, so blowing it out is going to kind of bleed towards the edge. This is precisely what we want. So let's just introduce that. On do that actually now we can take down the stroke opacity and the flow for the top parts to just do slight blush for it. Okay. Slight should be fine. All right. It's X on the keyboard. You as a bit of this. X, we go back to the white. Okay it should be fine. Okay, so the next thing I will need to do will be to introduce some more darker tone to it. I'm just going to duplicate this. Add the black marks, and let's use some more darker tone. Let's find a more darker tone. Yeah, something like soap, which is tow the red a bit more. Okay. For this now, I'm going to just do this sparingly. Let's increase it some more. I think I'm supposed to use a different brush. Let's use this instead. That's three. This is supposed to just look. Can't even see is actually painting in there. Getting close. I can't really see that much, so I think I would like to darken it even more. Let's darken it even more. Maybe not somewhere around there should be fine. Okay? X on the keyboard, go back to the marks, X on the keyboard. Let's see erase a few. Again, to paint in some of these. Okay. Like so. E on the keyboard to raise a few of them. Alright. Then let's add a blow filter to it filter. Let's do blow filter. We don't want to blow this out too much. We still want something in there. Blow doble not too extreme. Okay. Let me name this two leap dark spots. Okay, that should be fine. Then I'll calm down in here as well. I add a filter to this. This will need to blow quite well. Maybe not too much. That was a bit too extreme. Okay, let's let's at least visualize this let's see what we get. Okay, I think we need to introduce a little bit more on the edge. So let's go back to tone of the blow. Okay, E on the keyboard, to go back to white so we can paint that in there Okay. Then turn on back the blow. All right. So yes, this is ******* just fine, so we can continue on. So I'm going to create duplicate this. I'm going to name this lip pink or light pink lights pink. So add a black max in the Okay. And I'm going to change the collaton for this. So the coloten I'm going to be using for this. Is going to be more or less like this lighter shade of pink. Select darts. Okay. Then let's go back to the brush and let's paint this in. So I'm just going to paint this in on the inward parts. We use the brush stroke and opacity as well. Brush stroke opacity and then the floor. Then I'm going to reduce the brush size as well, add a little bit of blush on the edge. If you do some blush on the edge as well. Okay? As well, use the same thing, reduce the bro size again on the floor. Do a little bit at the top. Okay, now let's add a blow filter to this filter blow filter. I need to increase this a little bit more. Let me take it down that was a bit too much. Okay? All right. I think this should work just fine except for the fact that this lip brush, we can take it down a little bit more so it's not too aggressive. Okay. Lip pink brush, we can tune this down a little bit more. This part ar one, I think I need to take down the opacity. Slightly too aggressive in there. Okay. I think we need this back some more. Okay. Alright. I think this should be just about right. I don't need to be too much. It doesn't feel like kind of female leap in there, but. Just enough to sell this out as it's been realistic enough for us to work with. So the leap is, I think it's a little bit too obvious. Ipsi feels slightly obvious. It's more like a female kind of leap in there. We don't want that. So I think I might need to let's put all of this in a group. Let's put all of this in a group. Let's group them. Then we can take down the general pasty of them. So it shouldn't be too strong, but still in there. Okay. So we need to blend this down some more. So let's see, Okay. Let's create let's put it in normal regular layer, then I'll P on the keyboard to pick a Cloton. Let's put this loton down here. Once you using this brush instead, then we can blend this bag down do that. Let's reduce this row opacity and the flow. So we can blend this bag down with the skin. You can just get a blend back down. Tsp again, select. Let's get a blend back down to the skin. Okay. I think something like so should be fine. This we can work with. Now, let's even go and visualize. So that reference in here, let's even kind of get a good idea of how the toe is around the lip Okay. It looks a little bit pale. There's more pale look to it. So we can add a few t to the group. Turn off everything apart from the heights. Let's use I think it's called HL. Let's do H let's see if I can find this. Setting. This should be the one. Okay, we can kind of do this down by taking this down some more. Can do this by kind of darkening it a little bit more. So it's not too obvious in there. Okay. Yeah, I think this should work just fine. Yeah, we can work with this and do a quick sieve. So now we can actually try adding some shadow in there. Let's add some shadows in there. Let's see how this look to some shadows and different lights at top in. Okay? I think we're in a good place, let's change the light completely. Let's use this black studio soft. Okay. I think this is looking interesting. What the shadow, light would be fine. Let's take down the shadow a little bit more. Okay. I'm getting something interesting, no doubt. All right. Now, let's change our lighting completely. Let's try this what it called outer layer. Now, this is a really strong lighting. Let's use something different. So I'm basically trying different light setup in here just to see how it looks no different light setup. Then as a bit of yellowish to it. Let's use this boards garage. But garage is actually an interesting one, so we just allow this set to 42 wire should get something cool like so. Okay? Let's see which other interesting lighting. Let's try this on. Okay. Lightning not looking that great for now, but it just to give us a good idea if you're on the right track or not. Okay, that's an interesting one. Nah, definitely not. It's a lot of painting around with different lighting in here actually, nothing too fancy. Alright. I think the studio lighting is like the better ones in year. Studio lighting is still the most preferable ones in here actually. Okay, Let's try this on. I see very much prefer it to Marcos studio, honestly, so I see this on actually has a very nice softness to it and ly ness to it, as well. Okay, let's try studio three. It's very strong arch lighting in O. It actually looks good. So your three actually looks good. Especially from this angle. Let's get some rambrant light to it. It looks good. Okay. So that was fun. So I think we have the lighting in here is actually just fine. We can use any of this. So we're testing out the skin with different lighting and then. For the most part, we are getting good result out of this. I think, as far as this goes, all of this is working just fine. All of this is working just fine. So I'm not going to turn back the Tomco studio. Tomco studio has neutral lighting to it. Okay. So I'll see you guys in next lesson, we'll work on something else. So kind of work on kind of getting the eye in the get good eye in there and probably get some kind of liking this eye in here, though. Maybe we can actually try something with this kind of texturing for the eye. We can experiment with something like that, just to see what we get and then move on to other parts of the texturing process. So classes. So I'll see you guys in the next lesson, bye for now. 36. 36 Roughness Painting In Substance Painter: Okay come about, guys. So previous lesson kind of finalized on the skin tone. Okay? But I still want tiny things to actually do. Let me just name this to Leap blend, Leap blend. Okay, I'm going to create a new layer in here. And on this layer, I'm just going to name changes to pass through. And I'm going to add a filter to this. I'll just use the sharpen filter. Let's use the sharpen filter for this. So I'm just going to use this kind of sharpen the entire texture. So you've noticed now, we kind of drag this all the way up, you can see how sharp, all the details are. But I want that, too. I'll also do that. I think we can take this down some more. I don't want it to be completely sharp. Just think somewhere around there should be fine. Can smove the sharply taken of picking out? If we use this brown cavity, Okay, yellow cavity. Brown. Trying to figure out where this brown spots actually coming from. Cutting, that's not the one. Okay, from this branavitin here, so we can take this down a little bit more. Maybe we can add a little bit of blow filter to it. Let's add a little bit of blow filter to it. It's not that aggressive in there. But the blow intensity is way too strong. Let's take it down some more. All right. I think something around there should be fine. Okay, initially, I was thinking we're going to start painting the eye boots going to add some create some roughness map for it. So we need some roughness map. So let's paint in some roughness map, so select this bee Let me just name this to B roughness. Okay. For this balon, I'm going to increase these two. I still want some roughness in here actually, but I don't want it to be too aggressive in. Let's do something light and in something like, so it should be fine. Turn of the shadow for now. I think this is a good Bs Okay, and I'm going to duplicate this. I'm going to add a black mat. I'm going to add a fill, and I'm going to use the cavity. Let's use the curvature of the head. Where is the head curvature? Okay, this is the head curvature in here. I want to use this kind of drive the roughness for this. Let's visualize the max. Okay, this is the max. I think this is in a good place. So I'm going to come down to the roughness, make it a bit more shiny. Now, if you make it a bit more shiny, we can see this kind of interesting roughness we have going on in there. But for the as a bit too much for the air. If I see on the kable, can say a little bit too much on the air, that we need to reduce. So I think this is coming out just fine and I'm going to but it's way too rough actual. It's way too reflective. So I need to take it down some more, take it down a notch. Okay? Let's see. So that need to rotate our lights across this just to see how shiny or reflective this is, I think. Somewhere around there should be fine. And I'm going to add a little bit of blotter blow filter to it. Okay. Okay, let's see the marks. Okay. I think this might just work. This might just work. Let's take down the blo some more. I don't want you to be too aggressive in there. Let's see on the keyboard. Let's see. I think we can work with this. I should be just fine. Okay. Then I'm going to add, we can just paint directly in here actually, so the brush, I'll turn on symmetry for this. Okay? Cause I want to erase some of the some of this on the air. So tech on the keyboard. Come on. Can tie paints. Can't tie rise. Let's add the paint layer instead. Let's add a pint. Yeah, much better. Use use the bros size. So more. Okay. Onto that, actually. Let's take down the stroke opacity and take down the flow. I don't want you to be too aggressive on the air. Let's just get slice blend around those parts. Okay? So it's working symmetric calde which is fine. Everything else should be just fine. Then the next we need to do is to paint in some empton of symmetry for this. Let's paint some oily skin. I'll duplicate this at the black marks. This one should be a little bit more reflective. Okay? Se on the keyboard. Okay. Come on. Let's visualize the marks instead. Oh, let's do some roughness instead. Let's go to roughness channel instead. So I'm just going to paint some more roughness on your forehead, more or less like some kind of teas on kind of reflectivity in there. Let me show you guys a reference in here. I can just find it more air from there. So more paintings on reflectivity around the face. So oil teas on. So for around the nose, regions around the cheeks, most definitely on the lip and around the chin. So in this region, I'm going to paint in some more roughness in there. So put it to the side. Okay, using bo size. Getting on the nose, put some more roughness in here. Okay. Yeah, st more around here, quite more on the lip. Quite more on the lip. Okay. Pin some around the jaw line, get close on the cheeks. We're going to blow this out though? Let's just get them in. Since something pretty much like this around the eye also, too. On this region, we need to add some more wetness around the ear. Okay. Wetness around the should go a long way also, too. Okay. I think it's a bit more around this bit also too. I'm on the keyboard. You can see doing is a bit more referencing, so I'm going to blow this out at the filter blow filter to it. Okay. I think this should be just about right. Learning to do to explode to extreme. This should be just about right for what we need it for. Alright. The speckles we have on the lip, I would like to reduce that. But let me rename these two. So we actually know what is actually in the roughness, caviting instead. Let's do caviting instead, okay? For this, let's do roughness. That's fine. For the lip, go down to the lip I think I should name this lip paints. Okay. For this spots, I think this spot is a bit too obvious in there we don't want to be too strong. Bear in there should be fine. So it should be fine. Okay, that's fine, so. I think we have officially painted in the roughness map. So the next lesson, what was going to paint or bring in the eye and then do some more working there. Okay, so I'll see you guys in the next lesson bye for now. 37. 37 Eye Painting In Substance Painter: Welcome back, guys, just listen we're going to be painting or texturing the eye. So let's get right to it. So I'm going to go over to I'll turn on the Iris. Okay? Turn on the Iris for this. So let's go to the Iris. I don't sold this out, so. Let's just turn of the outer iPhone now. Let's just visualize the Iris salon. Okay? So let's bring in the textures in there. So we have texturing in there, so a few ton on roughness, normal. So let's type in Iris. That the base colon, introduce the base colon. Roughness, this needs to be needs to be extremely rough, like so introduce normal as well. Okay. I think something pretty much like it should be fine, but I would like to paint in a different skin tone in here. I like to get a different skin tone painting in or etaile texturing detail in there. I would like to paint this set of eye in. Okay. So let's start. Let's go in there and start painting this, so we can now isolate this. So I'm going to start with a few layer this few layer, I'm going to pick pick this colo tone as my base tone, I'm going to add a black marks in there. Okay. I think for this I would need I'm going to specifically use a different size if brush, actually. I think the default brush should be fine. Because I'm kind of second guessing this dead brush actually. Anyways, let's use a dead brush. Let's use the dead brush instead. Use the brush size. I still want to maintain this outer edge. This dark shedded outer edge. I still want to maintain that as much as possible. Okay. One of the more difficult things to actually paint is high texture actually. It's quite difficult to paint and to get perfectly right. Okay. Yeah, I think something like so should be fine. Then I'm going to blow this out. Let me use the broad size some more, paint some more on the edge. Okay, let's add the blow filter to this. Increase this by a lot so it actually feeds out on the edge. Okay. I think we can start with this as a good base. I will need to tune this down some more. All right. Now let's duplicate this layer, the black marks. Let's figure out the next to pints in your let's go in and change the colo tone. Let's change the colo tone. Let's see which moloton we can find here to painting. Okay. Kind of trick actually paints this in. It's a quite a tricky one. Let's see, let's use a more lighter sheade. I think a more lighter shed should be fine. Not too much. Difference is not clear let's a more lighter shed. So for this, I'm going to use the curvature for this. Let's uses a few A the generator to that field. Let's use the cur Votuor Okay. I think this looks we just need to modify this a little bit more. Balance, take down the balance. Okay. Here, I think something more or less likely should be fine. Then we cannot specify where we want this to actually be applied on, so we can do let's do put put this in a group at the black mark. Then we can specify where we want this to be applied on. So something like so should be fine. Okay. Pause brows a little bit more. Okay, like so. I think this would work? I'll add the blow filter to this. Let's add the blow filter. All right. I'll take down the general pasty for it. Okay. Okay. This is fine. All right. So now let's introduce some brown texture in there. So I'm going to let me duplicate this instead. Let me rename this. Let me rename this to blue gray base. Let's use our cups for this. Blue gray base. Let's do lights gray. Okay. Let's visualize it from a distance. Let's see. So I very much strongly like to maintain this dark brown on the edge. Or this dark on the center, actually, so I'll maintain that as much as I can. Then on the outer edge, let's pins, let's duplicate this. I'll need to name this to dark brown. There's a dark brown. Okay. All right, so I'm going to add a black mark to this. I'll pull this up, and I'm going to use a more dark brown tone. Let's pick this dark brown tone, get a bit brownish. Okay. Then we can go in and actually paint the texture in there, reduce the bros size. Okay. Won't do that reduce the brush size. Get some more of those brown. All right. Reduce the brush size. In something pretty much like so. I would like to even darken it even more. This is a dark more darker shed. Okay. Oh, I see why it's not. Let's increase this some more. Let's go back to the color, tune this up a little bit more. Okay. I think this we can work with go in painting some more. All right. I'll do some shape on the edge. Do some brick up on the edge. All right. I'm going to blow this out. Add a filter, add a blow filter to this. Okay. Now, don't worry, it's actually affecting the opist of the eye, looking at this from a distance now you can see how we're actually getting something in, actually getting something in. So I'm going to duplicate this now. I'll add a black max, and I'm going to add more use a more yellowish tone for this. We use towards a more yellowish tone. Okay, then with this, I can just pint paint some sort of yellowish ne. So maybe on use the curvature. Use the curvature for this instead. Using co virtual should work just fine. Let's copy effects. Best effect, best effects. All right. This is interesting enough to work with. Us to yellow. Yellow edge. I'll put this in a group, I add a black marks to it. So we can just introduce some of these back in on some region. You don't need to be all over the place, though. You just need to. You can just introduce some of them back in. Pretty much like so. Just a bit broken all over the place. Then I'm going to add a filter, add a blow filter to this. Like always would This blow I'm not sure I can see much of this happening. This blow is a bit weird. This blow filter is a bit weird. Let's add the blow filter on here instead. Okay. I think we need to go into the cvture and then do some fine tuning in there. All right. I don't want it to be too obvious, so let's take down the opacity. Let's zoom out. Let's see. But I just to zoom out and then see what we have in there. I think we need some more blow. We go Let's add the blow here as well. Okay, make it a little bit more visible. All right. I think we have something interesting in here. One more thing I would like to do would be Can we introduce? I think we can still introduce we can still introduce some of the yellowishness on top of this. Can introduce some more yellow around here. Yes, I think we can do that. Okay. Yes. I think that's final. And there's something that's actually missing and I feel like, let's go back to the. Let's go back in here. Let's see. Okay. That's a bit more brownish tone in there. A bit more brownish, dark most black kind of. So I'm going to duplicate this, pull this all the way up, all the way up. But on that off. Let's just change the colour to more more dark more darker tone, more darker tone like silk or the black marks. Then we can just manually pins. Sink I can just pin notes under edge. I think somewhere close to the edge would be fine. You can just pins this around, like so. Alright. We can introduce a little some more that kind of breaks out. Okay. I think let's do some more. Then we can add a blow filter to this filter, blow filter, load this out some more. Maybe that's wore something like soap. Okay. I'll go down to the base. Let's go down to the base. I think I can duplicate this and then dark in this some more pushes towards a more darker tone. I think this is supposed to be let me put this on top instead. Make it completely visible. Okay? I don't really see much happening in there, though. I can't really see much happening in there. All right. Let me take this all the way up instead. If we drop this here, let's see what we have. Okay, on and off. D some more. Okay. Then I'll start bringing it down and find a good place for it. Okay. I think it doesn't make sense, though, but we kind of losing that blend we have in the Let's introduce just trying to find the right balance for it. Now for the yellow, this is the yellow. Let me name this yellow edge. Python that off. Yes, you need to kind of take it down. It's a bit too strong. Let's take it down a little bit more. Now let's see I think this we might be able to just work with. You go to the coverture, blow this out some more. I don't want it to be too sharp. I think this will actually work. Alright, so now let's go back to let's make this outer ei visible bots. Now there are things we need to do first introduce to change the shader. Let me see if this as well. Kind of change the shed out to begin with. So we need to use a different sheder this in here, so we need to change this sheade out to Pubial metal ofafa blending because we get some glass material in there. Okay. Then we go over to textual set settings. Let's add opacity to this. Okay, so we go to layers to delete this, add a few layer. Ton on opacity, tour on roughness. I think these three tests turn on normal as well. Now, let's go in and type in out eye. After I use the base color, then the roughness, add the roughness in. Then the normal map, use the normal map again. Okay. Then the opacity map. This is not its opacity. Yes, this is the opacity map. Select that. So going to create that shade that we need now. Okay? So I think this would actually work. But I feel like I need to increase. I feel like I need to increase the inner eye a little bit more. Inner eye needs to be increased so more, let's just visualize everything. Let's see where we are when we visualize the entire outing. Let's eye this eyeglass for now. This would actually work. This would actually work except we need to make some more modifications to it. Something intercepting in here, which is weird. I believe it is the miniscus Minuscus actually interfering in there. Yeah, I see was still need to make some corrections in for the eye, but I think for the most part, this is looking good. So for the minuscus Yeah. Let's just go in and then add up past the channel to the miniscus as well. Okay. Let's turn on metallic, tour on opacity, tour on roughness. Okay? Increase the metallic. Make this kind of watery line sort of. I think this should be fine. All right. Ont is certain. We need to scale up the inner eye. Let's go to the outer eye. I think metallic needs to be turned on, and then we increase Whoa You're not supposed to kind of create undo that. Oh, yes, I think I know what I'm supposed to do. I'm supposed to create this. Turn off everything turn turn on metal, increase the metallic property, increase the opacity. What pasity were you going to use that same texture in there. This is not working well once. Nah. Let me add it again. Okay. It a little bit of metallic property won't really matter, tal because we're going to use metallic property for Arnold render. We just need to have something in there, actually. Basically I was trying to create something in there. I pretty much it. Okay. Now, I think we can keep this we can work with. Or we can actually push this step further by. This iris, you can actually have some more kind of push the edge a little bit more just push the edge a little bit more. We can quite easily do that, I believe. Let's just go and try that on. Let's go back to the iris. Let's isolate the iris. Okay. I'm going to create a new layer on top at a black max. For the color for it, I'm just going to use no, let me close this for now. I need to use let's pick this Cloton instead. Okay? And in there, I'm going to add a few layer and I'm going to add like a ring. Maya it's even called inner circle or something. Let's just type in circle first. Something that like an inner circle to it. Let's try and find it. I believe it should be this one. It should be this. Then let's go over to three D and two D. We pine to more space. Let's get this out. So we don't want this to repeats. We want this to have repeats. I'll scale it down. Scale it down pretty much this way. We don't but we don't want that. Go down control and shifts, move this out this way, some more. Then something like so, then I'm going to add a blow filter to it. Add a blow filter, increase the blow filter by lots. Then I can start darkening this even more. So it blends with the others. Just make it blend with the others. Let's go back to three D. Let's visualize everything again. Eye D eyeglass. Yeah, perfect. So sorry I pretty much like this should be fine. Pretty much like they should be fine. We have this outer ring. Not sure where this out ring is coming from, though. This outer ring, weird outer ring. We have this weird outtering. So I think I would like to fill up that outaring. I think we can just manually paint in. I'll duplicate this again at a black max. Then paints on under outaringPatinum paints on it. Everything is turned on, but for some reason, I can't even paint on it. If we turn this blow off, still clearly visible and it's in the actual so I can't even paint on it. Something that just stuck there. I can't be painted off. Most likely it's coming from the normal map. It's most likely coming from the normal map. If you hide the normal map, I don't think we need the normal do we need a normal map? Well, I think as far as this goes, this is fine aaturally. We just need I think I can just leave this as it is. From a distance, that really looks good. It will work just fine from a distance. So I'll save this. Let think this we can work with Okay. Let's introduce some shadowing sweets. Rod some shadows. Let's see. Yeah, this eyes actually nice. So we can actually alternate between using nogular maregular brown eyes or I just it's kind of get something a bit more interesting for the eye. So as far as this goes, I think should this should work perfectly just fine for what you need it for. Okay. Yes, we can definitely work with this. All right. Center dark shade is fine. Okay. If you go in and then turn off this normal again for it, I think turning off the normal doesn't really do much. Sin it's fine without the normal mapping there. Okay, so I can work with this. So in the next lesson, we'll just move on and then work on other parts of the mesh. So I'll see you guys in the next lesson. Okay. Bye for now. 38. 38 Eye Glass Texturing In Substance Painter: Okay, welcome about, guys. So in the previous lesson, we kind of worked on the eye. Okay? So in this lesson, we're going to carry on and then move on to something else. Let's work on the eye glass and then work on this neck color. Okay, so let's get right into it. I'm going to select the eyeglass. So if I go to textuce settings, I'm going to increase these two fork a resolution. Also on the eye is, I would like to increase that to FokiRsolution, also. You can see the best fk resolution. Okay? That's fine. Yeah, no, selecting the wrong one. Let's say this to FokiRsolution. So you should give us a little bit more better looking eye. So get better looking textures for the eye now, which is fine. All right. So back to the eyeglasses. So for the texture statins, we want to make sure we have opacity also applied. Okay, let's go to the layers. So we're not doing too much yet, though. We're just going to use in based on the reference. We're just going to use like a good material for it because it's more I would say more or less like a good material. I think good material should work just fine. So let's get right into it. I'm going to create a new fill layer to on metallic and roughness and opacity for this. This is going to be for the glass itself. So let's take this down. Quite reflective, increase the metallic. Not too much metallic though. I think something I saw should be fine. Okay. I will also need to add some sins in there also, but for now, let's just get the glass material in. Make sure it's working correctly. Okay. So I'm going to add let's add dine group. I'm just going to name this two glass, Okay. I'm going to create a new fill layer on top of that. This butler one is going to be just for roughness alone. For the traris I'm going to bring in grunge and scratches. Should have grunge scratches map somewhere around one of these. Okay. Let's look for really nice one. This one looks interesting. Let's try this on. Okay, I'm not supposed to even do this this way. I'm supposed to add a black max and then add a few layer, and then we can now use it in there. All right. So if you go back and then increase the roughness for this, so you can set sees now from this side. You can see how stand up it looks. You can see how quite stand up. I don't want to be that too much, so let's go in and make some adjustment to this. All right. Probably tau this a little bit more. I think somewhere around seems just about right. So you get some stings in there. We should work just fine. And I'm going to add a black mass to this entire group, and then mesh fill. Let's use mesh fill in here, select these two. Okay. I think that should be just about right for what we need it for. So you should catch reflection quite well. Then the rest of the piece, let me just name this to glass. Okay? So I'm going to use the metal material for the rest of the body. So let's go over and then go to smart materials. In this bronze, this bronze one looks like a good one. Drag let's drag and drop this bronze in here. Drag and drop this just below to give the moment to apply on, okay. That is looking quite interesting. The screen more used up look to it is precisely what I want. We need to make some modifications to it, though. So modifications needs to be made. Let's see this edge damage. Edge made is slightly way too much. So you need to take down the heights of that. Let's take down the heights. Let's do this from the channel. Let's go to heights and take this down two bits. So should just see this from a distance, and then that should be fine. Okay. Yeah, I think this should work just about right for what you need it for. All right. I think this should be fine. Yes, that looks fine. We don't need to do too much in there. This will work just fine. Okay. But I like to make this go back to the glace. I still on the glass. I would like to come back in here. Let's see if we can the metallic, I'm going to increase the metallic all the way to the highest. So we get something quite reflective in there. Now this is not okay. This is fine. Okay. Yes, you should work just about right for what you need it for. There's some stand up glass looking shape in there. Okay? Yeah, this would be fine. I'm thinking of adding some kind of thin film also in there. So I'm going to duplicate let's duplicate this layer. Let me just name these two scratches. Okay. Then I'm going to duplicate this layer, add the black marks to it. And I'd like to bring in I think some oil texture mapping here. So I think I should have, should I should have one here. I'm going to drag and drop this in Okay, it's interesting. Here right off the bat, we already have something quite interesting to work with. Can see how we have almost like imitating kind of thin film in there. Almost imitating some thin film in there. It's a bit too much, so I will need to take it down a little bit. So let's go to the color. Let's go to this color in here. And then we're going to introduce that in. I'm going to take this down actually, let's just take it down a little bit more. Okay. I think we can work with this. Let's see, should have some thin fin in maybe increase that we don't want to go all the way up actually. Should just be barely in there. Okay. Look at this straight on. You don't see too much of it in there. I think I need to tune it down a little bit more. Not too much. I still want to kind of see it in there. Yeah, something like so should be fine. You put this nice looking effect in Okay. The difference is that, how do we actually export this out, so I'm gonna figure out out actually later on to figure out how to export this out and get this to look like so. Okay. So yeah, so that should be fine. So the next we need to work on would be to let me put this around here for now. Next we need to work on would be to add some fabric material in here now. Okay, I think the material we are for this is the same one we have for this also. Okay? So, let's get that. Let's get that material in. I'm going to turn off the robe for now. Okay? Yeah, I think something like so. Let's go into the neck collar. Is the velvet main? They velvet. They velvet material. I don't think vevet material in here. Let's just do fabric. Fabric superhero, no. Fabric first. Let's just see which kind of fabric we can use fabric plain. It's actually my own, I can provide this if I feel this is what I'm supposed to use. Okay. Let me try this one actually. Let me see how this actually looks in there. Let's get this applied. I don't see any major difference in at all. Let's upscale this. Okay. From the stem tone of these shadows for now. So you can actually see the fabric better. I think this one actually looks good. I need to make some corrections and adjustment to it. Starting with the normal temping. Let's see, we have normal map in you already Okay. I think the default will be fine. Let's say this back to the five that was there before. Oh, let's see. Let's do check the IT information. Yes. So that's a bit too aggressive. Let's get good IT information in. Okay, I think we might just be able to use this Okay. Then I'm going to introduce a floral pattern in here. I'm going to drag. I think I'm supposed to rename Let me rename this. Let's name this to floral texture. So let's do TXT instead. Pattern. T pattern will be better one. Let's do floral pattern instead. A Zoo pattern instead. Okay, so I'm going to drag and drop this in. I'm going to bring this in as a texture file. Click Okay. All right, so I'm going to create a new few layer. On this filler, I'm going to add a black marks. I'm going to add a fill, I'm going to drag and drop that in there. You can see how we have something in here now. Let's tie this a little bit more and change the color some more. Let's use a more grayish tone for it. Also, I'm going to bring in roughness and metallic also. Let's add some metallic property to it. Okay. I think my tiling is way too much. Set this back to one. All right. So this something big. Let's do 1.3. Yes, it is an interesting one. To the general color of the fabric in itself, I think I think I will need to adjust this a little. Maybe won't completely change it change it to something default. Let me hide it for now. Let me even use the default. Let's use some default fabric in the Let's go to materials, type in fabric. This is some default fabric in here. Let's see. You just need to figure out which paler I want to actually use for saving this. Just look for something that has a bit of reflectivity to it. So, this palon has good reflection, so let's drag and do in between. But I'm not really liking the pattern, though. I'm not really liking the pattern I have in there. But I think this might actually work. So let's just tyle this W. The great tiling. I'm not a fan of this grit tiling in there, though. What other option do we have? Everything still comes with this tiling pattern in there. I don't really want that, so I think I'll need to take down the heights position. Maybe completely just turn off the ides. But I need that light. I need the ides. Just figure out where that particular option is and then stick it down. Creating some large pattern which not really fun of. Not really fun of this pattern we have in there. Let's figure out see if you can remove it somewhere. That it? Not entirely sure, fabric metallic leave that on. Color variation. You need that as well. So you need something more let's do a more whitish tone. I'm not really liking this pattern we have in there. I don't need this type of pattern in. Maybe we can do something like this. We can turn off the eight for this. Turn off the height, and then we use the eights. We use the eights for this. It's kind of change. This butler kind of changed default material we had on there before. Let me do that a few steps. Let me do this a few steps. Okay, we still want to keep this definitely. We still want to definitely keep this. Maybe we can just introduce. Can we do drag and drop that it's affecting it in a weird way? Let me do drag and drop this again. Old with the top, actually. Bring this down. Okay, now we can have it in here now it affecting what is below. I think I also like this pattern we have in here as we think this bigger pattern is actually not too bad actually, not too bad, so we just need to change this up to a more brighter colo ton. Maybe not too bright. Let's take this down some more. I think somewhere around there should be just about right. Then let me name this to floral pattern so I know what it is. Okay. I'm going in and adjust this a little bit more. So it shouldn't be too strong in there. Adjust the tie in. Okay, we can go in there as well. I think we can introduce some information to this as well. Let's introduce some It information. That's way too strong, obviously, so we need to take this down some more, but it should still be faintly in there should be fine. Okay. I think we might be able to live with this maybe with some slight modification, let's bring in the color variation in all the way up actually. So you get some strong color variation in there. Then I want to take down some more, take this down some more. I don't need to be too aggressive in there. Just faintly in there should be fine. Let's use the value of two. Okay. Yeah, this can serve as a good base for us. Serve as a good base for us. But I think the color white, I feel like I should change the color a little bit more. I don't want to be completely white. Let's do more stand up white for this. Okay, let's bring everything back out. Alright, I think this is a good one. I think this will work just fine. So I'll save this. So the next lesson, we're just going to carry on and then continue working on the other parts of model, okay? So I'll see you guys in next lesson. Bye for now. 39. 39 Robe Texturing In Substance Painter: Welcome about guys. So in the previous lesson, we kind of worked on the neck color. So as much as I kind of like what is in there at the same time. Not really digging what is in there, though, but we're still going to circle back to that. Circle back to that in a bit. But for now, let's just carry on and then keep making some more adjustment to it as much as we can. Okay. So yeah, so let's move to the next piece. Let's let's see what we have in here. Let's move to this piece in here instead. So let's go to the Rube, select the Rube. Go to layers, delete this, set the resolution up to four k resolution. Okay, so you can see the best possible quality in All right. Let me just set this somewhere around there. All right. So now I'm going to let's see. I'm going to go over to materials. Materials already I type in fabric. Let's see some fabric material in here. So I'm going to using some nice shiny fabric as well. There's quite a lot of fabric going on in here. Fabric Jersey. You just need to find a good one, fabric space mesh. Fabriol Let's try this one, Let's see what we get. Okay. I don't think this is what we need. They looks quite interesting, though. Looks interesting if you till this by lots. Giving us a interesting vibe to read, but no, I don't think I'm going to use that. Let's see fibric lon, dragon drop that's in there. Let's tile this. This looks like an interesting one. I think I might just be able to work with this. This looks like an interesting one. I will need to tile this by lot. Let's use ten of ten. Let's go even higher. Let's see if we can make it quite small. Maybe that's way too small, let's do 15. Okay, but we need to take down the height information for it. But before we do that, let's see if we have another terrain here. Glossy metallic lon. Yes, perfect. Perfect. This is a much better one. So we have to colours in here, so we're going to change of the colours just to fit what we need in here. So I think I have a good reference that would actually help. I think we have here this is one. Okay. So let's start with let's start with getting something different in there. Let's do. So we have this white, and so let's start with this. Going to pick a more darker shade from it. Okay. For this, we can use the lighter shade. Okay. I think we need to make some more corrections to this. Im darken this a little bit more. Okay. That can do some more as well. Somewhere around there should be just fine. Okay, maybe a little bit too much, let's add some brightness to it little bit of brightness should be fine. Okay, somewhere around there. I kind of the same color code I'm using. Okay. I think we can start with this as a good base. So there are a few things we need to do in there, so I will need to go over and then let's start by taking down the t information. We don't want too much t on there. Just enough to give that illusion of it being fabric. But not something too extreme. The metallicness, I'm going to take down the metallicness down some more, not too module. Somewhere around there should be fine. Let's roughen this up some more. I think somewhere around there should be just fine. Let's bring some more metallicness in there, okay? But I feel like it's pushed towards a more darker shade. Let's try a more darker shade. So you can actually have this gray Os vish pattern kind of picking up a little bit more of your so. I think this should be fine for now. Let's go back to color. Okay? And I'm going to I need to I think I have a particular. Yes, we have something in here, no doubt. We have this flora pattern. We are about this. I think this is based on our work for. But I need to convert this to a black and white material. So let's drag and drop this into Photoshop. Let's put up Photoshop and drag and drop that in and change it to a black and white material. All right, so I'm just going to drag and drop this in here. Okay. And I'm going to use the black and white filter. So let's do Let's black and white filter, black and white, okay? That's it. Okay. I'm going to zoom in. Let's use brightness and contrast. Let's get some more brightness in there so we can actually separate the colours out a little bit more. That seems just about right for you need it for. And I'm going to save this out again. Let's let's save this as a P engine instead. Okay. So I'm just going to put BW in front. Okay? That should be fine. And let's go back in here. Let's go back to subton Spencer and bring the material in, so we should have it down here, and drop the scene. Yeah, let's just see this as a texture instead. Import as a texture. Okay. I'll create a new few layer. Add metallic. Let's let me turn that cove actually. Let's just use color Iloone for now. Add the black mark. Let me name this to flour. Okay. Then I'm going to add a few layer to this. Add a few layer to this. Fila, I'm not going to drag and draw the pattern in there. Then let's tau Tau is quite more. Okay. Tau is a little bit more. All right. And I'm going to select these two, put them in a group, add a black marks of the group. Let me name this to dark blue fabric. All right. Then I'm going to specify by doing the polygon field. Let's do mesh fill instead. I feel this mesh and this mesh as well. Okay. But we need to bring back that bluish tint to it. Let's bring back the bluish tins. Lest have that bluish tint in there. All right. I need to kind of take down the paste for this. I shouldn't be too obvious barely in there should be just fine. I was to add something a bit bit more interesting in there. So I'll need to first of all, let's add some It information to this. Let's introduce a bit more eight to it. Okay, then we'll go over to It and then take down the t for this more. Shouldn't be that aggressive in there, in there enough to kind of give us a good idea. Something's actually in there. Okay? Let's let's come down in at we won't change your projection. Let's try this one. No. Planar. I think the back is not going to look good at the back. I figured it's not going to look that good at the back. Let's use something a bit more unique for this. Let's do triplanar. Now, trapna is not going to work for this. Not what projection. Let's try cylindrical, no. The best is UV projection, though. Best one is U projection, maybe just thus even more. Maybe this is slightly too much. Let's do 20. 20 seems like a good one. But at the same time, I don't want it to be too obvious in the Let's see if we introduce some metal. Let's do some metallic property to it. S to make it shine a little bit small. Okay. Yeah, I think a more dollar shed should be just fine. We don't want it to be quite aggressive. I think a more dollar shed should work just fine. Let's introduce roughness as well. That's way too much. Think somewhere around there should be fine. Okay? We can take down the heights some more. Let's take down the height channels down some more. We don't want it too strong on the texture. Okay, I think something around the nature of this should be fine. And one more thing I also like to do is to bring some interest to it as well. So I think we can open up the shadow here. Let's do type in oil. Et's bring this in. I'd like to add some oil texture into it. Maybe maybe not this one. Maybe not this one. Let's use the Let's try the second one on there. Come on, do that. Let's try the second one. Okay. I don't want to be this aggressive in there, so we will tune this down by lots. I should just be barely in there just to give it int of color variation in here. You can see we have this ins of color variation in there, which is cool, precisely what we want. So I'll go in. I think I can tu this. I'm just going to tu this some more. Myb that's way too much. Tu, I think, just maybe something like it should work. Okay? So I'm going to take it down some more. I don't need to be too aggressive. Brey Inda should be fine. Beery Inda should be fine. Okay? She does give us a hint of variation in there that work just fine. Okay, so I think we can work with this Okay. Now for this blarafuler pattern, I'm going to add a filter. I'd like to add a sharpen filter to it. Let's add a sharpen filter. Sharp sharpen filter. Okay. Just to kind of sharpen the edge a little bit more, but at the same time, still tune it down. Tune it down. I think the sharpness is a little bit too intense. Something light and should be fine. Oh, I think I did not feel the second part. Let's feel this part as well. Okay, I think we can work with this. Now I'm not supposed to have this effect in these back parts. I'm not supposed to have this effect in the back part. So let's exclude this X. Let's exclude this. But as far as this goes, I think this would be just about right. I'll go back to the neck color. I'd like to change it to more good material. Let's change it to more goldish material instead. Okay, so let's use something to was an int of good. Okay. Let's find a good hint of gold in there. Increase all the way up. Yeah, I think we can work with this. Yeah, we can work with this. Let's carry on. So I'm just going to go back to the Europe itself. Let's go back to Europe itself. And let's work on the other parts. I'm going to duplicate this. Yeah, I can duplicate this and then I would let's duplicate I'm supposed to rename this properly. So ro should be in front. Okay, that's fine. I'll do duplicate of this. Okay. Then this is going to be the gray fabric instead. Let's do gray Okay. I'll add the black marks. Right. Then let's specify where w to be applied on. W is to be applied on Act on the keyboard, select this as well. This as well, all the way to the back. Daughter actually fixed this. Daughter actually fix this. It's not going to be major issue major cause I'm not gonna be rendering that part, so I don't necessarily necessarily need to work on that. But once we need to work on this, let's go and then change this to more grayish material. Let's use the more greyish material. So coming here, do we have okay, it's to glossy obviously. So let's push more whitish or grayish material. Okay. Push this up some more it looks way too metallic for us to work with. So we need to work on this w metallic, take it down. Maybe we can take it down almost completely. Okay. Yeah, that should be fine. Roughness, increase the roughness a little bit more. Let's get some rough er texture going on in there. Okay, then for the pattern, let's turn up the pattern for now. I think I need to take down this metallic property down some more. Okay. But I think we need to use a bit more of an orangish tint to it. Let's push towards orangish tint. So it doesn't look completely white. So orangish tint. Okay. I think something around the nature of this should be just fine. Alright, so now the flora design, I think we can use another one Let's use this for this butler one, I don't need any metallic property in there actually. So roughness should be just fine. Roughne should be just fine. I'm going to change the flora pattern. Let's use this instead. Maybe let's stick with this. Let's just reduce the ski Let me use the scale of five bigger scale should work just fine. Let's try nine. Okay. This is one example. I'm going to duplicate this duplicate effects. Let's change the pattern. Let's use this pattern instead. Yes. Yes, this is way better. I think this is a way better pattern, so actually using. Okay? Alright. But I think I need to Let's Okay, this oil texture, let's increase the oil texture. Let's see what we get in there. Maybe not. Let's try one at the bottom. Okay. At the bottom, we're going to take it down. Just a little int of that in there. Just the int of that should be fine. And I'll see go. I'll go back to fabric on. I would like to maybe probably increase the brightness some more brightens a little bit more. I don't need to be too dull. Okay? Let's go back to the oil texture. I think we need to extra and thou this a little bit more. Let's see what that gives us. Okay, I think this should be fine. This is fine. This will work just fine for what we need it for. Okay. The blow how much blow do we need in there? Let's blow it out some more to have it quite soft It's quite soft on the surface. I think, as far as this goes, I think this should work. I should work just fine for what you need it for. Okay. So now we kind of check. I think I need to take down the metallic property of of this dark blue. Let's go into the texture itself. Let's take down the metallic wp metallic. Take down the wbp, I think we actually need that war metallic a little. Then that can do some more Okay, maybe push the sauce that int of blue, but not too much of the int of blue. Let's get a good value for this. I think somewhere around there should be just fine. Let's go in and bring back let's save this. Then go in and bring back the shadowing in there. Let's compare. Let's see how this looks with some nice shadowing in there. Okay, let's turn on the shadowing. Okay. Let's see. All right. I think this we can work with India. This should be just fine. Okay. Yeah, I think we can work with this. So yeah, so in the next lesson model is going to move on to this. I think that should be last, that's last Oh, we need to work on this. So I can I can just give this the blue instead. The blue should work just fine for this. The blue should work just fine. All right. I think this should be just about right. Okay, so next las, we're just going to carry on and then work on this final neckerchief. Okay. I'll see you guys in the next lesson. Bye for now. 40. 40 Neckerchief Texturing In Substance Painter: Coburger. So in your previous lesson, we worked on the fabric for the robe. So let's move on and work on this fabric for the neck kerchief. And those wrap things up there. So I'm going to go to the eyeglasses first. Let's start with the eyeglasses. So I'm molding control and oats to select the eyeglasses. And I'm going to grab this bronze, copy that. I'll just go into this neck pendants and then just paste that in there. Yeah, no like besser, basically, I'm not doing anything extra as much as far as that goes. I think what we have is really fine. Also, to the lighting setup I'm using is the studio Blacksft. It's just the one beside the Tomaco studio. So it kind of gives a really interesting light into it. You get some really interesting lighting and shadowing to it. Which looks quite nice, actually. So most especially this kind of light setup. Okay. So I'm going to leave that as it is. So let's go down to this fabric down with the red fabric. So I think I can use. I believe I have mine. I can use mine. So let's go to smart material. I think I have fabric. Let's type in fabric in here. I believe I have a red fabric, yes. Bandana fabric in here. But we need to make modifications to it as well. But let's just start by dragging and dropping that. No, not yet. Okay, let's drag and drop that in here actually, so we can use on our pods and drop on the mesh, so it should automatically get applied to it. Well, I got a lot of things going on in there, so much dates in here. I don't want any dates in there, actually, so I don't want any dates in there, so I'm going to go in and then modify this a little bit smallles remove the tears to begin with. Then I think we are debate as well. Let me delete this for now don't need that. That the pattern in there we can actually keep Okay, that's the pattern. You can keep that. But we need to remove some of these darts. Okay? Turn that off. I will need to make this a little bit more reddish. Okay. Okay, let's sparkle lemonade for Let me just take this down a little bit more. Don't want so much in there. But the pattern, we take down the pattern as well. We don't want so much so much in there. The base fabric in itself, let's duplicate it, and I'm going to make this a bit more of a brighter red tone. Not too bright, though. I think somewhere around there should be fine. Let's upscale this some more as well. I think for miss island this worked just fine. Okay. Yeah, this will work just about right for what we need it for. This is actually a very interesting light. I think we would definitely use this potlJR for our look development of Inside of Arnd. Okay? So I'm going to save this. Now, let's do a few test renders. Let's kind visualize this with some test renders and let's see what we get. So let give you some moments to save up. So let's select this camera icon and go to IR. Let's jump into IR. Let's see. Move this to the side. Fantastic, see how it gets interesting lighting right off the bat. We have some really interesting lighting in here already. Okay. So if I should rotate my lights some more, let's find a good angle for these lights. Got some good sharing in theres in there. Okay? Yeah, yeah, I think something like this something like this should work just fine. All right. So 41. 41 Exporting Textures In Substance Painter: We comber guys, we're to finish the texturing for the entire piece. So the next we need to do will be to export them out for E gen creation inside of Maya. So let's get that in. I feel like I should reduce this a little bit more. It's like a never ending correction in here. So let's see the gray, dark blue, flora pattern. Yeah, I believe that should be the flora pattern. Yeah, that's the one. Okay. Turn it back on. Let's go to the eye channel. Take this down a little bit more. Here's a little. I don't want it to be that strong in there. Give you something ft, not too strong. Probably thinking of doing the same thing also, too, for this. Okay, let's go up. Take it down. Okay, no, no, I think this one should be roughly around Let's see. I think should be fine. Yeah, that's fine. Okay, so do a quick sieve. The next we just need to do will be to export all of these out. So we need to get them exported out so we can prep them up for Egg gen. So let's go to File Export textures. So I'm going to exporting this out at the highest possible subbuton level. I would Fok fog should work just fine. Okay? So yeah, so let's specify a folder for this. I want to rename this to XP textures. Okay, open that up. Select the folder. I'm going to use no padding pass through. Let's spot at Hk. We don't need fogy rather. We don't need HK. Let's go to doctor Khan Mars we don't need metallic for the This is the head actually, so we don't need metallic for that. We need roughness. We don't need this normal. We don't need this height, but we need a normal open G, ton of AO. Okay, for the eye glass, we need metallic, we need roughness. We don't need this. We don't need this. The opacity, let's just leave it for now. None of this AO. For the iris, we don't need metallic for the iris. We need roughness, don't need this normal. We don't need this eye. Need normal looping G. That's fine. Minskles I ignore that. We're going to add the glass material for that. Neck color, we need metallic, need roughness, don't need this normal. We don't need these eyes, you don't need AO. Neck pendant, you need metallic roughness, don't need this. You don't need is. You don't need AO. Neckerchief, we don't need metallic. I don't think we have metallic property in there. So we don't know normales and AO for the outer eye. We don't need metallic. We don't need this normal eyes. We don't need this opacity. We need opacity, actually. We need a pa opacity for the center part. We need normal, open GL, don't need AB. We don't need mix AO, but the robe need metallic. I think we need neck collar. We need SA metallic for that. But the robe need metallic roughness don't need this normal. We don't need this heights. We don't need this mix AO. I think that's pretty much it. So now we can now exports. Let's give this a moment to actually exports. Okay? Almost done. But there's nothing else we need to do actually. So once we spot this out, once done expo we can just use this. Then we start arranging up Maya for working with E gene. Almost done. Okay. Now it is fine. I'm going to close this. Okay. Close this as well. Yes. And let's open up our Maya file. It's a Maya file. Now one very important thing to do in here is to create a project file. Let's create a project file to work with Egan, very important. Okay? So let's just do this in here. I'll go down clkons project window. So click on New. I'm going to name this to doctor Khan. Okay. Doctor Khan. Doctor Khan Hui. The less specify the folder, we need to put this in. I'd like to put this in the same doctor Khan folder, so let's copy this. Let's go in. Pass the directory in here. Okay. I think I need to create a folder here as well. Doctor Khan Projet. I'll just name to Projects, okay? Open that project up, select. Alright, should be good. Then click on Accept. As soon as you do that, as you do that and then you go over, let me save this again. Then you go over to the folder. Let's go to the folder. We should see it in doctor Khan project. If you open that up, you can see doctor Khan swim now and there, which is precisely what we want. Okay? So the next lesson, we is going to move on and then start creating some scalp for generating the air for this. I'll see you guys in the next lesson, bye for now. 42. 42 Creating Xgen Scalp In Maya: Welcome, by guys. So in this lesson, I'm going to kind of create the necessary scalp we need for generating our egg gen hair. Okay, so these are our main reference, at least based on the concept we have. So I already have some to know, so too that we can use as a realistic reference just to get the directionality of the hair also in place. So we're going to be working or using both of them actually. But for now, we need to kind of create a scalp for where the hair so actually grew out from that what we need to do now. So now, previous lesson, we created the project files we need to actually work with Eggen in here. So I'm going to temporarily just hide this eyeglass for now. I don't really need it for now, so everything else, everything else we can keep but we need to duplicate the head. I think the head is even the wrong folder. Not supposed to be like so. What do I have? Okay, this is the head down here. This is the head down here, so I'm going to arrange this in a way whereby if I'm texturing them, I can texture them in an hierarchical format where kind of kind of works better. So actually doing the look development in here actually. So let me kind of arrange this in a way whereby it becomes easier for me to actually do look development for so, so you confess Iris, next, and outer eyes. Yes, then the eyeglasses should come next. Then we have the color. The group should actually be the lasting, so should miniscus les being close up, blue the outer eye. So the neck collar should come next after the eyeglass, yes. Then the neckerchief should come just below the neck collar. Then the neck pendant should just be above the rope. Yes. So in this format, it becomes a lot easier just to work with sing. So yeah, that's fine. So moving on. So I'm going to duplicate the head. So I'm going to duplicate for the head Shift B to send it out of the group I'm going to eye this group for now. So now we need to generate scarp extracts cap for the head hair. Also, we need to also extract cap for the moustache, and then the beard, and we also need to extract is cap for the eyebrow and eyebrow and then eyelashes too, okay? So those are the things we need to extract extract cap four of duplicate this a few times. So we have head hair one, beard and mustache two, then eyebrow and lashes three. So that's three duplicates in total. So let's get three duplicates out of this. Okay, let's start with this. So let's name these two head. Let's use a cup for this let's do head head scalp. Let's just do Let's do headha scalp instead. Scalp. Okay, I think that should work. All right, so let's hide these to the lower parts, right? So now, the idea for creating getting out your scalp is to select more than what you need, actually, so you need to grab more than what you need, so I know my airline should be somewhere around here. Airline should be somewhere around here. Okay? So I'm going to grab. I'm going to go to face mode. And I'm going to grab somewhere close. Maybe even grab. I think. Usually, I like to grab somewhere around here. Getting close. Double click on that. Let's get a loop around this, so something like this should be fine. Okay, so we also have a 30 he actually grab from. So we have enough. I'm going to delete that. Double click on this delete, okay? I'm going to come in here we don't need. Let's see what else we can delete. Okay, let's do somewhere around the get close, delete those. Delete this as well. I'll keep the because I want to kind of get a good idea as to where the is. So when I'm creating the heads, I can kind of use this as a guide to kind of direct my heads not to touch the DA too much. Okay, so let's grab this delete, grab this delete as well. Okay. Delete, delete as well. All right. I think we need, I need to delete a little bit more. Let's grab. Let's see. I think we can grab somewhere around there. Delete. Okay. Let's go to the side view so we can actually find. Let's do wireframe. Let's see where that's supposed to be. I think somewhere around here. The little data as well. All right. I think this. I think this should work perfectly just fine for the scalp. So we have more than what we actually need, which is precisely what we want. We have more than what you actually need. So I'm going to temporarily hide that for now. Make NS one visible. So this butler one is going to be the let's do I let's name this to I scalp. All right. Yeah, yeah, that should be fine. Okay, so now we need to kind of grab the portions we need. So like I said before, same metal steer applies, grab more more than what you need. So let me go over. Let me go over this way instead. Delete that. Delete this. Okay? We can come all the way getting close, delete. No, we didn't do that correctly. Let's find another portion. Let's do somewhere around something actually goes across this one goes across in the wrong place, so let's come this week instead. Let's do delete. Still not getting what we need. But that's fine. You just to keep deleting until you get precisely what you need. Getting a loop around that, let's find a good region. Okay? We can do let's do somewhere around somewhere around. This I think this is a good one Let me one do I need to undo most of that. Let's bring it back. Okay? And let's come back in the Okay. This is a good portion. You can delete those. Okay, we can delete this as well, delete this as well. All right we're getting something in select this. Delete. Come to the side view. Let's find this on the opposite side. Delete as well. You can grab all of this at the back, we can delete those. Okay. Yeah, I was thinking to actually delete some more. Delete some more. Some of these loopholes across, so let's find a good place. Okay, delete that. All right, we can now at this point, might begin to get a little bit messy. Now the loops are not properly where we need them to be to actually grab good portions of this. At this point might need to be slightly messy with this. So I'll go all the way, you know, wrong place. Let's go all the way here. The select this. I'll go all the way to the end. I'll delete. Okay. Let's see select sitting all the way, nope. Wrong place, select all the way here, then select, I believe all the delete, delete. Yeah, I think, this is fine. This is fine. So as far as this goes, we can use this as our calp. This will work just fine for ice cap. So we have enough portions of where we actually need. We should be just fine, so I've saved this. All right. Then let's move on to the next thing. I'm going to hide this for now. Make this visible. So we need something for the mustache and for the beer too. I think we can do Let's find a good spot. Let's start by face mode. Pas grab. Somewhere around here to begin with. Okay? Okay. I'll come down here. Let's do something. I might decide to add some measure of hair around here maybe. So what I'm going to do is too. Let's grab let's grab something around here. Okay. We can do don't the for now. I'm just eyeballing this eyeballing this. I think most likely to clean shift I think my just add sto was in there actually. Mane I just add stubs in there in there, maybe, maybe. But let's just grab Let's grab. Let's see. We already have something for the teddy soap. I think I will just use. Let's grab somewhere around here. Let's see how far that goes. No. Not far enough. Let's do There is, this is a good one. Actually a good one. Delete those. Okay. We don't need for the eye. We don't need anything for the eye, so that a good one delete. Okay. I think here should be fine. Let's do for the opposite side as well. Okay. No basically trying to get something for the around the beard. So let's do somewhere undo that. Introduce for the opposite side. Okay. Do we have darts Okay. Yeah, I think this should be just about right. I think, let's go into the mouth, so we don't need this inner parts. We don't really need this inner part, so let's get that deleted. Delete. Look, I'm not grabbing something that actually need notes. That's fine. Delete those. I think as far as this goes, I think this should be just about right. Yeah, this should be just about right. Is more than good enough for what you need it for. Okay, this should work. Do a quick save. Okay. So now, as far as this goes, I think, let's rename this to beard, moretarch scalp Okay. I'll save this. I think this should be fine now. So if we should let's make this rest visible. So you should be getting something pretty much like this. We should we should work. Just fine for what we need it for. So this will work just fine for what we need it for. We have pretty much everything we need in here now. So I'm going to put this Gena in a group. Let's just keep things a bit more organized, and then put them in a group. I'm going to name these two egg gen scalp, egg gen scalp. All right. I think this should be just about right. Okay. So in next lesson, model is going to start the argentinEgg gen here for this song. Let me change this to my Egg gen tub. Change this to Egg gen tub. So we have this set up precisely the way we want so we can begin Egg gen in here. Okay? So I'll see you guys in next lesson. Bye for now. 43. 43 Head Hair Xgen Guides In Maya: Okay, we come back guys. So in the previous lesson, we kind of created the scalp we need to generate our egg gen head. So let's get right into it by creating guides now. Let me just pull this up for now. I'm going to change my layout to the menu up here to egg gen. Okay. So now the first we introduce to select the head scalp, select it. Let me select the s I does for now. This is the only thing I want to work with for now. Okay? Maybe just make the icecap visible. Okay, I just spoke of this for now. So like this. Then go over and click and create description. Okay. So this description would be like like, let me just explain it this way. This great collection is going to be like our folder. We are going to put in our description. So basically, our folder should be called Ed. Let me up for this head under scalp under COLA for collection. Okay, I believe that makes sense. Then the description is going to be let me see how I want to kind of space this out. Okay? There's head Head. I'm not spelling that correctly. Head underscoe, head. Okay. Let's see. So kind of observing if I want to kind of break these apart. So I think should be this should be fine. He underscore DESC for description. They want to use splines. For the most part, I always use slines. If it has splines, then randomly across surface, we want our ways to be generated randomly across the surface as fine. Okay? Oh, yeah, one more scene we actually need to check. One motin actually need to check before creating this actually. So let me copy this for now. We want to check the UVs associated with them very, very extremely important. So I'm going to go to UV layouts. Okay. So, we have generated for them, okay? Alright. But I might need to stitch this together. I feel like I'm need to stitch this together. Let's check for the others. Let's make the others visible. Okay. So we need a little bit more. We need. We get this occupy most of the space. Very important because we're going to be painting density marks and density mas is going to rely greatly on the UVs you have in there to actually create that with a bit more definition to it. So let me start by doing on food. Then let's do layouts. So you should occupy more space now. This as well. We might not necessarily don't necessarily need to stitch this together if we don't want to. You can just leave this as it is spread out, done on fold. Okay. Well, I think we need to stich them together, so let's go select this. Go all the way to the end. Okay, W those use stitch together? Select fold. Okay. I feel like I should kind orient this this way. Okay? Then let's do a layout. That is fine. So it's occupying a bit more space, 90 to one space. So you can see get new love resolution in there. Occupying most of the most of our text are density in the zero to one space occupying most of it, that's fine. Let's go to the next. I've done this already. Let's do this now. This I'm just going to select food. Okay. Then select and layout. Let me check for it is a big stretching in there for the most part, is white. Select this white as well, select this white as well. So perfect. But we love this working properly. So there isn't so much of distortion in there, so which is what we want. Okay. So this is a very important part of the process, very, very important because going to get good painting resolution on your UVs. It's kind of paints with its eggen. EenPainting density marks or any other mark relies greatly on your UV shell. So if your UV shell ocuy most of the space, it's going to give you a bit more refined definition for the edge. Especially when you want to actually blow out some edge line. So I want to get to that in a bit, so let's just finalize on this. This is fine. Save this again. Okay. Then I'll go back to Egg gen tab. This is one thing I do like about Maya sometimes. When it does go back to the gene tab. You kind of lose some of the properties in here. Kind of lose it. But that's fine. I think it's a good thing we actually lost it. It's no longer showing here. Why? Because I'm going to show you why in a bit, so I'm going to close this and reopen this again. Let me close and then reopen the file again. So this should be main open this up. Okay. So we have this back on. So I've re opened the file, so now we have a tab in here now, so one you need to do very important also too anytime you close the file, you need to go back in here file, click const projects. We have to make sure we kind of set the project up at LaFolder. Remember, we created the folder for it. We created this doctor Khan project. Is the folder we created for it. So I'm going to select that I click Con sets. So once the walking takes, then, you always want to do this anytime you close and reopen the file again, extremely important. All right, so now let's select the cap again. Click Concrete description. Let's just place the name we had there before. This is just going to be head, head underscoe scalp under scoe CLL. Okay. So that's fine, splines randomly across surface, then place in the shaping guide. I was going to specify where I want my guidelines to actually be on, so it should be fine. I'll click concrete. Okay? It's not concrete. You should have this pop up tab in here for more detail. For a more detailed gene setup. Alright, so next thing I'd like to do would be to create guides for this. So before I do that, this guion move all the way to the end. It's going to convert our eyes into geometric. I don't want that, so I'm going to middle mouse drag Middle mouse crowbt and drag this to the end, okay? Now, let's create guys. I'm going to select this to begin with. So usually the way I like to kind of create more guys will be to kind of create an outline for where I know the s should be generated out. So I'll do it from one side and then duplicate to the opposite side. So I know the airline should be somewhere roughly around here. So select that create a guide. Okay. And I'll create another guide at a longer distance all the way here. Basically trying to create this point around here. Okay, I think we need I think I'm still far out from Mt. Let's do one here as well. So these points here. Let's create one for that point there. Okay. I think some roof around there should be fine. Another thing I like to do is to select all of them. I like to rebuild them. Let's give them eight actually. Should have like eight CVs in there. I'll click okay. Here, that is fine. I'll select all of them. Scale it out quite well. Scale it out roughly around the heights of the generated had that's going to be in the roughly around the same roughly around the same heights. They're still going to make some modifications to them, actually, but This one now should be fine. So let's carry on by creating a bit more guides around this. So the teddy should be somewhere around there. So it's going to automatically interplate in between what we had here before and then give you the same CV counts or CV points, and then the same I also too. All right. So now let's go around this. We need one year as well. Let me go up a bit. One year as well. Okay? Another one down here. This butler one is not taking up the shape, so I'm going to rebuild that to eight. Okay. Then scale it out. All right. Since some around there should be fine, it shouldn't be that long. Okay, then go back to count again. I'm basically creating points just to create an outline for where the air should be generated out from. Okay, here as well. Right? This one, I'm going to scale up. Then let's create it as well in there. Scale up some more. Not too much, though. Then let's create one more around here. It's going to entapolt in between those. So this is fine. Okay. So we still have, okay, here's this potl one. Let me go to a side view proper side view in here so we can. Oh, this is going to be on the opposite side. Let's see. I think we let me just do this from a perspective view instead. So I'm trying to kind of capture where this edge should be. So let's do somewhere roughly around tilted back a little bit more. Let's say around here. Okay? Yeah, I think somewhere around there should be just fine. Alright, so the next thing we need to do now is to start shipping up our guides. Let's start shipping up okay? No year yet. Let's see, okay. Let's create some in between. Let's create one year. One year. So in this polar fashion, I always let's kind of go three points kind of more or less a three point system. So we have three points here, one, two, three, written that three points, somewhere around there one. That one is not kind of interplting in between, but that's fine. Let's create one year, one year, one year, as well. This potlar one at the top, we're going to rebuild that to eight, then scale it out. Okay. Yeah, that seems fine. Then I'm going to create one year, one year. Yeah, as well. Yeah, three point system as well. Okay. Yeah, this should be fine. This would work just fine. Okay. So yeah, a few of this, I would like to adjust the scale for. So this one at the back. I'm going to select this. And then I'm going to adjust this scale some more, select select this as well. Okay. Scale them out a little bit more. Like, so should be fine. Alright, so now this is fine. Let's use the quick sieve. So the next thing you want to do now is to start sculpting the shape of the guide. So let's start with the first one. This butler one, I'm going to scale up some more. Now let's go to ASCOp two. So use ASCOpe two. So scope guide, select it. Think about who beyond the keyboard, scale it out. Just press down be on your keyboard, and then I believe is the, this the left mouse click to scale out the brows size. And I'm going to start bending this in place. Okay? Go to the from top view, get this down, move this down. All right. I think something pretty much like so should be fine. Make some adjustments to it. Okay. Yeah, that seems fine. That seems just about right. All right. Let's go to the next one, key on the keyboard, select the next one. EG on the keyboard to go to the previously used two, which is the Scoped guide to. Bend it this way, going to the top you get this shape down this way. So you pretty much want to kind of add an S curve to it. It's pretty much what I'm trying to do in here, trying to create some S shaped curve in here. And that's why I kind of added some more civunt just to capture the curve. A whole lots more. Skill it out. All right. Let's move to the next one. Select it. So just to forge this and bend this down where it needs to be. Let me move this along each on the keyboard. So let's kind of make sure I'm feeling the same directionality for it. Let's say I kind of keep this reference on the side so I can make sure I'm following the right direction for it. Okay? Yeah, I think that should be just about right. Let's bend this down. Okay. That should be fine. Let's go to the next one. So basically repetive process across this. All right. Just make this follow, get this closer to the skin. Okay. Let's just get a bit of tilt to this. Bend this this way. All right. Let's go to the next, select this. G on the keyboard. Spark lama is not supposed to be this long, so let's scale it down some more. E John the keyboard, get this properly in place. I'm going to push closer to the skin. Okay. Next, I like this. Scale down a little bit more. Each John the keyboard, can of scope the shape in let me move this out. I think this we need to scale down some more. Okay? Stretch this out first. Then let's get the shape we need. Okay. I'm going to go and select, select this, move it out some more. Okay. Carry on. Let's go. Let's continue down here since we're flaying the same formats around here. I would select this piece. Okay? Wipler piece, I'm just going to start by scaling it down a little bit more. Get a good shaping for it. Shaping that kind of goes down instead down this way with a cf to it. Move this down. Shouldn't be lifting the eye that much. Somewhere around there should be just fine. Okay. Get some cove to it. Move to the next. Bend this down, down some more. Let's get some twist to it. So basically, I'm trying to create some shape into it. Thus squat and X shape should be fine for it, something like so. Get this down a bit. Move to the next. Okay. Move this down close out to the skin. This I can just make this one go a bit rube. Let's do something like so. All right. Next, I'll select this Okay. This part. I'm going to push it in the opposite direction. Let's just get should be like our rogue hair in going in the opposite direction. So always let's kind of create some of those rogue hair. I kind of goes in the opposite direction. You just to give it a little bit of an interesting shape into it. Okay. I think this should be fine. Let's just move this in some more. Okay. Next, select this. Let's get these shapes, bring this closer to the skin. Get this shape this way. Move it generally up. Move this down. Tell this down. Okay. Here that seems fine. Let's go to the next one. So I'm going to get all the shape in first before I start generating actual hair fibers in there. This one's going to get some good shaping in there at the very least pull this way. Ms out to the skin, that should be fine. Let me skill it out the tiny bits. Select the next one. Okay. Move this down this way, closer to the skin. I think this one should be just about right here. Next, select bend this down. Get this shape this way. Okay? Down some more. That should be fine. Let's move up. Select this. This one I would like to scale out some more. I think I scaled out way too much. Okay? I'd like to o, let's just do this face in this direction instead. Get this tip this way, get some shape into it as well. Okay. Okay that seems fine. Move to the next. Get this down. Use this as my rogue hair. Do this as the rogue. Alright, skill it out some more. Okay. Yeah, I think that should work. Moving on, select this. Scale out some more. The shipping for this is quite interesting, so this is a part where we need to be a bit more careful with the shaping in here because we don't as way too high. We don't want to kind of create this sharp, complete ton in there, which we don't really want, so Let's just get this tib tail down this way. Shred this down undo that push this way. So I'm going to create some gonna go back in here and then get a bend to this this way, so it fits properly. Then create some more guides here as well. I kind of holds the shape a bit more. Something like so should be fine. Here like so should be fine. Okay. Go back in, select the next one. Spot low is quite high. Let's do from here instead. Let's get this shape pull in a particular directionality for it. Something pretty much like so. Okay, I think we can work with this til it is down, right? Select this. Okay. Move it down. All right. Here, we can buy it in between somewhere there should be fine. But I'm just looking at the eight now. Maybe the te is way too long. I feel it way too long. Let's just take it down some more. Let's move to the next. Make sure you also save into while you're working on this. Move this down. Okay. Yeah, it should be fine. Move this out some more. Let's get some shaping in. All right. So let's just generate. Okay, we're almost done. Just three more to go, and then we can move on to something else. Polar one, I'm going to move this down. It was obvious that it needs to go down. Okay, scale it out some more. Get an S shape to it. Okay? Yeah, that should be pretty much fine. Select the next one. Spolar one, we need to move this way. Move this way. Okay? Here, I think that should be fine. Let's select this I won't call it last piece. Okay, last piece for now. Let's just get the shaping in. Okay? This one our lift make it higher, kind of. So I think somewhere like so should be fine. Get an S curve to it, so you can see some empty gaps in between. So let's fill up this gap. We can now do gap filling in here as well. So that's going to interplt in between the ships already having the already, one, one year, here, here, as well. Okay? So let generates S for this, let's see where we get. I kind of created an interesting shape in there so let's generate it. Before we do that, let's go to primitive and output. So now fully primitive in view. Then let generates for this Okay. Something seems awfully wrong. Oh, finally. I guess you finally showed up. Okay, so as you can see this now, already have good enough shaping in here for the here. So they have this kind of mirror to the opposite side, but for now, we're getting really interesting results in here already, which is cool. So one of that I'd like to do would be to increase the modify Civunt. This modified Civ count is for each butler tran, so let's increase a little bit more. Let's do like 20. So it's going to kind of follow the shipping of our guys a whole lot more, which is precisely what we want. Let's e the guys for now. Ideas, review the guides. Okay. So let's mirror this to the opposite sides. Let's select all of this, right? And let's mirror it to the opposite side. So let's just select this mirror selected. So have the privately mirrors to the opposite side. So if we generate has now, again, we should be getting something pretty much like so, which is awesome. We have good shaping for our guides. We have good flow also, too, which is precisely what we want. Okay? So the next lesson is going to move on and then make some modifications to this and then make this a whole lot better. I'll see you guys in the next lesson by for now. 44. 44 Head Hair Density Mask In Maya: Welcome back, guys. The previous lesson, we kind of went through and generated the airs needed for this. So in this lesson, we're going to continue on and then make the necessary corrections in here to kind of push this even further. So let's get right to it. So I'm going to hide the hairs for now. Get the hairs in for now. I'm going to select this select, select this. Let's make sure you just do so that selected and I'm going to take down the size, take down the size like so, right? Yeah, I think around there should be fine. So now, generate the hair again but this time around let's make some modifications to the air guides. So for the width of the hair, I have a template I usually use. So we're going to input the values in there. So for the width of the it's going to be 0.01. Always use 0.010 0.01. Okay. Now, it makes the hair quite thin, that's fine. This is going to give us some realistic looking hairs in there, which is precisely what we want. All right. So the next we need to adjust is the taper and then tap aster too. For the taper, let's do 0.71 for the tapasar 0.76. So 0.71. Then to tapas 0.7. That is strange. 0.76. Oh, yeah, hit five on your keyboard to bring everything back. I think I mistakenly turned on texture anymde, so, this is fine. So the next we need to do is just to increase the be just to increase the yes, this is looking good. Increase the density of the air. Let's bring in some more air density. Save this anaxnc that will actually help for visualize the a little bit more turn on untill sin and then ambient seclusion. Turn on ambient seclusion, and then let's turn on multiple sample antisen. Turn that on as well. That's going to give us a little bit more defined air in air. Okay? Awesome. I think this is fine. This will work just fine. Don't need to do too much in here. This would work absolutely just fine for what you need it for. Except we need to kind of make additional corrections in here, but for the most part, this should be fine. Okay. Let me do Let me select all of these s in here and then just rout it them out just a little bit more. Okay? Let's put them out some more, generate the s again. Okay. I think this should be fine ideas. Select all of these around here. Move them out some more. Okay, select this. The select move this up some more as well. Okay? We have visible gaps in the center. That's fine. We would fill that up. I just need to get the heights as accurately as I can. Let's generate he again. Let's see. Yeah, that should be fine. Hide the e. So now let's just fill up the gap in here. All we need to do is just to add guides. We just add guides in here, the center parts. Okay. Something like so the three point system. Let's just do three points. Okay. Getting close. All right. Let's do one year, one year, one year, as well. Okay? I think as far as this goes, this should be just fine. Okay, let me mirror this to the opposite side. All right. Okay, I think we can live with this. Quick save. If you go back in there and then increase the height, we can always do that, but for now, it should be fine. So let's generate again. Let's see what we have. I think this should work just fine. We can work with this. Let's see if there's anything we need to do in here as well. I do that. Select select this pull this out just a little bit more. Select all of these down here, pull this up a little bit more. Okay. All right. Generate the heirs again. Okay, we can work with this hide the s. So now we just kind of draw out or specify where we want the hairs to grow out from. That's the next step now, were kind of did a good job by specifying where that is going to be. That's how we have, that's where we have these points in there. So now let's just create some density marks for it. So go into the max. Click on Create MAX. Set this to full black. Beautiful white. Let's full black. Let's do full black. Instead. Let's say this black. Then I'll say this to 50. Let's say this to 50. For the mark, this is going to be let's do center Let's do add four cups, add scoe DENS density, under scoe Max. Okay, that is fine. You click on Create. So automatically is going to send us to painting mode. So let's hide the hairs for now. So now I'm just going to draw out where we want the hairs to generated out from so I'm going to go to the pin setting. Let's do soft brush, solid brush rather. I don't use soft brush. Let's do solid brush instead. We're pincing full whites, okay? Now let's go in. I go to paint use the cemetery turn on. So let's come down. Let's do reflection. Okay. Then I'm going to reduce the bros size. Take down the bros size. All right. Then let's turn on wire frame shaded. This would actually help too. So I painting for white. So let's start our painting. So, you want to be as precise as you can. Okay. There something pretty much like so should be fine. Alright. Moving on. For this part, I'm going to reduce the bro size a little bit more. Then I'll go up white high this way. Then bring this down. This way. Okay. Then let's bring this all the way to the center. That is fine. So now we cannot paint inside of that. We can paint inside of this now. So I'm going to increase the bros size, slightly bigger and then fill up this gap. You can actually creates some white gaps in between if you feel like. Just to make it a little bit more interesting, can create patties like so, increase the bros size. We can just do something more or less like this. You don't need to be extremely precise. But for the edges, you won't capture the edges properly, though kind of make sure you're capturing the edges. Okay? Want to create some gaps in between, just to make it look like they're not perfectly symmetrical. That's just a general idea. Then we will turn off symmetry for this turn off reflection. Now let's select the blow brush and begin to blow this out blow these out. Blow this out. Okay. Blow blows out. Who needs to actually even blow out the edge. Okay. So randomly blowing out now. Blood out. Boss gonna create some dark parties in between randomly. But for now, let's just blow reduce the blow size blow the edge. Okay? Blow this out this way. Okay, pretty nice feed on the edge. No, undo that doesn't seem well. Also, so I need to save this. Let's save this so only when you save this it's going to apply in there, so Save blow the edge. Blow the edge. This edge as well. Okay. Blow this edge. We can increase we can increase the blow size now. Blow this edge. Okay. I think so should be fine. Okay, a little bit more. Do some more. So we have a very nice feed. And I'll go and click on paints. So I want to paint with full black now. So I'm just going to, like, read some dots, random dots in between. Symmetry is turned on for this symmetries of, let's go back to blow. Then blow them out, increase the blow size, blow them out. This is just going to create some variation of air density in there as well. Okay? All right. And let's save this. Okay? So where our heads now generated where we need them to be, which is more or less precisely precisely what we want. Then I'll go down. I'll click on Assign texture. Let's Let's do forki assign texture, saf texture, Let's turn off wire from unshaded. And let's see what we get. Yeah, I think this will work just about right. Save this again. Okay. Close this. Let's go to selection two. And let's see what we have in here. Awesome. We're getting good result out of this. But some of these cells we don't actually need like this in. We need to delete them. So how do we delete them? Sink is called cooling in. So select primitives. Let's select these primitives in here, all of this in here. I think we do the same for the opposite side. Select and ship, select all the heads in here. Then let's use selected. So that's just going to delete those heads in there that we don't need. Okay, Everything else is working just fine, precisely the way we want. Is what we need. Okay? Now, let's hide this cap for now. Let's hide this cup for now. Let's bring back let's bring out the main head. Let's make a duplicate of this shift p to send it out because I want to kind of compare just to be sure to be sure I have the head in the right place. Okay? I think for the most part, for the most part, in the right place. Let's see this again. Let's look at our reference. Let's see. Let's see how far out. Let's see how much we're getting this. If we need to repent, so can keep it the way it is. Okay. I think one thing is certain, we need to bring the hair out a little bit more around these parts out a little bit more around that part. Let's do that, let's hide the hairs. Let's go back to painting. Okay, Ziding now. Let's make it visible. Let's hide this for now. Let's make this cup visible. Okay. Let's go back to the painting. Double click White painting with solid brush, full whites. The need to paint this symmetry to on. Let's go back to stroke, turn on reflection. For this, let's go to do this with a lot more precision. Going to do this with good precision in the Okay. I think that is fine. Use the blow. Take down the blow intensity, blow out this edge. Blow out this edge as well, just to get it blend back in. Okay? All right. Save this. So you should have some more had generated in front now. Okay, I think this is a good spot. Okay, I'll just paint something sharp in front. Okay, let's go back to paints. Paint. I'll just paint something sharp in front, like so, blow it out. Okay. All right, something like so. Save this again. All right, so you should have some mesna in front. Okay? You can help this even further. Let me save this texture. You can help this even further by creating guides in front that should actually hold the shape a little bit more. So you can do one guide there, one guide here, here as well. Okay? So this kind of hold the shape a little bit more. All right. Fantastic. This will work just about right. Save this. Okay. Yes, this is fine. So we need to generate a little bit more hair out of this. So let's do 80. Let's get some more densed hair in there. So now that we have more dense hair here now. We can move this along. I need to delete this again. So let's let's select this we have on the opposite side we do downshift select this delete them. I think this as well. Delete. You don't want too much interception on here, so I think as far as this goes, it will work just fine. Yeah, it work fine. So the next step would be to bring in MCT is to work with modifiers inside in here. So let's do that in next lesson so see you guys in next lesson by for now. 45. 45 Head Hair Xgen Modifiers In Maya: Welcome back, guys. So I just went in and kind of tested this out again with the duplicate of the head. And I think we are fine. I work just fine for what we need it for. So moving on, let's move on to adding modifiers to this. So I already have some template modifiers that I can actually use. So let's get that in. So I'll go to modifiers. I'll come to a use Load user. So there's quite a few. So I'm going to use the let's see, Abido Center EDC, Abno Okay. No side. What a lot going on in here. So let's do. Okay, let's start with Let's pump Paul one I'm actually looking for or maybe I didn't name it correctly. Side, here. Let's try this. Let's start with this Avenue side head, he clump. So I'm going to select that. Let's start with the first clumping for now. So setup map, generates, save. Let's see what that gives us. If this is fine, we'll continue with it. If not, we're just going to discard this and use something else. Okay, let's give some interesting results already. We have some interesting results going on in here, but let's use realistic reference instead to get this as good enough as we possibly can. I think this is a good one. Okay? So now, one thing inserted in here, there's way, way too many clump, and we go to tighten the tip as well. To tighten the tip. So let's do that. I'm going to tighten getting close, tighten the tip some more. So for this tip, I'm going to delete and then dris down. Let's get a modi ta tip to this. Okay? Yeah, seeing somewhere around there should work just fine. This is a good base. But hide our guides. Let me hid the guides instead. Not to hide the guides instead. Let's make this visible. Okay, but the clumping value is way too much. So let's do 0.7 generates, save. Let's see what it gets. Okay. Trying to see if I need to keep this or not. Now for this. I don't think I need this. I'm gonna clear that out. Okay, maybe I actually needed some. Okay. I'm going to look at this from a distance. Trying to compare and see this is what I want. For the most part, it looks like what I want. Let's add the second clumping in Load use outside here clump two generates. Maybe we don't need that much. Let's do sus the value of ten generates. Save this get something even more interesting. All right. Let's see. All right. I think this should work. Yeah, this should work. I should work just fine, so moving on. Let's go in the load user. Let's try the next one in. Let's do Let's see side here. Let's turn on the first noise. Let's say the first noise. Okay. The first noise. Let's see difference. Let's see there's any major difference here. Okay, there are some differences in there, which is fine. Let's load in the second noise. This butler noise has some stray airs in there. You guys don't need to wear. I'm gonna provide the template for this. I'm gonna provide all of this for you guys can actually use the Samson as well. Okay? But also to the air looks quite symmetrical, what's going to break up the need to break up the guides a little bit more so as to make it not too symmetrical. All right? Or maybe we can add some coil effects can kind of break symmetry in here. But before we do that, let's bring in let's add the stree percentage. So click on description, set three percentage. Let's just do 10% of the hairs. Close this should have 10% of the hair being straight hair. Might not be too obvious in there, but it's actually there, so you can see I don't know if you guys can actually see this, can see some mess flying out. Okay, so that should be fine. So now I'm going to load something completely different, like some kind of coil to it. Let's load some coil. What it particular a particular one I'm actually looking for? Let's try this car shots. So that gives us. Let's see let's close. Is this even breaking up? Let's see if it's actually breaking anything up in here? No, not really. Let me use something else. Let's try something else. Let's Okay. Then look for something that makes better sense. So we have this in here. Okay. Okay. I think I have the perfect ones to actually use. So let's go back in. Load user. Let's use this coin coil. Here's one. So this is just going to kind of break up the uniformity of the. It's not going to make it look completely symmetrical anymore, but it's a bit too intense, actually. So it's a bit too intense, so I need to go in and then take down the intensity of it's even more randomizing it actually. I think randomizing it will work just fine. So let's grab some of this. So we go to randomize this. Concao type it in there actually. So let's run open brackets. Let's from a value of zero points one comma, S value of zero points. Let's do five close brackets out to apply that. So we're going to see some breakup in there. Let's do for more aggressive values. Let's do from a value of 0.4 instead. Let's do 0.3 instead. Okay? So this is going to break up a little bit more. You can see some breakup happening in there. We turn this on. You see some megnce and some twist to that as well. Okay. Yeah, this should work just fine. This work just fine for what needed for. I feel like I pumping and then reduce this some more. Let's do 0.5 generates. Save this. Okay. Let's see what we get. Alright. I think we can I think this we can actually work with. But he's gonna put in some weirdness in here on his hair, which I don't necessarily want. So I don't want it to affect the roots that much, so we don't want to affect in the roots, so this. Let's see if it affects. We don't want to a in the root. Affects so much of the roots. But most definitely did sp. Okay. Then I'll go maybe adjust this a little bit more. Let's say this a value of four in Okay. Let's say this at the value of 2.2 to four. Yeah, I think we knew the perfect value for this now. I worked just fine. All right, so moving on. So I'm going to do Locals again. Let's do COT now. So you can I think T CT should be fine. So it's going to create some variations for the air. So the won't be the same lens, but I think I'd like to add something at the end. Let's do I think it should be steric dollar sign or something, so, steric dollar sign, C lens. So let's do astericsteric, dollar sign, C lens. Am I spelling my lens correctly? I guess not. Enter to apply that. You can see difference in the I believe I'm doing this correctly, but I need to make some adjustments with asteric dollar sign. Yes, that's correct. Or we can just copy this also too. I think it's supposed to be capital letter L instead. So let's do capital letter A instead. E is working now. It's working now. The value is way too strong. Let's say this 0-02. Let's see what that gives us. That kind of makes the quire scanty. Let's do 0.09. Let's see. Nope.'s 0.0 0.1. Okay. Okay. Let's turn it off and on there. Not so much happening in there. Let me increase the value. Let's put five at the end. Not so much happening in there as well. Let's do two. Feel like I can't see the aggressiveness of this anymore. Let's do nine. Oh, this was zero to 0.2. Not so much happening in there. Let me rephrase. Let me use something else. I can't see it affecting. Oh, it was actually taking too much of his time to actually work. Typically, this is the value always used. Let me just piece that in there. Let's see what we get. Turn it off and off. Okay, maybe just increase the value a little bit more. Instead of two, let's put three. Let's do four instead. Is it taking its time to actually load this Yes, this feels just about right. This feels just about right for this. This we can definitely work with. So I'll save this. So this finalize this is for the hair. But we kind of create this should we call it flyaways or you can see some strand kind of moving out by itself. So I'm going to create that and I'm also going to create teddy hair also, too, for this around here. So we'll do that in the next lesson. Bye for now. 46. 46 Guides To Curves Xgen In Maya: Okay, welcome about guys. So in prepress lesson, we finalize on the modifiers for the head hair. But I feel like I can stay at the teddy eight to this as well. I believe I can start teddy eight to it. So let's hide this for now. Let's create some guides. So the guys would be somewhere around here, okay? Okay, so let me think we can bring this back out. Okay. But I need to kind of adjust this a little bit money and put this to the side. Middle mouse screw drag this all the way to the end too selection. I need to scale this down quite well. So let's use some tidy hairs for this. I think let's look for something that looks good. So we're basically looking at the directionality for it. It's kind of fling downwards instead. Okay? So I'm going to rot it downwards, but it actually needs to be quite close to the skin. I'm going to reduce the size a little bit more, okay? Now, let's go to our sculpting two. This needs to be quite close to the skin. So I'm going to bring it closer to the skin. Stretch it out some more. Okay, let's create a few more. I look at this reference. Let's see what we get. This butler one we can rotate some more. Okay, scope the shape a little bit small. All right. Let's create another round here as well. Then we create one here, also, the one that kind of flows down. They will need to reduce the size of these two by a lot is quite well. Okay? I'll go in and then sculpts the shape should be facing downward some more. All right. Then it needs to be closer to the skin as well. Bring it closer to the skin. Okay. Let's get this at a good angle getting close. All right. Let's move down and select this. Start by scaling it down some more. Okay. Yeah, that should be fine. And this final one, we need to scale it down some more. Okay? Here, that seems fine. Then we need to kind of go into a density marks and then paint a marks for it. So I'll need to hide. Let's make this cap visible. This cap is already visible, still in there, existing here. All right. So I think I can just go in. Let's paint some marks in there. It's kind of covered. So let's select this.This in there now. I think you can paint this nose. Let's just go in. We are painting with solid brush, full whites. We want to paint this also to reflection on, turn on reflection. Okay. Let's do wire frame unshaded. Because I want to actually see where the year is. I will reduce the brush size. Okay. Do something like so. Then paint inside. Then we need to blow this out, is the blow. Okay? H. Something pretty much so should be fine. Okay, so I'm going to clean some of this off. Let's go back to the pins. Black. I want to reduce this at the bottom. Okay. Then I'll use the blow again. Blow the edge, the quick sieve. So it's going to generate the edge now for us. Okay, so we have something chaotic in there. We have something quite chaotic in there, so I'm going to turn this off for now. Now, it's not going to work. It's not going to work why because of the coal we added in there. So coil just going to mess things up quite, we actually put this on a separate completely separate description. So that's what we're going to do. So I'm going to close this for now. But at the same time, I don't lose I don't want to lose the guide, so let me hide this one now. I'm going to grab these guides. And I'm going to convert these guides to Cove, so I'll go over to utilities guides to Cove. So select that guides to Cove, except Okay, sorry, wrong one. I'm set wrong one. So select this guides to Cove. That's the one we need. Select guides to carve, create curves, that's fine. Okay, let's go back to let's go back to Pins. Select. Let's go back to pins. And let's paint all of this off. Okay, I'm still on theblow. Let's go to paint. I can't do andre if I don't and I'm going to create some metries instead of oxygen. So that's why I'm not doing onr I'm going to clean this off instead. A let's increase the blow size a little bit more. So paints, I'm going to wire from unshaded, completely erase this. The complete ase go back and then blow. Save this. Okay. You see some air generated see some hairs in there, so I'm going to clean this up even more. Clean this up quite well. Save. Okay, give you a moments. Going to clean that out. Maybe we can actually leave this head hair maybe. But it's not even in the right place. Let's just clean that off. Save. I think we need a bit more cleaning. So do a bit more cleaning in there. Save. Okay. Yeah, this should be fine. Go out of fire frame shaded. So we have all of this back the way it was before. That's fine. So now, basically, I need to create a completely new description for this. So since we still have it in here, we're just going to let me select select this dscalp. Let me hide it for now, like the head scalp. Let's create a new description for it, so description, create description. We want the description to be in the same collection as the head scalp. Sople randomly across surface, past in a shipping guide. Let's name these 24 cups for this tady Teddy underscoeH underscore, DIC for description. Yeah, that should be pretty much fine then clear concrete. Okay. All right, that is fine. So we need to kind of adjust the settings in here. But before we do that, let's select all of these guides. Let's select. We don't need the guide selected, which are converted to curves, select them and then go over to utilities. Let's do curves to guide so curves to guide curves to guide, select darts. So curves to guide, okay? Grade that's computed that now to actual guides. So we can mirror those guides to the opposite side now, okay? And I think I'm going to add a few more, so let's do a few more. Let's add one up here, one in here as well. Yeah, that should be fine. All right. Now the next thing we need to do. Let's add one in this center. This one's in the center is going to we're just going to straighten it this week. Kind of facing straight forward this week. Okay, let's add another one down here. Okay. I'm going to select those two select these two. Mirror it to the opposite side. That's fine. Then let's go back to primitive previous outputs, turn this all the primitive in view. So generated in there now, but we need to make corrections to this. So let's do 0.01. Okay? 0.01 should be fine. Then we move down to the TAPAA. Let's do 71, I believe, 0.71. And for the TAPA start 0.760 0.76. Okay, that seems fine. Increase the density some more All right, now let's paint some density marks for this, create some density marks. Set this to 50. Okay, set this to 30 underscore DNS D ENS, underscore MAX. Then set this to full black. Let's start with a full black color. We concrete. Okay. I need to save my file again, right? To save this file, and let's go in and then go back to the pints. Let's paint actual hairs in here. So if you save this to begin with, please don't crash. 47. 47 Teddy Hair Xgen Modifiers In Maya: Pocumba guys. So I kind of encountered unison previous lesson. That's why there was some kind of blackout in between. So Maya actually crashed. Well, actually, Maya actually crashed, and then the PC window actually crashed as well. So I kind of lost the file, so I had to redo most of this again. But with the same set mostly with the same set that we had before. So we stopped as well. We wanted to kind of create density marks for this. So for the third years, I'm going to create that now. So Mu see a slight difference in the guides again because I had to redo them. One of the major issues, so let's carry on. So let's go and then create the density map, max again. So this is at 50 studies to black. We name this to 30 underscore, he underscore, density, dense underscore, MAX. Okay. So this will be perfect for what you need it for. I think everything is fine. Click concrete. And also, it's very important. I could not even recover the file, so you want to make sure you're saving and then creating backups for your file. Very important. Extremely important. So moving on, let's add wireframe and shaded on this. So you can actually know where painting this on. So I'm going to leave the ears for now. Let me save this first. So set all of that in there. Then we go and then select paints. Le sure one solid brush. We're painting full white, and we're painting this with symmetry ton down. So go to Stroke Canton on reflection. Let me start with a smaller brush size. Okay? Get a good idea of this around here. Okay. I don't feel like mounds. Yeah, this. This should work, actually. How long do you want this to be? Okay, something around there should be fine. Alright. Then let's blow the edge. Okay. So let's blow this edge. I don't want to blow it twice, so let's just do it in one stroke around it. Okay? And I'll blow the center point also, too. Okay. I'll save this now. So we have a generated in here now, which is, I think this should actually work, should actually work just fine. But we have is way too close to the way too close to the year itself. So let's go back to paint paint full black. I'm just going to, we cannot leave that. We just clean them up with selecting the primitive and then putting them over. I think that would make better sense. Asian texture, okay clusive textures. Close this sieve again. All right. Let's go back to selection to Let's don't know fire from shaded, clickout. Let's increase IV count to around 25. Okay, that should be fine. So we need more hair generated in there let's generates more hair from that. Let's hide our guides for now. Okay. Let's see. Maybe maybe it's a bit too much. Feels a little bit much. I think I might need to clean this off eventually. So let's go back to the pints. Okay. Painting, let's paint full blacks on full black already. Clean this part out some more. Okay. I'll do sieve clean this part out quite well. Sieve again. I think we need to do a bit more Sieve. Okay. Blow. Ruse the blow size. Use the blow size for this and blow again. Save. Okay? I think they should be fine now. Save textures. Go out of this. They should be fine. But I think I need to go and review the guides again. Let's create some guys. Actually, maybe we shouldn't bend this. Let's get these bends. Kind of facing this way some more. Select this do the same thing as well. Okay. L et's go create some more guides with the guide around there. Move this this way. Let's run this again. That makes better sense now. So I'm going to delete Let's just instead of deleting it, let's just move this in place as well. Select the next one. Move this all the way here. Then create new guide at the top. Then run this again. Okay? Now, it feels a bit more natural, it's blended in properly. I is precisely what I want. Let's ID guides for now. Us some moi generated in the Okay. Now, let's go in and introduce some clumping in. So let's look for some realistic reference that will actually help. Does he have, there's not so much clumping going on in there actually, not so much. But we just need to not sell it. You can see a few little ones. So let's go to modifiers. I think I'm going to be using one of these in here. We can use let's see, we can use the same bo. You can use eye lashes for this actually. Eyebrow, yes, eyebrow should be fine. Let's do clumping one eyebrow. Setup generates. It's quite much, but let's see what we get out of it. Save. Not much happening in there, though. It's quite. Let's dig this down. So around then. Sieve. Okay, now we're getting something in. Let's do a little bit more. Let's reduce the value some more. Let's do five generates. Save. Because I need some measure of clumping in there actually. Even just one clumping should be just fine actually. Let's go a little lower. Let's do a value of three generates round this again. Okay? Yeah, that's fine. Then let's add the secondary clump. So eyebrow a lashes, eyebrow clump in two setup 40 is quite much. Let's do ten instead. Save this. Okay. Let's look at this from a distance. Let's see if this actually work. I'm thinking maybe I should reduce the poly counts. I mean, the density of the little bit down a little bit more or maybe we can just keep it as it is. Go back to the guides. Select a few of this rotate this way, some more. Run this again. X should be fine. Select this, rotate this way. So more. Run this again. All right. That should be fine. I think this should work. It should be fine. But the clumping, I think I might need to make some adjustment to the clumping as well. So the clumping one, I might need to scale this up a little bit more. Just increase the value to around five. Save this. Okay. Yeah, I think that should be fine. Let's go and Local user eyebrow noise. I don't think I might need a noise in there, but we need codes. Let's do codes. Okay? Not so much happening in there. So we need to add. Let's use this instead. Copy this. I've talked about it already instead, so not much happening in there as well as increasing value to the value of eight. Now I'll see something happening in there, but I think it might be too extreme. So round open bracket 0.0 comma 0.8 comma Sic dollar sign, C length. That's basically the naming in there. I'm going to adjust the values using the value of five. Okay. Yeah, I think this should work. I should work just fine. Okay. I'm going to review this head again. Let's see what we have. Okay. Let's compare it to our main reference. Let's see. Maybe we'll see if we need more more or less, okay. Martin is satin, we kind of pulled it out way too long. It's way too long, there's one. We need to actually fill up the gap in here as well. So we need to do most of this from the density max. This from the density max. Okay. You need to hide this for now. Go in. Okay. Let's don't know why a frame on shaded. I need to erase some of this. I would need. Let's ideas for now. Okay, I need to go into the setup. Make sure we paint in full black, okay? So topping t's topping somewhere around there let's clear this out. Let's ship this properly again. Okay. All right. Go to the blow to blow this out. Okay. I believe our needs to be symmetry on as well, which is cool. I think we need to paint some more C the blouse size. I need to paint some Oh, supposed to be on paints instead. Let's make sure we save this as well. Okay? H, Okay. S to do some cleanup in there, but sink in the right place on the right spots. Okay. So maze, we need to delete, obviously, but let's let's paint white first. Let's paint some more around here. Okay. Use the blow to blow this out. Okay. Sie All right. Is painful black painful black around the air. Sieve. So that should raise that down there. Get in close, paints black here as well. Sieve. Oh, wrong. That's wrong. Save this again. I was in the wrong on. Let's go back to Let's do black instead. Blow that out way too much. I need to even clean this up some more. Okay. Like so. Send me ideas for now. Okay. Let's go to the blow. All right. I'll save this. Yeah, I think some around there should be fine. Let's go out to a frame shaded. Save textures. Okay. Yeah, I think that should be fine. I'll save save my file. Save the file. Save the file again. Then I'll go to the folder itself, create a duplicate out of that. So I don't lose anything. Kind of traumatized. I don't lose any file right now. So I'm not going to duplicate this. All right. Yeah, I think this should be fine. So let's select this don't need, select this deletes come in here as well, select delete Okay. Awesome. Yes, this is fine. So the next thing we need to do next to create. There's some extra stree clumping on top of his head, so I would like to actually create that as well. So I just gonna put that in a separate description, so we'll do that in the next lesson. Bye for now. 48. 48 Head Stray Clump Hair Xgen In Maya: Okay, Okumba guys. Okay, Okumba guys. In the previous lesson, we kind of finalize on the teddy hair. So moving on from that, I would like to work on the extra three clums we have in here front of the hair, maybe a little on the side as well. So let's get right to it, right? So I'll need to select the scalp again. Select let me select select the scalp. And I'm going to create a new description for this. So read description. So this description is going to be, let's call it st head Strictl should be imeter Let's do center. Or let's just do head unde straight straight stre underscore. Clumo. Sco description. All right. I think this should be fine. So we have at Clum description. So I want you to also be in the cap collection. Splan randomly across sface, plting shipping guys concretes Okay. So I'm going to living this front there because I'm going to use SARSA guides to create this on top of it. So let's add guides. Let's do one guide. Let's do one guide somewhere in front around here. Okay. Let's do another one around here. Okay. So I would like to create them randomly. I don't want them to be symmetrical, so I'm not going to using symmetry for this. Let's come in getting a bit close. Okay? Let's do one year, one year, one year, as well. And I'm going to select everything. I'm going to rebuild all of them. So let's let's do it. Okay? Let's do it. Okay. I've done eight there now. I think it should be fine. Did I do that correctly. Let me make sure I do that correctly. Let's do eight again. Okay. Then let's scale it out. Scale them out quite well. All right. But the center ones are going to be scaled out quite a bit more than the rest. Let me scale this down a little bit for now. Then this in the center going to get them scaled out even more they select this scale out some more. Maybe a little bit more. So should be fine. Let's kind of compensate for it on the sides. Something close enough. Okay? That should be fine. Then let's start selecting them piece by piece and then bending them the way it needs to be bent. So I'll go to my scopes and shaping guides, save this, go back and then grit the backup for it as well. Okay. Then let's get this bent over. I think I might even need to increase the size some more. I think, yes, I will need to scale it out even more. Let's scale it out some more. Okay, es some strep lumps. Let's get some nice shaping around it as well. Okay. I can increase the broad size some more. So it needs to be a little bit more obvious, so we need to pull it up and out a little bit more. Okay. I'm thinking of even adding some more civic counterit. But I think this should work just fine. We don't need to do too much. All right. Yeah, that should be fine. Okay. Let's see. Let's do for the others. Select this. I want to scare it out even more. Then let's get this bent. Yeah, I like the shipping of this. Shipping of this should be fine. Okay, get the bends down some more. Alright. Let's like the next one. Scale it out some more. Maybe I went a little bit overboard. IT I went overboard with this down. Okay. Get this down, move the scope. Okay. I think I would like to get this face in this direction then up some more. Let's get some shipping in there. Okay, I need to add a bit more in between. So let's do that. So this we kind of interpolate between what you already have in there already. Like so. Let's kill it out some more. Let's get some shipping to it. Okay. We can do something like so move this closer. I think that should be just fine. Let's move on to the others, select this, scale it out some more, get these bends in place. I can use the rotate to rotate this down. Okay. I think we can make this work. I don't want to poking out way too more, so let's get it down. Like so. Okay. Yeah, that should be fine. Yeah, we can definitely work with this. Select the next one. Skill it out. Get these bends down. Okay. I like to get this down this way, get it tipped down some more. A the X shaped curve should be just fine. Okay? Select this, scale out a little bit more. Get this in place. But we need to poke out some more because I wanted to be a bit obvious to see. All right. Get some shipping in there. Select the last one. Scale out some more. Maybe that was bit too much. Go to our sculpting guides, sculpting guides, brush and then move this in. Okay. Move this deck. Yeah, I think that should be fine. Let's move to the opposite side, select this, scale this out some more. Get it in. Facing the opposite direction, move this down. Move it up some more. So it's a bit more obvious to see. Was this slightly buried in. Okay, go to the next one. Scale out some more. Okay, do a quick sieve. Move this in place. All right. This way should be fine. Up some more so it's slightly visible. Get the tip down. All right. Next, scale out, EG on the keyboard, go to our sculpting brush to, sculpting. All right. Outweigh too much. Tip this down. Now, you always want to look at this from various angles just to be sure it's in the right place. All right. Make this bullets out some more. Okay? Let's go to the next one. Scale out some more, a little bit more. Scrub this down. Okay, I think actually, the size was way too much. Let's take it down. Get this down. Okay. Get some ship into it. Pull this out some more. Next one. Scale out a little bit more. Get this berry down in, pull it up. Look at it from a different angle. Okay. I think this should work. This should be just fine. Move this up some more. Okay. Yeah, let's work with this. Can work with this, save this. Generates for it. So let's go primitive on output. Turn of fully primitive in view. Yeah, we see some strays. Okay. Maybe some of this we need to get down naturally. Yes, we need to get some of them down. Let's increase the density first. Okay. Now, let's take down the density first, hide the as for now, let's go in. Select all of them actually, go to sculpting guides. Let's move them down. Move them down. Get them down. Especially the tip lay this out. Select all of them. Go and reduce the bro size they lead to. So we can actually get them down some more Okay. Run the heads again. Let's see. This is why we're having some of these because some of them are actually out of place, but that's fine. We're going to make it work. So let's set the weight for its 0.01 for the weeds. What kind of painting we wanting to be is going to make better sense later on so let's say this 71, 0.71 te pasta to be 0.76, 0.76. Okay. So now I'm just going to specify where we want this to actually grow out from as the next step. So I'm just going to let's save this first. Let's create a backup again, delete this, create another backup. Y. Okay. So now let's hide thes for now. Let's create a density max for it. The density max full black. Okay. Name is to underscore ClumUnderscore, the EINs, underscore MAX. Yeah, I think that should be fine. Okay. So you're going to send into painting. Let's hide the hairs for now. Let's specify what I want the hairs to be green out from. So a paint brush, instald brush already, painting with full whites. Painting with cement with ton do on also two which is cool. Use the brush as a bit small. Okay, so let's paint around here. Okay. Then let's go to the blow. Blow the edge. Blow the edge. I think I might need to increase the blow size a little bit more. Okay. Blow the front parts. Let's blow in what parts. This is original you want the g to grow out from. Okay. Since somewhere around there should be fine. Let's save this sieve textures. Close this. So we need to increase the density now of the hair. All right. I think also to might need to move them up out a little bit more. Let's increase this as well we count. Let's do 26. Okay? Select all of them. Leave them up some more. Run this again. Maybe there's a little bit too much, get them down a little run this again. So now we need to add modifiers to this just to get a good idea of what we're creating in here. So let's go to save this first. Then we'll go to modifiers. Let's start adding modifiers in. So let's go to modifiers. We can just use the same albino side here. Compon let's start with compound generates. I'm going to use a smaller number for this. Let's do 0.3. Generate Sieve. Let's see what that gives us. So I'm going to hide I'm going to hide the center head first. So you can actually see heads, so you can at least see this a bit more. So you can actually see this a bit more now. So we can make the right modifications to it. So let's go back to the head tree lump. So with this in here now, we can modify this side we want and get the right shaping for it. Okay. So let's go back in. So we need a little bit more. So let's go back in. Let's do one, generates, sieve. We need some more need some more clumps. This is fine, so we need to make some adjustment to this. We need to take this down. I want something like so at the edge, Slim this down as well. Okay. Slim it down some more. Okay, let's get the roots slimmed out also as well to get proper clumping in there. Something pretty much like so. So I'm going to hide the guides for now.This is pretty much what I'm going for. That's pretty much what I'm going for. So let's add the second clumping. Let's do second clumping side clump two. Setup maps, generates. Save. Let's see what we get out of this. Though I think it's a little bit too much. Okay. Yeah, I think this should be just fine. This should be pretty much just fine for what we need it for. Okay. Let's Let's have this coin coil. Let's see what that gives us an even more interesting result, which is cool. Then let's add I think we can always do the same side. Let's do noise noise one. Okay, noise two. Nos two a three heads in there, which is also fine. Just 10% three, which is fine. Then let's add same coats, okay? Now, let's go back and make the head heavy let's see what we get. Awesome. So you can see how we're getting interesting shapes on top of this now. Except for the fact that might need to take some of the guides down some more wrong one. So this is what we're supposed to be on. I need to turn of the A guides for the A I go to the description for the AT clums, make the guides visible. Okay. I'll select this. Okay. We can just bend this down, bend this down, down some more, down some more, D some more. Then some more should be fine. Okay. Okay. Increase the brush size some more, get some bend down. From this again, let's see what we have. Okay. I think these trees actually make a lot of sense. Run this again. Just trying to modify its ID guides. Let's see. Awesome. I think this should work just about right for what we need it for. Yeah. This should be just fine. I should be just fine. No guides. Yeah, that's fine. All right. So that's how we kind of concluded on that. So the next thing we need to work on the on the eye scalp, the eyelashes, and eyebrow. Okay, and then we can move on from there. Okay, this is in place. Let's make this head visible again. Let's see where we get. Alright. Awesome. Awesome. They are getting good interesting results in there, which is precisely what we want. Alright, so the next lesson, we're going to work on the start from the eyebrow, then move to the eye lashes. So I'll see you guys in the next lesson bye for now. 49. 49 Eyebrow Xgen Hair In Maya: Okay. Welcome back, guys. So we have done most of the head path down, so now let's work on the eyebrows. I'm going to hide all of this. Let's hide this so we can work a little bit faster. All right, so let's do this as well. The hide this. Save a file. I need to hide this as well. So what we need to bring out would be the ice calve. Let's make the ice carve visible. I think we can hide this for now. This is the only thing we need. Okay. So I'm going to be using this our main reference for the eyebrow, still need to make some modifications to this as we move along, but I think this would work just fine for what we need it for. Okay. So, bending this way, all right. Now, let's select it. Let's create a description for it, go to description, creates description. So this is going to be high brow. Let's do our caps. Eyebrow. Undersco DESC for description, then let's create new collection. This new collection is going to be I Undersco scalp, Underscoe collection. Okay. Then splines randomly across surface, least shipping guys, click on Create. All right. Yeah, I think we're good. Let's go in, let's start creating some a guides to begin with. So get this down. So this is going to be a slightly tricky one, but I'm going to work you guys through the entire process. So let's start by creating something here. Let's block out the general height of this, okay? Then this will be the S points. Then from the IS points, kind of falls down this way. Then we end it here. Select the pick points. This way, this way, this should be fine. It's a good base. I should be a good base. So I'm going to select all of them. I don't want it to be this high. I want to kind of shorten this, okay? So now we start sculpting them in place. Reduce the brow size a little bit more. Basically, how do you play out should be facing this direction? You facing pointing towards the center point. There dpointing towards the center point as well. I want to mention that quite quite close to the skin, quite close to the skin, very important because you don't want it's going to pen out way too much, it should be quite close to the skin. So carrying on. Got it from an angle, bring this down, facing, pointing down. Get this way. That should be fine. Move to the next. So dictonality should be pointing towards the center this way. Close that to the skin as well. Get this down. All right. This way, put the same process in here as well. Close to the skin. Okay. Close that to the skin. Move this down. Okay. This way. This way, right. Bend this down. So to be facing downwards as well. This one will just get down this way. All right. So something roughly around the nature of this should be fine. But I feel like I might need to shrink it down a little bit more, but we'll see. So need to get this down down some more to the skin. Check this out. All right. I think this should be fine for now. So let's generate as in. Let's see what we get. Okay, I'm going to take down the wits. I just did 0.01. Just start tap 71, 0.771. Then the t star should be 0.76 0.76. Okay, let's go over to primitive and output, turn off for the primitive in view. Increase the by lots. Let's see if we have the directionality for its rights. Okay, for the most part, we have the directionality correct, okay? So I'm going to hide the heads for now. I'm going to add some more guides in the center points. So this is just going to help drive the. So more. Let's do one. Well, as well, as well. Okay, select it. Make some modifications to it. Okay. Select this as well. Make some modifications to it. Alright that should be fine. Generate again in the we don't have any generated in here. That's why this top part is looking a bit weird. So let's add some guides. Let's add some guides here. I'll pull it out some more. Okay? Because there's so many quite a lot of gap in there, so just trying to fill up those gaps so it blends well nicely. We'll need to make some modifications to it as well. Okay. That should be fine. Select this. That should select this. All right. That should be fine. Generate some s in there now. Should have something good enough to work with now. That's fine. So I'm going to select all of this and the mirror to the opposite side. Let's select all of these guides. Get this mirror to the opposite side. I'll select this. Pull out some more. Okay. Generate on both side. That's fine. Do a quick save, save my file again, do a duplicate of the file. Okay, out, should be fine. Now just kind of creates density marks for this. Need to create some density marks for this. I'm going to go in, create map, full black, eyebrow, underscore DNS underscore max. That should be fine. Click creates Okay. Awesome. So I want to paint with full white. So make sure we paint painting white. So for this, I will need to reduce the brush size even more. Actually quite more cause spart is actually quite tricky, so you want to get a smaller brush size, so you can actually paint the outline first. You want to actually paint the outline first. Okay? I want to try as much as possible to do it in very accurate formats, like so. At the same time, I don't want to I don't want to blow it out. I want to blow this also, too, because I still want going to maintain some sharp edge to it. Okay. Do we have this symmetry on Awesome. I think this should be fine then we can just blow the inward parts, reduce the blow size, the blow size. Blow the inward parts. Okay. And if we're blowing out the edge for this, we want to use. I think this can work. This should work. Blow the edge. So you want to do this in one stroke. I don't want to go over it multiple times, I would like to do this in one stroke. Okay? One stroke should be fine. All right. Let's save this. I think we have something really good to work with in here. Let's see. Okay. Save the textures. Let's go out to reframe and shaded. And let's go in, let's hide the guides for now. Play this out. Let's see what we have. We have the shape, but I think we need to I think we might need to add make this a little bit ticker. Many to make this Let's look at it from a distance. My to kind of make this a little bit ticker. So let's go back to the pints. Let's go back to pints. Okay. Let's paint in full white. I will just add some more down here. Okay. I'll add a little bit more at the top. Okay let's blow blow the edge in one stroke. Okay. Let's blow the top part also too. The top parts. Awesome. Save this. Save textures, close this, go back out. So just going to increase this some more, just to create a little bit more hair generated out of that. So we have the directionality just fine. I think we can definitely work with this. Yes, this is fine. I'll do, quick save. So the next we need to do now would be to help modifiers to this. So let's go to modifier. Okay. SV counts 25. Let's go to modifiers. So already have eyebrow modifiers in here already, so let's just use the Albino eyebrow. Let's start the clump one. Generates. Yes, you need actually quite a lot. Actually quite a lot. Something like so. Let's go to the next one, Clumping two, eyebrow, Albino eyebrow, clump two, generates twice as much should be fine as well. Okay, that's fine. Let's go back in. Local user, let's do what we have noise, add noise. Then let's add the cuts. Okay? And then we should be good. Yeah, this should be good. Should work just fine for what's needed for. I don't need to go to extreme. I'll save this. Let's make the head visible again. Let's make the head visible. Okay, let's visualize this with the head here as well. Let's see all of that in there. Okay. All right. I think we're pretty much good in here. This we can work with. Don't need to go to extreme. Okay. Now, I'm just looking at this side if I need to extend it longer than it is right now, maybe what we have there is fine. Let's see. What will create a look somewhat similar to this. I think this will work just fine. Don't need to go to extreme. This should be fine. Okay. So the next thing you need to work on will be the eyelashes. I work on the eyelashes. I'll see you guys in next lesson. Bye for now. 50. 50 EyeLashes Xgen Hair In Maya: Welcome back guys, so if restless, we can finalise on the eyebrows. So this time around, let's work on the eyelashes. Let's get it. I'm going to hide this for now. Okay. I think let's say the head hair. There's one that is more dense, so let's say that for now. The rest we can just skip. So still on the ice cup cap selected description, cred description. So one is to be placed in the ice cup description. Okay. So once name this to I lashes. I lashes, underscore. Underscore description DI EESC. That should be fine. So the collection adding this to the ICA collection, randomly across the face plans, please shipping guys, create. Okay, Oh, come on. Popping up that again. So let's go in and then before we go in, let's create the guides for it. Let's get some guys in there. Okay. Let's start from the top. So the eye latch is supposed to be somewhere around here, one year, one year, one year, swell, swell. Undo, undo, undo. Please underneath this. Let's turn away aframa shedd so you can actually see the outline properly. You can follow it in a particular Okay. Yeah. Then lastly, Okay. That seems pretty much fine. Alright. Let's work on the top first, then move to the down lower parts. So let's look for referencing here. No, this is not the one. This is the one So you noticed the top eyelash is kind of longer than the lower eyelash. So let's kind of maintain that same flow to it. I'm going to hide this for now. Okay. I think we can go back now and then hide the head hair. Let's jump back to the eye calp, jump to the eyelashes. Okay? Hide any hair generated out there for now. Okay. Now let's selex this. Okay. Let's cope the guides. So let's get this rotated this way first, rotated this way. Select this, rotate this way. Okay. The rest should be the they're fine where they are. Let me just add one more here. Okay. Select this rotates this way, select this. Let's cope the shape, increase the blow size a little bit small. So something pretty much like so Okay. Might need to kind of take it down, use the size a little bit more, but let's just carry on. Okay. So. Select the next one. All right. Select, you should be facing this direction. All right. Et's rotate it this way. All right. It Johnny keyboard, go back to the Scopes guides. Move to the next one. Up. Okay, select pull it up up this way, selects well up. Next, we'll up. All right. Finally the last one up this direction, select rotates this way. Okay? Select all of those Let's just scale it down a little bit more, then mirror to the opposite side. Okay? Yeah, I think you should work with this. And let's go great for the lower parts of the eye lashes. Let's start from down here. Great one here, this way. Yeah, and finally here undo that getting close. Okay. Then we need to get this face in the opposite direction. Okay. Put this down some more gets in. You just need to bend this bend it deep down, and then we should be good. Next. So kind of rotated elsewhere, get it in place. Okay. Then bend down. Okay. That should be fine. Next. Bend down. Facing this direction. I bend this down. Select bend this down. All right. That should be fine. Select bend this down. Okay. I think that should sit just about right there. Select everything on the lower parts. Select all of this mirror to the opposite side. Okay. Now, I need to paint density marks for this. But let's start by setting this up. You with 0.01 Tipa 71. Taper starts 76. Okay. Let's increase this. Let's go to the previous note, turn off for the primitive in view. Run this again. So now those internal pin density marks for where we want this to actually be applied on. So let's create some density marks for this. Set this to full black. Black. Okay? Let's rename these two I lashes, underscore, density, DNS, underscore Max Okay that's fine creates. Let's give you a moments. All right. Save this. Let's go over and turn on wire from unshaded, so you can actually see what painting in. Bring pin settings. Select pints, or painting in a full white solid brush. Symmetry, symmetry. I think the top eyelid is actually symmetrical from the opposite side, but the lower eyelid, I don't think it's symmetrical also. Let's on symmetry, we can paint symmetry for the top eyelid. I'm going to reduce the brush size quite small. Okay. Then we'll start painting whites. Move this along. Okay. Move this along. Kind of strolling off. Should be down the air. Okay. Yeah, that should be fine. Let's say this to full black. Say this to full black. I'm going to erase the top part a little bit more like so. Say this to four whites, scroll down, ton of symmetry. Let's pain for the lower eyelid. Okay. Move this along. Conclude that all. I think on the right track, all the way here, should be fine. Move to the opposite side. But we can see a lot of discrepancies in here on top eyelid. That's fine. We're going to clean that up and then repaint that again, and then we should be good. I don't think that is looking good enough. Make sure we're painting this on here. Just come from the opposite side. Connects. Yeah, I think that should be fine. Now, let's go paint full black. Increase the bros size a little bit more. Let's clean the top part out completely. We need to redraw that because it's not looking symmetric as I I thought it would be, but it's not. So I'm going to need to draw something new in there. First, let's sieve. Let's just say for what we have drawn so far. Set this back to full white.Rduce the browse size. Okay? I think my brother's size might be too big. But that's fine. That is fine. Okay. Move this along, connect this I don't think that is looking good enough. On do. On do. Okay, let's draw that again. Want this to be as accurate as we can get this to be. Okay. I think this to be fine. Let's save this again. Let's go out of it. Turn off fire frame shaded, hide the guys for now, clear this out, increase the density by a lot, actually. So some gaps in between here. Let's go back in. While we having gaps in there. Let's increase it to 200. Let's see if that fills it up. Let's fills it up. That's fine. Okay. Save this. Save again. Let's go back in. Let me make sure I save textures here as well. Okay? Yeah, awesome. So you can see how we got something cool in there already. So which we can actually keep. But I think we need a little bit more, so let's go 300. So we have some more in here now. Let's add modifiers to this. So maybe let's make it slightly thicker, slightly thicker. Let's just add two to the end or maybe three to the end to 0.013. Make it slightly thicker. Okay. Let's go to modifiers. A some eyelashes we can use. So Abinoelahe compon setup, generates, save. Okay, interesting. Save this. All right. Let's go and add the next clump, eyelashes clump two. Set up, generate again, save. I don't see much happening in there detting. We need to crank this up a little bit more. Let's do 40 generates. A little bit more, okay? Look, I use eyelashes noise. Yes. This doesn't seem to be doing much though. Maya it's not even doing anything. Delete that delete. Let's just create a normal regular noise in here. Let's just do the fourth noise. Okay. The fourth noise. But intensity is quite strong, so I'm going to randomize this. I don't want the lens in there, so Let's run this. Instead of 0.2, let's do a value of 0.5. Okay. So we have to randomize Randomizer in there. Okay. Now, let's add local user. Let's add codes Eyelashes codes. Okay, I think for this one, we need to add that lens in there. Let's add lens in there. Okay? Yeah, this will work just fine. If you get close and look at this, you can see variation in heights. Give a bit more variation. Let's increase the value from 0.22 let's do 0.5. Let's see, 0.5. Look strong, but that's fine. It's fine. It's fine. We can definitely work with this primitive, increase the two. Let's do 20. Let's do 25 instead for Civic counts. Okay. Okay. Think as far as this goes, I think we can keep we cannot keep this. This we can keep. I'll save this. So then again, let's visualize everything again. Let's see what we have a tu Okay. Let's make this head visible again. All right, I think we can work with this. Okay, Rave the guides again. Wrong one. Eye scalp, eye lashes, v the guides, nope, eyelashes, rev the guides. This pla one, all these two, actually. Move them out this way. So more run this again. Okay? That should be fine. Select this on the opposite side, repeat the same thing. Okay. Perfect. Eye that's. I dgidez two for the eyebrow. Hey, I think we're good. Let me hide this for now. Move the clothes out where it should be. Okay, that's fine there. Let me hide this also. Make this visible. Hide the eyeglasses for now. Let's see what we get. Okay. Yeah, I think we're good. I think we're good. This should work just fine. Save this. Okay. I think maybe I should add more for the teddy hair. Thinking of increasing the density for the teddy hair if I need to not. Maybe not. Maybe not. Let's leave it as this for now. If we need to come back to that, we can, but for nothing, that should be fine. The next we need to work on now will be for the moustache. That will be the next thing to work on. Hi this for now. Okay? All right, so I'll see you guys in next lesson. Bye for now. 51. 51 Mustache Hair Guides Xgen In Maya: Welcome back, guys. So in the previous lesson, we kind of worked on the eye lashes. So this lesson, I'm going to move down to creating the moustache. So let's get right to it. Put this aside. So I'm going to hide the eyes cap for now. And then that do the eye scalp collection. Let's just temporarily hide those for now. Okay. Let's make the beard visible. Okay. Save this. So this is scalp for the moustache. And for the beard. So now let's select it Gate a new description. Place random place and shipping guides. Let's rename these two. Let's do moustache. Let's do a caps, Mustache. Mustache, underscore, underscore C for description. So I want to create a new collection for this. So this is going to be the beard, underscore, must touch, underscore Collections CLL, splines, randomly across surface, is in a shipping guide creates Okay. Awesome. So now let's start adding points to this. So I have a few references that I'm actually going to use so let's start from around her. Let's start the first one. Let's add another one. Yeah, let's add one year, as well. Around one year, one year as well, then won't last one year. Okay. And I'm going to select all of this rebuild. I think I would do ten. Fantastic. That is just great. So now we have a bug. We have an issue we Eggen begins to act weird. Extremely weird. So now I kind of try to rebuild this and then we are getting this converted into guides for no specific reason. If I do undo, it's gonna create something like this for us. Fantastic. Okay, so what is here is what I'm going to do? I'm going to redo again, redo again. Redo. Okay, stop there. I'm gonna select all of this. If I try to rebuild this, we still have the same issue. Basically, you have the same issue. Now it's completely gone, converting it into something else. Now, here's what I'm going to do. I'm going to delete this description. I'm going to delete this description. Okay? Select all of this, completely delete them. All right? Select deletes, select it again. Create description. It's going to be in the same collection. Let's just name this again to oh there's one more thing we need to do. We need to go into the folder itself. Let's go to the folder. So that folder project folder we created for it. I created a new folder because like I said before, it kind of crashed, and I lost it and I kind of renamed it to a different project, but just opened the same project you created before. Open it up and go to Egg Jen collection, I'll go to the Beard Mustache collection. Still have the description in there, so we need to delete this as well. Very important. So don't have any mix up in there. Okay. So I'll select this again. Let's create a new description. It's the New moustache. I'm going to give it a different name because I don't want it to be an issue where maybe in the backfie or backlog, still kind of memorizing the previous name we gave it and begins to cause issues for us. I don't want that. So creating new description, adding new moustache description. Okay. Then I'm going to, I think we can work with that. So yes, I'm going to leave this under the beard collection, recross surface, placing a shipping guide, create again. Okay. Let's just hope this time it works. Select great the points, create the points, re that points here, create one year, year on year. I'm just hoping this works actually now, so it doesn't work, going to be really annoying let's just do it. Same problem. Same problem. So it doesn't want me to rebuild this at all, which is messed up. Anyways, select all of this, select this select all of these curves again, go to utilities. Let's do curves to guide, select coves to guide, convert them to guides again. So at this point, I don't want to mess things up. I'm just going to just use DVTs. I don't have any other option again, so I have to mi do with what we have. So I'm going to select sic select all of this. I'm going to skill it out by lots. Is like this for now should be fine. Yeah, it seems all out of place, but that's going to make it. Let's just get this move this this way. Select all of them, select this. Move them this way. Alright, so now I'm select them one by one and begin to use the scoped brush and then scope them in place. I have a few references here, so I'm going to use that reference. I think this is the one We keep this just around there so we can at least see what we're doing. Okay. So this needs to be a bit flat, increase the brow size some more. Okay. All right, getting close. You need to bring this closer to the skin. Then we can move this up some more. Okay? Kind of fly polar directly connected to it. Select the next one. Okay. All right. Move this up this way. Get this closer to the skin. Select this. Move this closer to the skin. Okay. Up some more. Move to the next one. Okay. So there's a butler directonality to it, so we want to make sure we kind of capture that as much as possible. Okay. Pull this out some more. I think that should be fine. Let's select this. I need to extend this out even more. Move this out this way, move this in some more. So I want them to actually converge almost in the same place. So what I'm trying to do to make them converge in the same place. Sort of. Okay, let's go to the next one. H. Okay. I might not even be doing this correctly, but we make it work. Just make it work later, of make them work. We like the next one? There's no harm in kind of making mistakes here. There's no making mistakes here, which we can't fix. We would fix it. Once we get good preview in there, then I'm just going to modify and then get it where it needs to be. Okay. All right. Then let's go in there, add some more guides. For goodness sakes, what is this? This is getting rather annoying to work with rather annoying. One of the most annoying part about working wet Gens, the amount of bugs amount of bugs that comes with it. I literally cannot get this to work. I want sculpting it. This sculpting won't sculpting. Let me see if I can only skill it in place. It's quite annoying just to see this just going completely elsewhere. Clear this out. I keep having this same issue, then I'll need to close the software and then do this again, it's even completely different. This is not even where I want it to even be. This is not even where I want it to be. Delete Okay, I think we have no other option but to just let me save this first. I need to completely delete this. Reopen the fire and then creates a new description. I a new description because it's getting rather annoying. Let's just kind of visualize fantastic. Can see the I'm not even following it at all. We just have an infinite, not infinite. It goes down. So we can't work with this. We cannot work with this in any way. One of the annoying parts about working with tegian bugs to select all of this, let's convert these to curves. So go over to utilities, guides to Cove. Okay. Save this. I'm going to delete. I think I'm actually going to delete the entire outset. Even the collection. I'm going to delete the collection inclusive. Okay. So no, delete description collection, delete collection as well. Save this, and I'm going to close the file and open it again. Okay. Let's go and save a duplicate. Here, also, we're going to delete this beard moustache, delete data as well. Close the file. Then we need to open the file again. Hopefully, this timing. Hopefully this t should work correctly without any issues. Hopefully. So let's open up our file again. Okay. So now let's connect this box where it's supposed to be. So set projects. I believe this is the project. This is the one let's check its car set. Selected sets. So next you want to do is actually check if the hairs are kind of generating out. Okay? Check the eyelashes. That's fine. Check the hair. Okay. So you want to actually check, very important to check. Be sure to be sure everything comes out correctly, everything comes out correctly, you can go in. You can hide them. You can go back and slate this scalp. I'll start by deleting his string. If I have any try down this cup, I'll delete darts. Okay, select it. Create new description. Okay. This is going to be for the moustache. Mustache. Underscore the ISC Mustache description, that should be fine. Create. Let's name this to moustache. Underscore beard. Underscore collection, okay? All right. Splines, Binner shipping guides. I think that should be it. Create. Okay? Click out, select all of these curves. Go to utilities. Let's do cove to guide. Okay, that's the first step. Second step we need to do is to add a new guidance, see if it works correctly, perfectly, it works correctly now. Awesome. So we're safe safe now, so we can actually push through this. Before we do that, let's go to the head. Let's hi let's hide that. Let's go back to the mustache and beard. Okay, we're having a generated out in here, so save this first. Okay. Hide any generated has in there. So now we can carry on and continue working on this. Continue working on this now. So let me go to the egg gene tab. Middle Musk drag this all the way to the end, ok? Let's go to Scots. Let's go up to this guiding place. Okay. So, get this same directionality. Okay. I'm going to select all of them. Increase this some more. I'm just going to tell this down some more, okay? Pretty mot like so should be fine. Okay. Get some curve ship in there. Then now we need to kind of create some shorter ones. Let's create some shorter ones, but wet kind of create some longer ones in between. So let's just do fill up the gap in here. Okay. Move this in. Alright, so now we can actually create some shorter ones now to go along with it. Let's create some shorter ones. So it's gonna try to take up something long, but we don't want it to be too long. We want it to be quite short. Okay? This gets in there. All right. Creates another one down here. Scale this down. Move it up. Okay. This one should kind of bend this down. Now, at the same time, I don't want too much that will begin to make you feel a bit too noisy. Scale this down, bring it out. Okay. It's need some shorter ones to actually help shape a little bit more. Okay, I see a big gap in here, so I'd like to fill this gap up. Okay. Let's actually see what we have in here now. Okay? I let me get this down. Alright. Okay. But All right. Let's adjust a sentence for this. So let's do What can we do? Well, let me see. I think I need to I feel like I need to add. I feel like we need to add something here. Okay? Something down here as well. Okay. Okay. Oh All right. Try and figure out I work this kind of generates amazing there to actually see if we have this in the right place. Save this 01. Okay. Let's do TAPA 0.71. Tipa starts 76. Okay. I think we're on the right track. Now, let's crank this up some more. Let just see the general flow of this to be sure if you're on the right track. I think I think this is looking quite good. Except otherwise. So let's mirror this to the opposite side. I go to the opposite side. Okay. So we need some smaller ones in here. Turn over this primitive in view. So let's IDs for now. Create some smaller ones in the middle. Some guys in the middle. Now where is that flowing in. Okay. Okay. That's fine. Lens is just about rights. Okay. We disclose a Okay, down the hair should be fine. Let's create some more. Now, you want to avoid creating hairs too close to the lip. You want to avoid that because it comes in a lot harder to actually clean up. Even though we're going to use thens marks to actually clean that up. The length of the hair is just going to begin to affect it in a way that he might need to start making a lot more adjustments in there. And I don't want that. So let's just get this in place. Okay. All right. I think we can mirror these two to the opposite side. Let's mirror these two. Okay. That looks just about right. We just need to select this. Okay? I need to create one center directly in the center and get some directionality to it as well. Okay. A. Just checking to make sure everything's in place. Let's cope this in place. Okay. I'll mirror it to the opposite side as well. And once on the opposite side, we need to adjust the i two. So it doesn't look too symmetrical. Okay. Let's generate some mese. Okay. Now, what is wrong? Save this. I can't see any has been generated in here. What is going on? Save. Why are we not getting a generated in here? Eg Geneva says it to kind of get on your nerve. At this point, not entirely sure why we're not getting hair generated in her anymore. If you go over to the head scalp, would we have our egg generated in there? No, we're not having egg generated in there as well. Isn't that great? Okay. I think I might need to close. I need to close this and open it up again. So don't need quick save. Don't need quick save. Not sure I'm getting all of this outside my documents everything is supposed to be inside this project itself. Let's save this file again. If something is broken, I'm not remotely sure what, so all option is just to restudy documents, save and restart. So I'm going to close this. 52. 52 Mustache Xgen Modifiers In Maya: Okay, welcome back guys. So in the previous lesson, we were trying to rather we created guides for the moustache, and then we couldn't get g generated out anymore. So I have close software and then open it up again, and then we have as in here now. So I'm going to increase this some more. So now, the next thing is to specify where we want this edge to be grown out from. So let's create some density marks for it. I said this to 50 black, moustache. Let's do a cups for this. Mustache. Mustache, Undersco DENSOndersco, Max. Okay, so a painting for black creates save this face so it gets completely black. Let's do wire frame and shade, so you can actually get see this little bit more outline. Let's go in solid brush. Painting with full whites. We can turn on stroke reflection should be turned on for this. Then you need to take down the brush size, so it'd be with the middle mouse screw with the left mouse screw, left mouse cl crater. And then let's paint. So'm going to paint all the way around here. Since somewhere pretty much like so, should be fine. All right. Close this. Then let's blow out the edge. Increase the blow size a little bit small. I like to do this blow let's just one stroke. Okay. All right. So safe texture, save as well. So we should have a generated out where we need them to be. Okay? All right. So I'm going to go out of fire frame shaded, go out of the maxing. Let's the guides for now. Let's see what we have generated in her Okay. Usable, but you need to make a lot of corrections in here, increase this even more. You need some more generated in here. Let's see the guides we have in here. I'm going to select these guides. The select I think I need to select that inclusive, and I'll need to seal them up a bit more, run them again. Okay? All right. I'm going to select all of this. Oh, I need to move this out of the way to move mouse crew drag this out. W the cops, too, increase the bros size, increase the bros size. Okay, let's run this again. Here now we're getting something. Put this up, out some more. Run this again. Okay, let's descend to the opposite side. Move this out, some more. Yeah, I see where we are. We might have some issues around here. I need to think I might need to one out some more. But let's just increase the brow size to this out run this again. So that should pull out some of the ears in there. Okay. I'll select these two. Sin I'll rot it this way, select these two, rotate this way. Then it creates some more one year, one year, one year, one year, year as well, as well. I need to get them out, get this out, select this, get it out. Okay, we want to take takeout, take down this scale, though. Select. Okay. Select this scale this down. Okay. I think we have something buried in the air. Gets out. Should be something like so. Okay. Let's see the corresponding parts. Select this. Select this. I think I need to scale this out some more, pull this out. That way it should be fine. Generate the has again, let's see where we get. One thing certain though, we need a lot, a bit more. We need a bit more around these parts on the center part actually. We down here, we would need to, I think, select all of this. Let's see. Increase this. Let's just do with the move brush. I rotate brush, let's rotate this closer. Select all of this also to rotate this closer or a little bit more up a little bit more. Run this again, let's see what we have our guides. Okay. Still a lot of corrections to do in here. Select this way. Select this way. Run this again. Yeah, I think this is the way it's supposed to be. All right. We need to bring them closer. We're getting something interesting, no doubt, but we need to bring something even closer. So let's review this again. I DDs for now. Some okay. We can create new guides around here. One guide here. Move this in in some more Okay. You do one white close around these parts. So this one should actually follow it kind of get something tight in there. I'll slate those two an a mirror to the opposite side. There's one is the second one, I believe, mirror to the opposite side. Let's run this again. Let's see what we have. So yes that would help tighten tighten things up a little bit more. Then we can go a little bit extreme. No, don't need to go. Let me hide this for now. Let's visual. Let's see what we have. Let's visualizing here first. Okay. Okay. Select this. Move this up, select this, move this down. Run this again. That should tighten things up. So more, hide our guides. Okay. I'm just kind of, let's see. Let's increase this some more. I don't like what we have in here though. So let's visualize the guides again. Do you have any guide buried? Okay, we have some guides buried in there. I'm going to lift it up some more, push it back in. Let's run the as in there again. Let's see if that should be fine now. Looks fine now. So you just say back and forth, just until you get something good enough to work with. Let's see the visuals for this. Okay. Okay. Basically, I just checking this out just to be sure I have this working correctly. Maybe just bring everything back out. Select all of this, select all of this. No, let's start with this first. Let's just get this down a little two. Let's run this. Let's see what we get. Let's side this for now. Okay, that would work. That would work. Select all of this down a little two. Okay. Yeah. Let's the guides, run the has again. I think we're in a good spots. I'm going to increase this. Let's do 30 30. Okay. Now the next thing is to figure out how long we want this to be I think I might think this to be slightly longer than it is right now. Let's review this again. I'll select all of this. Select all of this. Let's scale out some more. D Okay. Awesome, guess get into adding some modifiers to this, but I think I need to crank this up even more. Let's do 200. So auto vertical beard in there. Okay. Yeah, this is fine. So now let's go in. Okay. Yeah, so let's go to modifiers. Save this. Okay. Let's go and create a duplicate. Delete this, create a duplicate. Okay. Now, let's add modifiers. I think you should have some beard modifiers in here. I believe I have some beard modifiers. Okay, so Wukong I think we can use Wukong Wukong beard. Wukong. Okay. Yeah, let's use this Wukong beard. We can work with this Wukong. Let's start with the clumping one. Setup generates, save. Wow. I think we need a whole lot more. We need a lot more. Maybe not even this. I'm thinking I'm thinking we can't even use this for the eye from the eyelashes. We can use the clumping from the eyelashes. The same thing from the eyelashes. So let's just do for the eye the eyebrow, rather the eyebrow, so let's do it from the eyebrow. Let's do it from the eyebrow. Let's do first clump. Setup generates, sieve. Okay. I think I think this would actually just work. Okay? Just checking this. Feel like I should make some little modifications on something in here. Just checking. Oh. Why is this one deep down? As deep down. Pull this up. Run this again. Okay. Let's even look through this. We have another one very deep down. This one is very deep down. Let's get it out. Get it out. Okay? Let's look into it again. This one is also buried deep. A little more than we need select this. Move it out, add some interesting shape into it. Okay. We have this also, too. Okay. Well, I think I see the shaping now. I think the shape is in here. But I think we just need to move this out a little bit more, move this in. I'll need to hide the hairs for now. This is where we're having some of the issues, so I think we can select all of this, see if we can do this at the go. Just need to push this a little bit closer to the skin. No, I can't do this all at the go, so I need to do this one by one. Let's select this Okay. At the same time, I don't do it for everything, for some necessary piece. Let's run this again. Let's see what we have. We have something slightly better now, slightly better. So let's get in there. Okay. Select This one to still buried in. Come on, get up. A Okay. All right. Let me get in. Kind of visualize this some more. Okay. We run this again. Leside this for now the guides for now. Okay. A All right. Let's go in and create the second one. Okay, let's do, before we do the second clumping, let's even see if we can modify this first clumping a little bit. Hide it for now. Let's see any major difference in there. Okay? Some difference is in there actually. So let me go back in. Let's take it down to round ten. Let's randomize this. Let's do 0.8, generates, save Okay, it's creating a complete mess in the center part, though. I won't say it's the best, though, let's move this along. Maybe we wouldn't randomize C randomize it Let's try it on. I think this method actually work just fine. Close. Let's add the second clumping in eyebrow clump two. But we need to it's already increased so generates, save. Okay? Let's go in. But let's sell this can coil. Let's steal this coil. Let's see. Yeah, the coil actually giving us crumbs and really interesting in the actual, maybe a little bit too much, but definitely getting something interesting. I think we can actually keep, we won't keep this. Maybe just reduce the reduce how much of this we are, but I'm definitely keeping this. We are good interesting result out of this. Well, let's take down. Let's see. What can we take down? What can we won't take down in? Can we take down in here to make this even better? For most part, I like this kind of swell swelling. We call it circular swell to, spiral shaping in here we have at the end of the beard. Just giving a little bit of an interesting result to it that I would also like to keep. See, I'm gonna live that. So look I use again. Let's use the let's use the beard noise, Beard noise one. Let's do beard noise two. Okay, this one comes with some straight. So I think we've already set the percentage to ten already. I have no set for this. Let's say this to ten. Let's even go let's go higher. Let's see what that gives us. Let's go higher. So at 40, we have some noise here and there, which is actually cool. Yeah, it's cool. I think we can work with this. Then let's add definitely add the codes in here. The the advantage of having preset, you can just play with preset to play with. So I'm going to add past the length in the Let delete all of these. Okay, let's keep the lens. Yeah, this is fine. So as in the randomized round open brackets, 0.1, comma 0.6, closed brackets, steric dollar sign, C, lens, capital letter. Okay. Yeah, yeah. I think this is interesting enough to work with. So let's see what we can adjust in there. Okay. Yeah, the CO is the one pushing this actually very much. Okay, we can randomize the coy counts from one to let's try three 1-3. One to three. Let's see the difference in there. Okay? I think three might actually work. Let's do four instead. Let's do four instead. Yeah, I think four should be just fine. Four should work just fine. Okay. M concerns is center points actually center points let's see if we can move that from the root a little bit more. Bring that down some more. I still want it to affect the roots. Let me just push it up a little. What are we doing here? Okay, that's just kind of blowing it out. Yeah, that's just blown it out. Don't want to blow it out too much the roots towards the root, not too much. I think somewhere around there should be fine. Okay, I think we can work with this. I'm going to leave this as it is. Save this. So next thing need to work on would be to work on the beard. So do that in the next lesson. Bye for now. A. 53. 53 Beard Xgen Hair In Maya: Welcome back, guys, in the previous lesson, we worked on creating the moustache. So we're going to move on and then create the beard. So let's get right to it. So I'm just trying to visualize what we have in here. So that's why I have the head visible also in here, so I'm going to temporarily hide it for now. I side it for now, so it come up a bit faster. And I'm going to hide the head also too for the view. So we need the scarp beard and for the moustache. So we select the scarf for the bear and moustache. We need to create a new description for it. So go over to description. Let me say this to Beard collection. Description, create new description. So on this description, I'm going to label it as beard. Let's use all caps for this. Beard unders DESC. Okay? I think this should be fine. Then I want to add this description to the existing collection, which is the moustache and bed collection. Then splines randomly across surface, plist in a shipping guide extremely important. Then clicon creates, right? So I have a reference in here that I can actually use kind of get something good enough in there, but still some modifications to it as well. Okay? You can see how we have some kind of shape going on in there. I guess our reference on the side as well. And it's not that long, so the bed is not too long. So with that in mind, put put this up here. So Okay. Let's create guides. Let's create guides for where we want this to be generated beer to be generated out from. So I'm going to start from somewhere around let's do somewhere around here. Okay? Now, I think we can make it also HCV counts. I think CV counts. W five should actually work because we're not screting longs. So we can still work with this scrit another one here. Yeah. Yeah, as well. So I'm trying to kind of create the guide where my eyes are going to be generated out from. Some around here and here, swell. Okay? I think something pretty much like so, should be fine. I don't think I necessary. Okay, I just select everything and then rebuild them. Hopefully, we don't have any issue like we did before. So let's eat civic. Oh, great. Fantastic. Fantastic. We're having pretty much the same issue again. Pretty much the same issue. And we can we cannot work with this. I'm going to delete all of this. Let's give it a try again. Let's see. Okay. All right. Okay. I think we can just work with this like so. I want you to review this because it's just going to give us issues to actually begin to fix. I don't want to fix any issue in here, so let me delete this, bring it a little bit closer. So guide. Something more okay, something more or less like so should be fine. Okay, I think lasso should be fine. So we need to just go in and then select each one and begin to use the sculpt guides and sculpt it to our desired shape. So I'm going to reduce the bros size. And then let's still to the way we need it to be. So I'm trying to create something that has more like an L shape to it. So you can see how this kind of flows in a kind of opposite direction anyway. So we got to get that in and then still implement some shape into it. Put some shape into it. Something pretty much like so should be fine. Okay. I would I would like to bring it closer to the skin. I get it somewhat closer to the skin like so. Okay, let's move to one, the next one. I let's cope this as well. But we also need to kind of get some differences in height as well. But for now, just get the general shape in there. Move to the next one. So on a lower part supposed to be a bit longer, so we need to get them longer than it is right now, but let's get this closer to the skin. Get a hook in there. Hook shape in there should be fine. Somewhat closer. Move to the next. Okay. And then we'll get this tilted this way. Trying to make sure we get something realistic enough using both references, both the concept and then a realistic word reference, as well. Let's get an shape in there. Okay. Let's move to the end. For this one, we need to let's get a hook in the opposite direction. Okay, get something like so. Make it look somewhat like a hoo. Like, so it should be fine. Let's go to the last one. So this one is going to maintain his lens, but I'm going to bend it backwards some more. I think this way should be fine. Let's get some shaping in there. Yeah, more or less like so it should be fine. And now we need to extend a few of these lens. So I will extend the lens out some more. Okay? This underneath underneath I will extend some more, okay? All right. Probably this I'm going to shrink down a little bit more. Okay? Yeah, something pretty much like so should be fine, then we can continue on. Let's add one around here. It's going to interpolate in between what was there before and give us an interesting shape. Okay. Yeah, something like so stat one year, well, one year, well. And I'm going to select all of them and then mirror to the opposite side. So let's mirror this to the opposite side. Okay? Now, there are a few things we need to create. This desy is quite much, but that's fine. Let's just create something for the center parts. When we're blocking this or creating a density map, we want to paint it precisely where we want the e to grow out from. But I think as far as this goes, it should work just fine, at least for guides to actually hold the hedge a little bit. So I've selected these two kind of buried inside of the skin. I need to leave them up and out a little bit more and create some shaping sweets. Create a bit more of an interesting shaping sweets. I think what we have here is already looking good enough to work with. We still need to be quite close to the skin, which is what I'm trying to achieve in here. Let's go to the opposite side. For this, I'm going to move, it's already facing the opposite direction, so let's leave it like so. Stick closer to the skin should be fine. Set it up a little bit more. Okay. I also want to kind of create some variation in here as well. All right. Hope some more. Okay, I believe we're in a good place. Yeah, I think we're in a good place. With those few modifications, we should be good in here. I'm trying to introduce a little bit more of the hook. I'll get this in the opposite direction just to create some more interest to it. Okay. I think most of this down here, I will need to increase the length some more. So let's go all the way here, extend the length out a little bit more and even leave them off the skin some more. Okay, let's generate Let me save this and let's generate some hair. Let's generate some hairs out of this. Okay? I'll go to preview and output, turn off all primitive in view, increase the density of the hairs we have in. Also, too, I'm going to let's adjust the civic count. Let's do 25 for the modified civic count for each strand of A. Then for the weights, I'm just going to set this to 0.012. All right. Something pretty much like should be fine. For the TAPA we do 0.71. Then TPArle to do 0.76, pretty much the same setting we've been using for the order a generation in I think this is pretty good. So I'm going to increase this a little bit more and then look at this from a view just to get a good feel of the hairs being generated in there if it's coming out quite nicely as we want it to or not. And I think for the most part, this is coming out just quite well. Maybe I can just extend the length a little bit more. Let's do this from a different view. Ton of wire frame on sheet. A okay. I think that's ton of the hairs for now. Okay, so all the hairs somewhere around here. All the way here should be fine. Select this. You need to extend the length out some more. The select this at the top, extend them out some more. Okay? I don't want to do two more but just enough just to give it some long looking hairs in there should be fine. All right, so we can now paint our density marks. So let me save this and then create a backup for the sieved version. Like I've been doing for a while now. So create a backup also too. All right. So now we can safely paint some density marks in here. So select Create Map. Yes, maps resolution should be at $50 fine. Painting not full black. Unless we name this to be underscore DENSUnderscore, MAX Okay. Then I'm going to create. Yeah, I think we are good in her. We can just create create. Awesome. So we have our density mark working correctly. So let's start by saving this pated full black. Then I'll go to wire frame on shaded, go to our pint settings. We're supposed to select paints in a solid brush, and met at full white. Then the stroke reflection. So we have this mirror on the opposite side. Yes, I think we are good. Then I'm going to reduce the bro size, so I want to kind of pin the outline to begin with. Now, this part is a bit tricky because we kind of got this a little bit extended more than necessary, but that's fine. It's going to help us also create some tight driven air also around those parts. Okay. I think when doing this just right, we can now close this underneath. Yeah, I think pretty much should be fine. Then we need to fill up the center parts. So you might decide not to completely fill the entire outing. I'm going to turn off symmetry for now, which is reflection, include the blows out a little bit more and then just randomly paint in between just to create variations in terms of a generated in there. So it's not supposed to be if you like, it's supposed to look procedural way. Any way to put it, it's supposed to look procedural, not mechanical in any way, it's like an organic generated hair in here. So let's go to a blow. Let's start by blowing the center parts. Let's blow the center parts first. Okay? So if you notice I'm blowing this with symmetry ton off blowing it with symmetry ton off so I can get something quite clean in there. So now I need to blow out the air, so I'm going to reduce the bro size so more This time around, you need to turn on reflection. We use the bro size even more let's add some blow to the edge. So you don't want to go too extreme on this two. You just want to try and capture this in one stroke. If you're able to capture this in one stroke, that'll be fine. So let's capture this in one stroke. Okay. I think we are pretty much there. So I think I can let me blow this out even more, the top parts. Get some more edge, some slight edge blow to it as well. Just get proper blend around it. And I'm going to save this. So save now. I'm going to turn off wire frame and shaded. I'm going to save the textures as well. Go out of this. Let's go to selection two. Let's see what we get. Click out. Let's hide our guides for now. Okay? I think this definitely work. We want to increase the density of the hair. Let's get some more density in there. But as far as this goes, this should be should work. T should work just fine. So let's get some more let me increase this to 40 civic count to 40. Seems a little bit extreme, but I'm going to be adding some clumping some coils in there, I need as much civiCunt as possible to actually work a bit accurately based on the desired results we're going for. So let's go over to modifiers. Let's start adding modifiers. I'm still going to use my own generated modifiers for it. So also have abo beard, have some beard in here. But is just coil. Should have bear somewhere. Is there there. Icil was decided, so I think decide they might just let's look for something that's a bit more precise. Let's look for something more precise. Let's use Zukong beard column one. Let's go to setup generates. Okay. Save this. So I'm going to be using this in here, I think I need to make some modifications to this. Yes, some modifications to it should work just fine. I'm going to increase density of the, so more or less do 80. Go back to modifier, setup maps. Let's adjust this density. Let's do density of five. So most like double the amount generates. I'm going to randomize this also, too. So for the max, let's do the value of 0.8 generates. It's going to randomize the guide clumps in the Okay. Yeah, I think we're getting something now. Definitely getting something in here, no doubt. Then let's go back in there. No, not this this. Okay, let's go over to the next Clum two, set up, generates, save. Okay, we get something now. So in here, Okay. Well now, there's one thing I'm going to do. I want to go over to the clump one. I'm going to reduce the amount of the clump one. What do you have randomizer in there, too for the clump one, which is cool. So let's do v the values in there, let's do from a value of 0.3, then to a value of 0.5 I say value of 0.5. Let's see what that gives us. It's going to decrease the intensity of the clumping in there. Let's go even lower. Let's from 0.1, 0.1 to 0.3. Put the randomizer. Okay? Yeah, yeah, I think this would work. This would work. Th work just fine. If I turn up the clumping one or clumping two rather. Okay? So in combination with the clumping two, which is fine. F body cumpin soon I'm going to adjust the values also in there. So let's do a value of zero point. Let's 0.4 to a value of 0.0 points. Let's do 0.6. Okay. Interesting, so. Yeah, this is fine. This work just fine. And let's go in and add the next one. I think there's one more in the clump pin three. Let's see generates. It's quite a lot, 30. Well, now we have issues in there, so turn that off. Let's go and modify it. Instead of 20, let's do a value of 16, generate, save. Okay? Let's turn it on. Whoa. Now, this paler actually has some issues in there. So issues with this that we cannot keep, so I'm going to delete it. Let's delete it. Better still, I'm going to repeat this clumping two. I'm going to repeat *** clump two. Clumpt also creating issues for us in there. She quite concerning. Generates sieve. Okay, that actually fixed it. Generating actually fixed it. But we need to go in and then increase the value 10-15. Let's do 15 generates. Let's do a little bit more. Let's go all the way to 20 generates, save. Okay? Yeah, that seems fine. Turn it off. Okay? So we haven't actually straining off. So I think we can fix that with selecting the guides in that region and then moving the guides closer. Let this guy move this glide closer. Let generate this again so that can actually pushes it closer to itself a little bit more, which is fine. Precisely what we want. Okay. Moving on. Let's add another one. Let's add the coil modifier. All right? Coil modifier is quite strong in here. And it's quite strong. He's doing his best to kind of capture the ship we don't really want. But based on the set up in here, taking up modify CV counts and then doing the most in but we're going to reduce that. Going to reduce the intensity of it. So let's start by reducing the counts. The count we have in there is quite much. So let's randomize the count from one to around the value of two. Let's see what we have. That actually looks good, but there's lot of modifications to doing year. Then for the maxing itself, maxing itself. Let's see, let me undo that actually do that unless we use the maxing instead. So instead of doing from 0.1 to 40.1 to two. You don't want to it so aggressive in there, let's turn it off and let's see Okay. We're having some weirdness in here, which I'm not really digging right now. Let's see if we would use this. I actually reduce that for us. Let's do from a value of 0.3 to five to 50.5 Okay. Yeah, that will not work. I think the actual issue would be, let's see. Let's take this down. Okay? Yeah, that actually helps. That actually helps. And we have some actually buried in there which we don't want. So let's go to our guides, select all of this around here, just this. I want to lift this up some more then round this again. Because I kind of like it is, but we also need to make some modifications in there to make it feel a lot more better. So let's leave this up some more rounds again. So we have the air pulling out now, which is fine. Okay. But we still want to kind of maintain some measure of neatness in there. So let's do it from a value of 40 counts, randomization of one, two, three, let's see. Okay. If we turn this off, this is what we have. I still feel like I should increase the density of this, add some more as in there. De quick sieve. Okay. Let's look at this. Let's see what we get. If we turn this coil off again, we have something that follows. Let's see what we can do. Okay. Thinking of leaving this or making some more modifications to it. So the idea is just to figure out where you want to make your modification on either on the guides on the civic count or on the modifiers itself. So once you kind of figure that out, make things a whole lot easier for you to kind of nowhere to just adjust, kind of get your desired results. But I think as far as this goes, I think we are good in here. This we can definitely work with, no doubt. Okay, now let's save this again. Let's bring out the A. Let's make this head visible. Okay. I'm going to make for the material, I'm going to apply the actual scheme material for it. Get better visuals on it. So increase this. Let's go in, file. Okay, I need to back this up a little bit more. Let's be textures. Let's look for the skin texture. This is the best skin texture. Open this up. Yes, so I think we have textures apply have textures ton in here, we're going to see this in. So this is it. So we are getting something interesting already. We should actually work. Okay. I'm going to turn this on, but I'm going to hide the head. All right. So just to get a good visual on this. I think for the most part, well, we're actually in a good place. As far as this goes, I think we can actually keep this will work just fine. So let me do a quick save again. Awesome. Okay, I think we can move on with this now. So next lesson, we can start our look development process. So I'll see you guys in next lesson. Bye for now. 54. 54 Studio Set Up In Maya: We come back, guys. So in the previous lesson, we kind of added the preview texture, just kind of see how this kind of playing out. And for the most part, this is working just fine. Okay? So I'm going to leave this as it is. What I'm going to do be to go over to pa shade and move this aside. I believe this is the epa shade. So for the doctor Khan material, doctor Khan doctor Khan, this is the one graph network. So I'm going to remove the texture map. I'm just going to delete the node for the texture map. So that should revert that back to the default. Okay? That should be fine. So I'm going to select this and hide this for now. Let's make this visible. Let's make all of this visible, all the car visible facts that you'll see. Okay, I think it's not messing anything up, so we should be fine. It should be just fine. Okay. Let's see what else we can do in here. All right, I can go to Egg gen, for the beard, make the guides visible. Then maybe scope some guide variation somewhat in there. Let's get some rug in. Get some of the move in a different direction. Okay? Just to create some interesting shaping suites. Trying to create some interesting shipping suites. Okay? Something like that to brick symmetry. Basically trying to brick symmetry in here. Okay? Can hook this this way, get some shaping in here. Okay. Get this as a hook. Then let's run this again. So that we cannot break the overall flow and shaping for it. I cannot create some more randomized airs in there. So it doesn't look perfectly symmetrical on both side. So give it a bit more of an interesting look to it, okay? So I'll keep this. I should be just fine. All right. Select the scalp. Okay, so the scalp collection of folder, group, whatever prefer to use. I'm going to hide all of them. I'll make this visibility duplicates, select these duplicate. I'll give it a different Let's give the different material. Let's just give this, for the most part, we don't even need it now. At this point, we're supposed start working on the development for all of this. But just to be on the saves, I'm going to give this a blink material, give you a blink material. You can just put name this to Blend. Naming it seems wrong. C blend. Okay, I'm just going to darken the material a little bit more. Something pretty much lesser should be fine. Okay, so I'm going to save this again. Let's save this again. So this two is supposed to be about working on the lighting. Supposed to be working on the lighting of this in the air. So deleted this for now. Create another duplicates. Okay. Awesome. So I'm going to make the eyeglass visible. Then I'm going to I'm going to make the main head visible as well. Okay. Well, xo should be fine. This has the blink material in there, okay? All of these are going to change, so I would like to go over to the egg genair and temporarily hide all of them. Let's hide everything. We don't want them visible for now. I don't want them visible for now, so let's hide all of them. I want to work on the general lighting for this. So later we'll circle back to bringing them back on and then adding materials to it. For now, we don't want them invisible, so I'm going to turn off my ambient seclusion. Turn off screen embien seclusion, okay? Save this again. Now, let's bring a studio to this. Let's bring a light studio to this. So I'm going to go over. I have a light studio I can actually use, so my desktop in a backdrop. Okay. No edge backdrop. Yeah, this should be the one. I'm just going to drag and drop this in here. Okay. Backdrop is out of place, and the only going to move it in place. So weird naming at the end. Okay. But nothing too fancy, though. Just a cube, and then Bevo edge, the sides and Bevo edge. Pretty much, it's nothing complicated, but I'm still going to provide you fits. So let's center center the Pivots get this roughly where it needs to be and scale this up. Okay, you can see how we lose this when we zoom out with two more. So let's go over to the camera. Select the perspective camera. We just need to increase this instead this one, increase this or more, and then we you sit. Okay? So I'm going to pull this up. I want to kind of sits just at the bottom. Also, too, I would like to adjust the Pivots of this studio. F studio, just the setup servicb IDs. So I'm going to eat D on the keyboard, and then I'm going to center this at the bottom. I move this back some more around there should be fine. Okay, at D again to go out of ditPvots. Somewhere around there should be fine. Okay, maybe we can move this somewhat closer. Okay. Let's see where we get. Say something like, it should be fine. I'll save this. So now let's get some camera angle to this. But let's turn on resolution gates. So you can get a good idea of where a camera is going to be looking at this from the framing of a camera, so let's go over to under setting naturally. Good surrender setting. So on the common setting, let's set this 22k resolution. Okay? So you can see how I kind of reframed our entire resolution gate to be roughly around two k. Then I'm going to go over to import settings, okay? I think we're in good place. Yes. But one thing I'd like to do is to use my own rendering preset for this. As Bs to have my rendering preset in port user. I like to just use the mid render settings. Mid render settings is kind of different in here, so most set is to two Q resolution. So and then for the AOVs, output noise, output the noise in AO. Let me just select this ID this ID Abdo. Most of the I'm not going to actually need, but I just like to get them at least in there okay? Scroll down, direct in diffuse, direct diffuse. I think as far as this goes, SS SS are built in direct don of these directs instead. I think for the most part, it should be fine. Let's send this over. Okay? We should be good now. All right. That should be fine. So I think I can close this for now, let's kind of somewhat frame in. Let's some frame in. I don't. I will circle back to using this again. I'll circle back to I circle back to using this. But for now, let me just change this up to something different for rendering. Some of render settings in there. Then put this scream just ide hide this somewhere around there. And I want to bring up the one we need for rendering. So rendering settings. Okay. Make that visible. Reduce it in here, okay? Just set this somewhere around there for now. Sounds kind of somewhat the get the framing. So I'm trying to capture the framing for this. Just kind of capture somewhat of the framing for it. Okay, something pretty much less should be fine, getting close. Maybe somewhere around there should be fine. Okay? Then we already have a camera setup at 85 millimeter length, so it should be good. 65, that's fine. Now let's save Let's bookmark this camera setup. So this bookmark. Let's name this bookmark. Let's do main came. Okay, apply. Close this. Not sure you set these issues we're having down here, though, but I think we are good. Alright. So if I should zoom out and I just go back into bookmark, you snap back to our camera correct camera angle. Okay, that's fine. So now I need to select the entire outing and select the entire out naturally, and then later with the backdror with the backdrop rather, so I'm going to give this new material. So I want to use nude standard surface, select nodes Did I use the wrong one. I believe I use the wrong one, so undo that. Assign you material node, no standard surface, not a node no standard surface. Okay? So I'm going to try as much as possible to kind of use the same, I would say, the same color for the backdrop, can we actually pick the color? That's just the tin now. So let's see if we can pick the color for it. So color picker Okay. So the only issue now is that piece colours I'm not sure pick colours, polo outside of seems like a polo outside, does it pies colour outside. But the colour is not accurate. It's not that accurate. No that accurate, so let's just start with this. Let's go into the colour itself. But the colour soon was around brown, more like a brownish tone. Get more of a brownish tone, kind of darken that brown some more somewhere around there. Then increase the roughness for this is required rough, increase the roughness quite well. Okay? But that's fine. Then the next thing you need to do would be to select the doctor Khan going to select all of the models inside that group, and then let's give this one single material. Let's give it AI standard surface. Select anno standard surface. Okay? I'm going to name this to AI Bz, mats. Okay. Yeah, that should be fine for now. We need something basic just to test our lighting with. That's all we need. That's all we need to. He going to go in and then give them individual AI standard surface material. But for knowledge, just leave it as it is, add some roughness to it. Okay? So we like around four should be fine. If I love 0.4, should be fine. So now let's bring in some lighting, so I'll go over to rnd and bring in our dome light. So if remember we're using, why do we have this issue down here? Not entirely sure where this issue is coming from. No object matches. Anyways, so longer visual results, giving us what we want. I don't think I need to worry too much about the error we having in our log. So moving on, so this is the A HGRI or no dome lights. So we need to apply need to apply an HR to it. So I want to use the GRI we used inside of Substance Painter. That really good lights what I'm going to use. So to do that, I'll go over. Let's go to our fire manager first, five manager. So let me show you guys where to kind of grab the Subtan Spencer AJ arrived from. So Adobe. Let's go over to Subtan Spencer Resources, starter assets, Environment. It Studio. Is it? So, we have the studio BlacksftTomaco Studio and Studio Blacksf is the one. So let's go in and then grab the directory for it. Copy that directory, and let's go over to textures. This is it am I doing it right. I think I'm choosing the wrong one. Great screed dome light. Yes, this is the one I'm supposed to, I selected the wrong one, so delete this. Apart La is something completely different. So this one I'm supposed to use Great Skydome Light. So once I select it now, so it's giving me something I need I want now. So let's go back to color. Go to file. Let's open the directory, and I'm going to paste the directory we copy it initially. Okay? I'm going to select the studio black. I think this is the one is it yeah, that should be one. Let's see, that's the one. It has an orange tint to it, so this is definitely this is definitely the one. We can also alternate in between using both, though. We can kind of create two and then figure out which one works best. But let's start with this. So click Open. Alright. I want a swatch for now. Let's ignore that. Let's go back in there. Let's scroll out. Let's see how where the lights and lighting is. Okay? So let's try and merge the lighting we have for the test render we did we did. Let's try and merge the lighting with the test render. I'm just going to drag and drop this in here unless march similar lighting. So I'm just going to use this to somewhat try and mask the lighting. So I'm going to look at the eye just to figure out, okay, the ions here not the best, but we can still use this kind of know where the main light is coming from. So the main light is from this angle. This is where the main light source is coming from. And then we have shadows being cast on the left hand side of his chin. So I know for certain that this particular light year is supposed to be coming from this direction instead. So let's just rotate it in that direction. So I'm just going to let's go to different views. Okay. Get an angle like so, and I'm just going to rotate it this way. This way should be fine. I think something somewhat like so. I can see the angle now. I can see it's coming from this direction. Okay? So lights kind of fitting it on the right hand side, which is precisely what I want. But might need to make some adjustments we do, get it to look right. So let's get into a main como? I need to render this out. Do a quick save. Let's do a quick text render and let's see what we have. So let's go to And render view. Okay. By default, I believe the settin let's see, Setan should be on ACS image, the noise and the noise. Let's add this. If there actually does any single, let's add this for now. So now we need to before we hit render, we need to go over to view and test rendering. I know we're using a two K resolution. So if you go back to command setting two k resolution, but that will be too high. So let's render this. Let's go lower. So let's do 50% to be one k resolution. So about 25% should be around 500 pixels. Let's just do five 50% instead let's hit render. And they give you a moment to kind of calculate. Oh, I need to turn off something. May not be an issue, though. Okay. It's still rain out the hair, so I'm going to turn off the air. Let me stop this for now. But let me go over to Miranda setting. There's something I would like to check in the under textures, under texture, okay it's turned off. But I'm going to come in here and I'm going to zero this out. But it's just going to default it's just going to default to this number, so that's fine. So the 15 kind of correcting can see the face is not some things are not catching the material, and then I need to hide this collection. Let me move this down here and hide all the eggs and hair collection control, H to hide them. Okay. Then, visible let me hide that as well. So let's hit our render again. Let's hit render again. It render again. So we should have things working a little bit faster now, I believe. Okay? I think we might need to reintroduce the roughness again. 55. 55 Lighting Set Up In Arnold Maya: Introduce some reflectivit. Then for the backdrop, we need to tone down the backdrop. Let's make it even darker. Okay. This is the brightest tone. The need some more. I don't need to be too visible. Barely visible in there should be that int of brown in there should be fine. Something pretty much like so let's look at this. Let's see. So you can see how we're kind of getting the lighting in there, kind of perfecting the lighting in here based on the reference we have, which is precisely what I want. If you compare this to let me put this aside, compare this to, so we're actually in the right place. Actually in the right place, we're doing this correctly. We have that deep shadow on this left hand side, which is what I want. Okay. But we're still to kind of do some additional lighting in here, as well. But as far as this goes, I think we can work with this, but you can see some you can see some rim lights. This is going to be like few lights. It's going to be a few lights. We need to kind of add. Might not need to add some key lights, though, but we need to add some rim light. I see one orange light coming from the left hand side. It's a name on the side, and then also creating some kind of backdrop, also, too. So I'm going to create like a rim light and then another should I call it. There's a plan name for it. I'm not sure I can remember the name, anyways. More or less like adding some supporting key lights kind of to this also. So I'm going to I completely rendering our house. I'm going to stop the render for now. Okay. Put this aside. Okay. So now, I'll need to put some additional light in here, but let's go over to node settings, and then under utilities, you'll see something called Light Editor. So open that up, let me shing this down. Don't need to be down wide. Okay. So here, we can just temporarily disable the skylight. Let's disable the Asia light for now. So if it's render, should see completely black in there. Okay? So let me stop that for now. Save my file. Okay. And let's introduce some additional light to this. So to introduce some additional lights, we need to let me zoom out for now. Well let's go over to arnold tab and then let's create area lights. So the first light I would like to create would be the rim light. So really similar that's for the back. So it's kind of shrunk down. I would like to scale up some more quite a lot to be fine. Move this to aside, increase some more, move this up. Let's go to the other views. Move this aside. Let's try and manage our space as much as we can. Rotate this facing his back. But stings a hat from the side also as well, so let's move this out. So I'm trying as much as possible to replicate what we have in here.'s move this to the back, get a little tilt to it as well. Move this way, okay? Let's see what we have. Okay. I think this should work just fine. All right. I think I'll need to rotate it this way. This game might be too more, let's scale this down some more. Alright. So now we need to work with this. We do have set settings in here for this light lister or at ditto. So let's select the area lights. I'm going to name the two Reck orange lights. So maybe better sense so we can quite easily identify it. So slate. So I'm going to be using temperature for this actually. So I temperature is not even in this setting, so we might need to move this aside. Mind move this this way. Move the this way so we have more setting in here, so let's use the temperature for it, so get a bit of an, that's the wrong one. This is the temperature in here, so you need to get more or less or more of an orange tins to it. So reduce the temperature. Okay. I think you can put this around there. Yes, this will work around there. Let's bring this out. Let's bring this out. Let's go back to our camera setting, bookmark Minka. Do render for this. Let's give this moment to kind of go through. You can't see anything in there, so just turn off normalize. It turn off normalize. We begin to see something in there. Okay, so it seems like this will actually work bo. It seems like we need to push the light back some more. So let's in there. I need to push this light back some more. I need to push it back. So let's push this back. We don't want to be too strong affecting it. Okay. Slides. Move this to the back some more. What you can see is catching the silhouettes, which is precisely what we want, catching quite the silhouette very, very much. But I'm going to reduce the color a bit more. I don't want it to be almost too brown. I think something somewhere around there should be fine. Just catching kind of good highlights, which is precisely what we want. Okay? Yeah, that's fine. So let's bring back the skylights or let's enable it. So let's get boots. So we'll get the blend of booth now. So the blend of boot is what we have, which is quite interesting. I'm getting something precisely what we want. Okay. So this will work just fine. Now, I've no added skin tone to it because also as skin to it, and then we also need to kind of go back and then adjust the brightness of the lights and I kind of get something good enough to work with. But as far as this goes, I think we're in a good place. So right now I like to do would be to lift the ambience of the leave the ambience of the lighting on the left hand side a little two bit more so I'm going to introduce a new light. Let me rename this also in a let's do rec orange. I think I spelled out rec orange. But this is coming out quite nicely, at least as far as lighting goes, because I'm trying as much as possible to replicate the lighting we have we are based on the reference we're seeing here, so I think this is coming out quite nicely. It's come quite nicely. To kind of make it a little bit more interesting, we can also introduce some bluish tint also too on the opposite side. So that would need us to kind of duplicate this light and then get this on the opposite side and kind of create some bluish feel to it. So I'm going to stop the render for now, move this to the side. So I'm going to duplicate these lights. I'm going to name this to blue. Reck blue. Okay. Rotate rotate this this way, move this this way. Move this out. So let's get this on this view, move this this way. It's going to be coming from the opposite side. This battle on the brightness won't be that strong. I won't want the brightness to be that strong. I want it I just want it to just be in there, but not that aggressive or too intense. Okay? So let's move this towards a more colder more colder collaton. Okay? Then I'm going to go to lightisar I'm going to hide the skylights. Okay? Unless render this again. Oh, it's gonna move to a camera view. So let's make Okay, we can see something interesting in here, quite cool. This is quite interesting. And then I'm going to take down the light blue, red blue lights. I'm going to take down the exposure. Let's take down the intensity instead. Intensity, so it's not intense. Okay. Let me stop this for now. The quick save hide the orange lights, render this again. Let's just visualize the blue lights in there. I just get good visuals for the blue lights. Okay? I think. Yes, orange light. Okay. So I'd like to take down the intensity of the blue lights. Maybe the exposure. Let's do the exposure is no valid exposure. Actually a zero, take down the intensity to 0.7 instead. Okay? Now, let's make skylight visible. I think I need to make some more bluish tint to it. This skylight is actually filling the entire out in white quite strongly. So I need to take this blue light back to one the bluish tint is not in the We can't visibly see it in the. We can see bluish tints around the neck region, but on this sto because the brightness of the skylight overshadowing it. So we can also go to the color and then use a more less use. I'm not sure it's going to work because already using colour temperature already, so it's not going to work. Let's just say it back to white. So elite option, we need to adjust in sky dome light and take down intensity of the sky dome light. So that's the we need to do. So if you take down intensity of the sky dome light, let's do the value of 0.5. They're going up the peaking not a little bit more. Okay. Let's back to the blue lights and crank up the intensity a little bit more. Let's do a value of it's going to shine a little bit brighter in there now. Okay? We can also let's turn up the color temperature. Let's use actual blue. This actual bluish tone. But this bluish tone is quite bluish. I need to kind of light it a little bit more. Let's lighten the blue some more. Let's lighten the blue some more. Okay? You can take down the intensity. Let's leave intensity at two. So I'm trying as much as possible to prop. Let's select the items, and I'll set this back to one. I'll set it back to one back to one. Okay. Now I'll get the bluish in in the fins but still in the school. Unless there's orange light as well, let's see the blend of both words in the I think this is quite interesting. I get quite interesting lighting in here, okay? Yes, this should be fine. Maybe for now, we can just tune down the highlights. These highlights we have in here, let's just do 0.7. Okay. For now, at least for now, let's use this for now. Okay. Then let's do a save. Let me save this. So now, this is going to be a basic light setup for it. It's going to be a basic, I think we missed supposed to have some kind of light. I wanted to miss up some more. So I'm going to stop the raffle now. I need to introduce one more light into our sin or we can just duplicate this. Let's just duplicate this, get it out, bring it in front, move it to the side. So we can properly rotate this in place. Okay. Move this up some more. This butler one, I'm going to shrink down some more. I want this to be affecting mostly the face. Mostly deface. Maybe that was way too small. So this butler going to be let's just name this two side fill. This is going to be like a side feel light. Okay. I can be closed, but let me just leave without this for now. Let's leave without this for now. So I'm going to readjust all the values in here. Let's turn off. Okay, let's leave the color temperature. Let's just put this to us. Something like this should be fine. Then I'm going to turn off. Let's turn off disable the other light. Let's just visualize. Only this light alone. Created lights and let's see. I'm supposed to go to a camera view. So let's now back to our camera view Sink. We're having more I need some more I need a whitish tone to this act. I don't I don't need this cold tone. More whitish tone should be fine. Let me to colts. Let's see. Okay. Let's increase Let's increase in tens to bit small. Let's do 1.5. Okay. But I need to shrink this down. I will need to shrink the light down so I don't want it to affecting the entire outing, so I'll need to shrink the light down. So the more we shrink the light, the more degion Digion affect reduced. I really want to affect mostly the face around this region should be fine. I'm going to move this around some more. So let's the visible piece by piece. Let's make it visible. Okay. Then I'll need to increase the more. All right. So more. Let's see. So you can see how it's kind of introducing a bit more light in here. If I should go and disable the lights. Maybe something brighter like so, increase the exposure. Yeah, I think X ray value was one we needed. Now a light. Let's see how all of this blends in. Okay. So that is lighting it up, so more, let's introduce our orange light. Let's introduce our bluish int light. I think this bluish tint light, I think when lighting blue is a bit too strong. It's a bit too strong. Okay, I think we can darken it somewhere around there should be fine. Now, if you want to kind of reduce the side fill light, you can take down the exposo. You can take down the exposure. Back to zero, we have something like so let's turn it off. Let's see if there's any major difference. Oh, yeah, there's a strong difference in there. There's quite a strong difference in there. Okay? There's a strong difference in there, so we can just keep dialing this down some more just to get a little lift in there. We don't want it to be too strong. We still want to carve that dark shadow in there, but not too strong. I think the values we have in here now should work just fine. I think the value we are having here should be just fine. Okay. So one other thing I can do will be to go to the orange lights, move this and then move it some more, B some more, okay, just to get a good balance in there. Save this think I think we have the perfect balance now for our lighting as far as this goes, as far as this goes, I think, I think we should be just fine. We should be just fine for what needed for. Okay. Yes, environmental lighting for good reflections. Made inside of Photoshop, we can now darken the lower parts if we need to. But as far as this goes, I think this should be just fine. This we can definitely work with. So let's get a bigger view to this so we can actually see what we have. Okay. Yeah, this should be fine. Okay. Yeah, so we're working with workflow in here. There's other color space in here. C always seems like better one. NC is always the better one. This raw also gives us really interesting lighting to two bots. Let's stick with ACs. We can also adjust the exposure in her to two as well as we need to. But it's always best kind of do do it impulse processing. So let's just set this back to zero. I pose processing makes better sense. So let's go to various passes in here. Let's see, ID. Okay. I make a lot of sense. We can also cut out what we need. The noise, Abido, the t in diffuse. Okay? There's no CSS in there, so let's go back to RBIPas beauty pass. Okay. I'm going to all round out and come back and then round and then begin to work on specific regions or parts of our mode. I'll see you guys in Lesson B for now. 56. 56 Displacement Shader In Arnold Maya: Comb, guys, kind of done a render just to see how our lighting is kind of working on our mesh. And for the most part, looks good but there's one thing I would like to make a little adjustments to. It's bit for the garments itself. I don't want the garment to be too bright or too obvious because I want to kind of direct the eye to view mostly the head, with a little inks or highlight on the garments itself, but the main attraction should be making our audience look directly on the head itself, because that's like our main object of focus in here, so do we get that in? So there are a few ways we can do that. So let's try those on. But before I do that, I would like to go over to view and reduce. And yes, we also have a snapshot in here. So to do this snapshot, just open up this drop down arrow and click on this camera icon to store a snapshot. It's going to stay a snapshot for us to kind of compare it. All right. That's fine. Moving on. So I would go over to view on that test render say this is 25%. So if I hit my render, it's going to rendering at 500 pixels, which is fine. Not too much, so let me hide this for now, right? So now do we kind of control our light set up so we don't have too much light on the garments itself, so to do that, we can tell lights where we want the light to be affected on. So to do that, go over to Windows, go to Windows and then relationship editor, you go down to Light Linking. Then let's let's do light centric instead. Okay? So I'm going to select the sky dome light. So I don't want the sky dome light to now we have a lot of objects in here, so I don't want this scar light to affect the Rube. I think those are material. Okay, need to select the objects in here. So open the folder for the audio group for the objects or for your model. Then I'm going to select all of this. Then select the Rube. Okay, select the Rube. Let's see the preview we had in there before. Okay? We'll do the same for the neckerchief. Okay? Yeah, I think this should be fine. Neckerchief, Nickl thinking maybe we should do that for the nick as well. Okay? So let's just do a test render. Let's see what we have sole that off. Render this out. So we're getting something like this, which is rather old. Is rather old. So there are a few things we can actually do in here. This is the first step to kind of see if this will work properly, but it's not giving us that desired results. So I'm going to make it let's back on then Okay. Yeah, that's fine. I'll close this. Let me stop this for now. Another way to kind of work around it is to select the dome light itself. Then I'm going to let me move this to this side so we can actually properly illustrate what I'm trying to do in here. So move this out. Okay? So you notice our light source is coming from this direction, This is where letter is coming from. So we can either go into Photoshop and then add a black or like a gradient film on the edge just to eliminate the lower part of this edge. That would also work. Or I can just go to my rotation and then rotate this up some more upwards this week, okay? Something like so. Then I hit render, I need to go into let's go to our camera view. Minka. By the same time, I want to avoid doing this too much because I will go into Photoshop for the post process and kind of add some more contrast to the lower part. So you don't want to overdo it. Just enough, should be fine just to create good highlights in there. Okay? So ranging at 500 pixels, so you should render slightly faster. Okay. Yeah, light this then we can tone down. Look, I've already toned down the light already. I've thrown down the light already. So yeah, I think this will be fine for now. For now, this should be just fine. So I'm going to stop this render now. Put this down. I think I'm going to close this light editor. So now we need to go in and then start working on the character itself. So let's work on this skin. So I'm going to add the orders. Let's eye this eyeglass all the way to urbeye do for now. So let's focus on the head alone for now. Okay. Save this. Then I'm going to select the head. Okay? So I'm going to give it a new material. So let's give it a new material. I sendne material no standard surface. So no standard surface. So now we can actually personalize this material for the head itself. So I'm not going to rename this to head I can I can, okay. That's for the head. All right. So I'll click out. But we need to kind of use a preset for it. The preset we want to use for it is skin. So that can replace. So automatically, it's going to give this a skin material. So let's go down to subsurface scattering and take down the weight for now. We don't want it to be affecting the model for now, okay? Then increase the base weight for the base color. We also want to kind of compare and then see what we have. So we're going to go back and make some modifications to it. But for now, we need to see we need to see how the subsurface, we want to see how the displacement on normal map is affecting our model. And to do that, we need a somewhat of a darker material to work with. Let's get some darker material, right? Let's do a test render. Let's see what we get. We're not applying any displacement map in there for now. We just want to do a test rendering and just kind of figure out how the normal maps a normal map and displacement map is affecting the mode itself. Let's see. We also need to get some reflectivity as well. Let's get some reflectivity in there because nutriens we have to see displacements, who loads better. Then we need to do some close up. Let's do some close up in here. Some close up. Okay. Let's do render region. Let's do rendering region for this. Let's renderer just around this area should be fine. Okay. So I'm going to stop the render for now, and I'll go over to I believe it is docks shape. We'll go down to rnd. Open up rnd. Scroll down, open up subdivision, open up the displacement attribute as well. Okay. Then we need to go back to subdivision. So changes to cart clack. So iterations to one's going to subdivide this twice, but you're going to be subdividing the render on our viewports. It's going to be a plan a subdivision not render view instead. So you just gonna give details, a bit more clarity or a bit more high resolution definition to it. Okay? That is fine for now. Okay. So when you come down, and then we have not applied the material yet, but let's just set the values up. So I'm going to say the vcular value should be 0.5 because we make a replacement map from Zebra, color value should be 0.5. Why? Because it's baking with a background of 0.5, in the sense that it's kind of 50% gray, so I no, it isn't a value of within one to zero, so 50% grey should be around 0.5. So halfway through, so halfway through should be 0.5. Since you can't inputs 50% in here. I bet that makes sense. So moving on. So now we need to open up our epa shade. Let me see this again. We need to open up iPashade and then bring in the displacement map, so open this up. So completing my sine, but we make it work. To use the AI doctor Khan, so rightly connect graph Network. Okay? So this is what we need. Now, I actually bring out our render sets in Zina so I can show you guys how to properly connect, how to properly connect the displacement Okay. There is a need to connect your displacement sheder with your displacement map. So let's get our displacements in. So I'm just going to zoom R. I'm going to extend this out a little bit more. Okay? Ss little bit more than tab on the keyboard typing displacements. So displacement sheer, select these two. Let's come close. So I'm going to delete the sheding engine plug the shedding engine into displacement. Okay? Extend this out to more. So now, there's no texture applied in there for now. Let's go in and bring in our displacement map. So let's go back. So we we exported our displacement map to Z export. Then under Z maps, then we have a displacement texture in here, use our displacement. Okay? So I'm just going to drag and drop this into drag and drop in here drag and drop into the hypershade Okay. Select this to drag this out, select all of these three nodes, extends out some more. Extend this out this way. Now sel detectire itself. Let make sure is on roll, utility roll. Make sure utility is rock, then you need to open up the out colo, because this is a black and white material, so the black and white material won't need to plug the outclo directly to the displacement. We need to plug any of the LGB channel. So any of the GBs channel standing alone should be black and white material, so we can just blog the to the displacement. Okay? So that's the correct way to kind of set it up. So we have this working correctly as it should. So now let's do some test ran there let's see where we get. I'm going to put this to the side. Pop this up again, bring this down, select the ED mesh, pull this back up. So let me put this down some more. This is where we need to open auto bump boto bump as well. This is where we need to be the values we kind of control the intensity is going to be from this heights channel linear. But now let's do render linear to actually see how much this is actually affecting our model, if it's affecting this with the right proportional amount or it's kind of blowing out our detail. So let's give this a moment to kind of render out and then Okay. Now, we're seeing something in there, right off the bet, we're seeing something too intense. So the weight kind of adjust the intensity to adjust the height. So I'm going to use the value of zero point. Let's start with 0.2. Okay? So at 0.2, let's see where we get. I think I might need a bit more reflectivity. I'm getting something in here now. We just need to give this a little bit of render out and then we'll see the results in here. For the most part, Basmth is not completely rendered out. I can actually see something happening in there already. So we just need this to kind of get cleaned up a little bit more to actually know the values we should input in there to get this looking good enough for us to work with. S whats a 14%. So let's just give this moment to kind of render true. And then we'll come back when this is done. But based on what I'm seeing here, I think, some of the details might be looking too intense, but at the same time, at the same time, we might still keep it the way it is Y because as soon as you are subsurface scattering to, this is going to soften out all of these hash lines or hash surface detail or skim pose we have in there. So it just to kind of find the right balancing between applying your subsurface scattering and then tweaking the displacement shed just to get the right amount of surface detail in because you don't want to overdo it at the same time. You don't want to do it. So just a matter of finding the right balance for it. So it's something you just actually need to eyeball. You know, something I would just tell you, use butler value or butler figure and then to work perfectly every single time, doesn't work that way. So best your best best to actually know what is going india and then the values based on that is the visuals in here. So you actually kind of pay attention to the overall visual quality of it for you to actually go into the technical values India and then begin to tweak them until you get the desired result you're going for. So I'm going to allow this render out a little bit more and then come back but. I think I will need to dow this value down just a little bit more. Why? Because I was thinking to add normal map to this. I don't want this to these things to be crazy and all over the place. So I think I might need to just take this down a notch. At the same time, you also want to kind of zoom out because you're going to be looking at the model at our render from a slight distance so. Even though you're taking the values, another thing to keep in mind is to zoom out a little bit and just to see it from a distribution. The values the surface details are not too intense or under intense values that so it's more or less like something you just kind of gets used to overtime. Because sometimes you can really stay at the detail way too close up, and then you feel it's actually okay and you kind of zoom out a little bit Mundy. Discover is actually too intense, and you actually need to go back in and then flick it down. So to avoid going back and forth, just take the value, look at it from close up, zoom out a little bit more to get the feel of what it looks like from a little distance, and then you can be sure of the actual value that work for it. So I think this is coming out quite nicely, but I need to tweak this intensity down a little bit more. So let me use the value that's the value of 0.1. There's the value of 0.1. I'm gonna allow this render out. Okay. I think 0.1 might just be the value we need we see. Okay? So we just need to give you some time to render out now. Okay? So I've done a few test test render kind of cleaned out a little bit more. We can see better qualities in here now. So I see like so nice actually fine. So the only thing you need to do now is just to be just to balance it off with normal map detail in here. So that means we need to bring in a normal map detail and then add to this to get this looking exactly the way we want it to be. And then once we have stop the scattering to it, we need to do too much it in India met just quickly too thin and then it will be perfect for us to use. So I'm going to stop this render for now, and I'm going to do a snapshot Let's do snapshots. So we can actually compare. Let's go back to hyper shade. Let's not maximize the CS then pull this out. So go back to hyper shad. So the next thing you need to plug in would be would be the normal map. So let's go in and bring in our normal map. So we need the normal map we spotted out of Subtan spinter instead. Because that one has some additional details in there that we painted instead of Septan spinter. So let's go back to SP textures, and then we would find that doctor Khan directly on it. So this is this doctor Khan normal OpenGL. So drag and drop this in. Okay. So as in now. Let's zoom in, select this, put it to the side, put the side some more. So now we need a nude we're actually going to connect this in, so AI normal. So AI normal map. All right. So we plug the out color to inputs, and then the out value should go into normal CAM. So that's basically it. Then we need to go into the texture itself and change from SRGB to utility. Raw. Then from there, we can actually test this now. So I don't want to disconnect the normal map from, I mean, the displacement map yet. So I want to render both of them in at the same time just to get the feel of it, so I don't need to go back and forth anymore. So we can just do another render and then give this a moment to kind of clean so once it cleans up, we can actually see the combination of both properly, and then we can actually do some tweaking in. If we need to increase intensity of the normal map detail, we can. If not, we can just leave it as it is. So if we go and select the AI map node, select that. You can see the strength in here, we can actually adjust the strengths to give more intensity. So but first, we need to kind of see what we are right off the bat to see if it's something we can work with or we need to make some more modifications to it. Then just give you some skin friend house. I'm going to come back when this is a little bit cleaner than it is right now. Then we can make some more ticks and adjustments to it as we move along. Okay. Okay. So we have a test render now. I would like to tune this down, but at the same time, keeping in mind my subsurface scattering because subsurface scattering is supposed to soft most of the detail down. So I'm going to leave this like this for now. So I know that delete now needs to be adjusting later on with the normal map intensity. So let's do snapshot let's stop this. Let's do snapshot of this. Okay? So in comparison, this is what we had before for displacement map. Then this is what we have now with the normal map. You can see the difference now in comparison. This one I wasn't too intense. This one is more intense. Maybe I will let it as this. I don't get carried away because it can be quite deceptive just to know the right amount to use until you are supposed to be scattering to it. But just before we're supposed to be scattering to it, we need to figure out how our roughness map lays out on this. Let's set up our roughness map. Before we do that, I would like to select the shade itself. And then I always like to work this way. Set the default. Let me say the IOR value should be on skin. Okay? Make sure the IOR value is on skin. So index refraction should be for skin because we appreciate this. So once you said that for skin, we need to go to the roughness. I always like to have my Bs roughness to be somewhat roughly around the value of 0.7 to 0.8, roughly around that range, right? So for this now, I would need to let's see, we can still leave the sites for the roughness. Then we'll go down to the coat. So for the coat roughness, let's increase this all the way up. Set the IOR also to skin. Set this to skin. Okay. That is fine. Do save. I'll need to go back also and then save out the backup file. Pull this out. Let's go and save up a backup file also for this. Because I've done a lot of modifications to it, so you need to have a back of Savio. Okay. Now, that should be fine. Now let's go to our IPA sheet. I don't pull out the Pa shad. All right. Then let's set up a roughness map. So go over to let's go over to SPTexshows and then drag and drop in as roughness map. Okay. It's in there now. So this roughness map is going to be applied on the quote roughness. All right. So let's open up the Algeb challenger is like a black and white material, so we just need to plug this to quote roughness, all right? Then make sure utility is on raw again because we always want to have this utility on row. It's important to do this row. Alright, so we have this set now to row. I think I'm missing roll too much. Okay. Let me just skip that. Then let's go over and then do some test renders and then see how this plays out. So pull this down, turn this snapshot off, and then render this out. Let's see where we get. So we also need to kind of give this a moment or to run through. We might need to go back in and then see it as much as we need to. But I think as far as this goes, we should be having the right amount of roughness in there because we have reviewed this, and we did a pretty good job inside of Softnspinter. So bringing it in shouldn't be too much of an issue to kind of get the right amount of roughness in 57. 57 Skin Shading In Arnold Maya: Okay, welcome back, guys. So I run into an issue where I piece it kind of crashed. But fortunately, for me, we still have everything saved. So, previously, we were trying to do some test render, so I've done the test render now just to see how the reflection plays out on this. And I think the reflection for this will be just fine. I don't want to go too extreme. I think for the most part, this will work. I will work just fine. So yes. So now I think this is fine. Don't need to do too much. You don't need to do too much actually for this. Because if you do too much, you might break the desired results for this but for the most part, we have good ey elight on your nose. Also have good eye light on the lips, right? For it also also have good eye light that should work. Okay. So I think as far as this goes, this should be fine. But if there's any needs to actually adjust this a little bit more if you need to. I think this should be fine. This we can work with. I don't want the skin to be too reflective. I think this is just the right amount. Same goes for the I think the normal map should be just fine also, too. So now we need to go in and then bring in the SSS, let's work with SSS in here now. I need to bring out PRF again, Bing out PRF, render settings. I got render asting we need the renderer settings for this to get some values that we can use. Okay? So if you go and select, let me make sure stop the snapshot for this. Stop the render as well. Okay? Then let's select the shader. So for this now, we need to completely turn off the weight. Don't need to weight anymore. Turn off the weight side, the weight to zero, Cilic color down also to zero to full black. You go to subsurface scattering, increase all the way up, okay? So there are a few things now we need to do in here. One is to adjust the scale for this for the scale value should be 0.01 for reward scale. Because our model is on reward scale, so we need to kind of use reward values for the SSS. So we don't have this SSS. Making the skin look more like, more or less like wax. We don't want that. So let's do 0.01, right? So random work we can use. Let's use random work. Random work should be fine. All right. Then where we need to ploug color would be to plog texture itself from base color to the subsurface color. We just need to go in and then plug that in. I believe Ep tetrosinPut this aside. You just need to bring this in. So I'm going to select the base color now. Now, those drag and drop that in here. So select this, pull this out. I eat one, one, two, three, I think one should be fine. We don't want to see everything that's in there, so I think this should be fine. Let me just create some more space in there. Let's create some more space in there. Bring this down. So the base color should go into subs offceclur. So we just need to plug the out color to subsurface colour, and then we should be good. Plug that in. Okay. So at this point, I think I think I will need to render this at a much higher resolution just to see this a little bit properly. They will also need to kind of tune our camera and then come closer. Then let's start. Let's do test round for 500, 501st. Let's see. The test wind there with 501st, so we can see what we having in there. Keep in mind, it's also going to soft in most of the subsurface scattering details. So most of the displacement details, we have a normal detail we have in there. But we don't want this to ruin ruin it too much. We also want it to still be visible, at least from a good distance. I still be visible from a distance. So we're rendering this out now. So we need to give the moments. But I think based on what I'm seeing right now, I think we're getting good skin subsurface scattering here already. I think we have good skin soft scouting in here already. Once you do a more generalized view, then we go in and then do something close up, more close up view and you can see how we can adjust our normal map or displacement map if we need to. I think still like this, we're getting really good result out of this already. Let us give you some time to run through. But I still believe we need to maybe crank this up a little bit more, just a little bit more. But I think for the details are still maintaining some measure of details in there. This 01 value actually good enough for us to actually use. I see some soft skin texture for the can see light passing through it a little bit small. Yeah. Generally, I think this would work fine. This work just fine. I don't think I need to go overboard and then tweak this way too much than it needs to. So let me just give you some kind of render out and then we'll come back when this is done. Reason why I feel like I just to adjust the normal map anymore is because even the sub scattering in there, we can still see move the lines of the normal map and displacement map in there, sove some of the lines here, which is cool kind of precisely what I wanted to achieve. You can still clearly see them here. Also, we can also see lap detail in the El is not extremely mimic a bit bigger. Ebla is not extremely obvious now because surrounding this all quality, but we can still clearly see them in there very much. Okay, I think, as far as this goes, this would be joking. It's not cleaned up a little bit more, but it's going to be like my final result. I don't need not tweak the normal map or displacement map anymore. This would work just fine for what's needed for. So the next lmod is going to go in and then start working on the eye shat. I'll see you guys in next bye for now. 58. 58 Eye Shading In Arnold Maya: Cuba, guys, in the previous lesson, we kind of finalized on the roughness map. So moving on, I would like to work on the eye. So I'm going to hide the head for now. So let's work on the eye. Let's open up the eye. I'm going to start with the I risk for now. Let's start with the iris. So I'm going to hide the outer eye. The miniscus is also down there okay, that's fine. So let's work on the iris. Let's go over to attribute ito. Open up our render settings. Okay, open this up. I don't think we need to do much on our render settings. T everything see set up correctly. How to restart Maya again because of Eptif my recording software kind of acting up. So it's working up properly. So let's bring in our iPad sheet, okay? So IPA sheet is visible now, so we need to start by applying material to the Iris, so let's use let's assign you material node standard surface, okay? Let's name this to AI. Let's use all caps for this AI Iris Okay. All right. So I'm going to basically in here, we just need to take the roughness all the way up and then apply the material to the base color. So let's do AI. Is it applied in here now? I can't see this AI Iris. It's not showing her yet. Okay found this AI Iris graph network so the base color and then the normal map should be just fine. SP text shows Iris Iris, Iris base color and the normal map. Select the normal map. We don't need roughness in there. Let's just drag and drop this in. Okay? So pull this up. So out color should go to base color. O coolor should go to base color, okay? Then let's select the normal. So let's set the color space utility utility to row. Then let's bring in AI term on the keyboard AI normal map, okay? So input to out value to normal cam. I think I'm going let's go in and adjust the values a little bit small. Let's do a value of four instead. Okay? I'm thinking of adding some subsurface scattering to it, but I don't think it's completely necessary at the same time. Maybe just for the sake of adding something in there, we can just add it. We can still add it, so I'm just going to go to subsurface scattering, increase this. Okay. Radio color. Let's use a more reddish orange dish tone, some water there should be fine. Something like two should be fine. Then the scale, we can do zero. Same zero. Let's do zero points. Let's 0.3 instead. Okay, that should be fine. All right. Yes, I think I've done the roughness already. So students cannot log the out color to sp the face color as well. Okay. So let's render this out. Let's see what we get. Pull this down. Let quick sieve. Okay. Let's get close. Let's do a render for this. Okay. You can see I soften out. Let me just do render region so we can work a bit faster than your render region. Okay. So is kind of softening out the map detail we have in there. That means we need to crank up the num map detail a little bit more. Crank up normal map detail. So let's go in to a number map. The strength of the number map we crank it up some more. So let's crank it up. So more. Let's do a value of eight. Let's value of seven instead. Okay, so let's get more aggressive. Let's go all the way to ten. Let's see. Let's say this should be fine. We can go to SSS itself. Let's use the scale value of SSS. Let's do one, 0.1. 0.1. Let's not go to extreme. So a more lower value, so our normal map will be a bit more intense in there. Any roughness, all the way up? That's fine. Yeah, I think we can work with distance we actually details popping out, so that's fine. So I want to stop this render now. Okay. But notice spot light does not have the highlights in there, so let's render the opposite side. The opposite side should have good highlights in there because the main light is coming from that region. Okay. Yeah, I think, as far as good, you should work just fine. Let me stop this. So let's make the outer eye visible. All right. Let's make the outer eye visible. I'm going to temporarily hide the iris for now, so you can work a bit faster in here. Save this, select the outer I, select the outer In then I'm going to use or change the material completely. Let's use AI assigning material arnod AI standard surface. I'm going to change this to A out I Okay. So for this parton, let's increase the color the color quite well. All right. So let's go over to the pa sheet, outer eye graph network, pull this up some more. Let's bring go the materials we need in there. So out eye. That's for the glass, outer eye, outer eye. Outer eye mat, outer eye normal outer eye opacity and roughness, okay? So let's select the base color, the roughness as well, drag and drop this in Ol was brought in. Okay. So we have the base color and roughness and normal map, pull this up, pull this up. There's quite a lot we're going to do in here actually, let's get it in. I would like to bring in your ref, bring in our render settings again. A that brought out before. Put it to the side. Let's start logging them to the appropriate channel. B call roughness, open that up, channel to specular roughness. Stand this out. A Inmalmp Okay. So input to out color, then out value to normal cm. All right. Then let's set the normal color space, should be on raw roughness also to utility row as well. All right. Let's do the test render for this, let's see, test render for Okay. Reflective. Is precisely what we want. Good reflections in there. But then again, we don't want we have reflected reflection also too as well. So some of the lights in your mind to ton of reflection them. But let's see. Let's see. I think the only reflection I want affecting this would be just one. I'm going to select let's select the side correct field. We don't want to be affecting the camera. We don't want it to be visible on the camera. We don't reflect specular to be visible on the camera, so we're going to select it and then spective visibility, we're going to take that down. Because here we eating that now that become hidden. Which is fine. But then again, my roughness map is not working correctly. Let me look that for now. Blog, select the roughness itself, select the material itself, and make sure the pecularty for it is sets. If roughen this up, it comes rough. What is completely reflexive, which is the for it is. Yeah, this is fine. So now, it gets but I'm going to work you guys through the entire process. So we need to kind of create another AI standard surface material. So kind of use for glass material, and then create another one for AI mix shade. Okay. This is fine. We have this blog in correctly. Is back in, it needs to be logged in. Or is working correctly or not. I'm working correctly, fine. Let's create some more space in here. So it up on the keyboard. I'm going to AI standard surface material. So this one I'm going to rename. This is going to be glass center. Okay. So I'm going to use the preset for it. So the preset that I use for this is going to be glass preset. Have I stop this render, let's stop this render. So I'm going to use the glass preset for this. So let's just go over to glass, replace. Okay. It has not been applied to anything yet. So if applied to anything yet, that's fine. Then I'm going to create an AI mix shader now. So let's go in AI mix AI mix shader. Okay? It should be fine. I'm just going to plug the materials in select this move to the side. But first, we need to select this AI mix Shader and rename this to AI mixi shader or IMAT or IMAT instead. I think that should be fine. All right. So I'm going to select the outer eye rightly cone and click Apply Where the apply to shade. Where is the apply. Supposed to be seen applying That's a bit strange. I supposed to be able to apply this selects. Come on. I cannot see applying here. I supposed to apply to select select to selection. I supposed to see applied selection. Let me move this out. Let's try to again, still nothing yet. Drag and drop this in. Yes, it's being applied now. So those middle mouse drag and drop should work. Okay, so now do we apply these two? So the glass shader should be on SderO and the color map or color Shader should be on Sadar two. So let's get that set up in here. I'll select this. So the glasshader should be on top. Those middle mouse drag and drop something. Yeah, this is in one year. Okay? This is the one that drag and drop should be added Slder one. Then drag and drop should be on Shlder two. Turn on transparency. Okay. Then we go to bring in our opacity marks now. So the past Sder go in and select the opacity shed paste text router, bring this in, select this to drag this up. Open up the out color. It's like a black and white material, so log the out channel to the mix. Okay, so you should be getting something pretty much like so. I is precisely what we want. Now, let's do test render for this. Let's see. Awesome. So this is working right now. It's working correctly or we need it too. The only thing we need now is to turn on the Iris behind make the iris visible, so the eyes behind it. So we can see this now. So you can see the eye kind of picking through it now. It is precisely what we want. Which is precisely what I want. The only difference is that the reflectivity were having is blowed out. We have blowed out reflection. But as far as this goes, this should be just fine. We have all the ingredients in here to make this look good, if it's already working as we want it to Okay. So if you go to the glider, let's say glass shader, reflectivity in is quite reflective, so no issues in here. Now, let's make the minuscus visible. The miniscus is going to be a normal glass shader apply new material to it. Apply new material and no standard surface. So I'm just going to name this to AI, miniscus AI, miniscus Okay. All right. So we just need to use glass, let's do replace all glass material or maybe water materials should actually make better sense. Clear water instead. Let's do clear water instead. Okay? I think we're fine. Feel like I would still need to make these read lights. Let's make the splat visible because we need something a bit shiny in the Okay. Transmission, not entirely sure what this does. I would like to I'd like to see if you have anything interesting in. I don't see pores nothing in there. I don't see much in there. For the sky dome light, let the skylights, it's affecting the transmission we need the other lights to to also affect transmission, which is the glass to let them affecting transmission as well. Cause most affect glass material for the eye, so let's turn that up. Okay. So I'm going to make the eye visible now. Let's see how this plays out with the head visible. So you're supposed to opt now. So we want to visualize the eye. Let me put this to the side. Yeah, I think this should be just fine. I just fine for what you need it for. Okay, let's go and look at this for my main setup. Get in close. Maybe we close around the eye region. And let's allow this renderer and so we can see what we get out of this. Let me stop this for now. Let's allow render. Next lesson, I'm going to come back and then I'm going to see if we're getting something good enough to work with. All right. I'll see you guys in the next lesson, bye for now. 59. 59 Off Screen Light Adjustment In Arnold Maya: Welcome back, guys, right? So in the previous lesson, we kind of kind of wanted to do some better rendering just to figure out how everything looks like. So after doing the render, this is what I ended up with. So it was quite dark, like, really dark, so I didn't want those go and start increasing the exposure for the image itself. So I wanted to do most of the setup or just p for the lighting in by reworking our node light. So then I kind of ended up with something like so it's round one k resolution. And I kind of render out something slightly higher. So a higher resolution render. So I render out this at two k. So basically, I just went over to view and said this to 100%, it should be two K resolution because that's what we said in our rendering settings. Alright so let me show you guys the adjustment I made, so we'll be on the same page. So for the sky dome lights, I adjusted that so intensity is at 1.2. The side direct light, I think I just adjusted this a little bit more, 2.9 for the innsityEposure, 0.8. Then I went to the backdrop and then darken the backdrop even more. So I just darken the backdrop material so more. Let me even rename this to AI drop. Okay. So one martin I did for the Asia lights was to adjust the rotation of our light a little bit more so you can pretty much use the same setting inears you can see, C to the same setting for the X rotation minus 120, Y rotation, -72, z rotation, 123. So that's basically it's not much. So if I should just illustrate the movement of dijira in here. So I just selected I just selected and then it does move this way, pretty much all I did, so I do that. Okay? So I just wanted to bring it closer to the face a little bit. So yes that's basically it. That's basically it. The rest are just the same. That's what the setup I did. And then I think we have better lighting in here. That's why. So this is better lighting now. All right, let me just pull this to the side. I'll say this back to let's 25%. Put this, that's a bit weird. I'm not ranging anything. I don't know why. I'm not ranging anything. Okay, it's better now. We can just alternate between them Moka. That's fine. Put this down here. Alright, so now next thing we need to do will be to work on the Shader for the eyeglasses. Let's make sure we're working on the sheder for the eyeglasses, right? Okay, so I'd like to show you guys the adjustment I made so you can be on the same page. Then the next lesson, we'll just going into working on Lu development for the other parts of the mes buy for now. 60. 60 Accessories Look Development In Arnold Maya: All right. Welcome back, guys. Last lesson, I kind of show you guys the adjustment I made. So let's carry on with machine here, so let's make this visible. I think put it this way. Since they're moving a bit slower in it's moving a bit faster now. Okay. So I would like to separate or kind of just separate out this center glass piece. I like to have it separated out, so I can give it the glass material in there, and then the roughness we need for it. So I think we can just do let's do a duplicate of this first. That duplicates. Okay, S rightly and hold. Let's do separate mesh. Okay. So I was going to select these two. And I'm going to merge them as one. So let's go to polygon. Let's combine them as one piece. Combine lead by type three, bring them back into the group. The rest of the mesh will combine also. Led by type three, drag them in. Let me just name this two glass glass metal. Okay. And just name this glass. That should be fine. All right, so we can now give them individual materials. So let's start with this. See if these are documents, and then let's apply assign new material to it. Are standard surface, is going to be AI metal. Glass. Okay. Then for this, let's g you see a different material as well. Here, standard surface. Let's do AI glass. Okay. No, no, let's put let me just name this glass parts. Alright that should make better sense, right? So I'm going to start by assigning a preset to it. Let's do glass presets, replace. Okay. I think somewhere around there should be fine. So we just need to kind of bring in our own glass shed out for it. So everything by the fortnight kind of using the glass shed that we need to import in. Okay. So we don't have any contribution of base color. We just have roughness, and then we have the glass depth. I mean, we have the glass and glass color in here, so I think that is that is pretty much all we need. There's anything you need to kind of add. We can just go in and then do that. Does this have any option that we can read? No, that's not okay. Moving on. So I need to go to my ipahet. Let's open up the ipa sheet. So we're looking for eyeglass pads. Let's go to eyeglass pads, graph network. Okay? Let's see. Kind of seeing if I can see anything I can add to this thin film. Okay. I might just experiment with this just to figure out what works best. But I would need to hide the head. I need to hide the head for now. Let's keep the head hidden. We can turn on this doctor. Can this one down here just to 'cause you got something that feels the eye, so those hair doesn't look empty. Okay. So this butter one, you just have enabling material. We should be just fine. Bring material should work just fine. All right. So let's go back to the eyeglass. Eyeglass in here. Okay. And let's bring in the roughness map, and I think we should have normal map. I believe we should have some normal map in there, so eyeglass eyeglass eyeglass is in her roughness. Won't need this opacity anymore, so eyeglass roughness, eyeglass normal. Let those two, and we can just drag and drop in there. Okay. Yes, I think we can do drag and drop. Okay. Normal, bring this down down here, and you met bring this down here as well. Okay. Should This should be just about right. Then let's AI normal map, plug this in out cool plug out value plug to normal Cam S this to row, utility should be on row. Okay. That should be fine. Okay. The arrow channel, we're going to plug for the roughness, we're gonna plug to specular roughness and set this to roll as well. Okay? That should be fine. This this we can work with. And I'll go over to the Shad itself. Transmission. Trying to see if there's something else we can there's something else we can actually do in here. Okay? Yeah, I think this should work for the most part. Okay. I think we're in a good place. So I'm going to open up this secondary or coat. This code. So secondary reflection on top of the surface. I'm going to increase this. I would like to run some experiments in here actually. So I'm going to plug the same roughness into coat roughness. Okay. Then for the coat color, you said to already. For the coat color. I'm not trying to experiment in here just to figure out if it work. Nook eyeglass it, drag and drop this eyeglass base color in let this to extend this out. So the out coolor I'm going to plug the out coolor to coat color. Okay? Just to see if I will get something interesting in there. Okay? That's for that, put this aside. Let's go over to AI metal glass. Go to graph network. Okay. Let's bring the color, the color the normal. The color metallic, normal, and then the roughness, drag and drop this in. Let's say the sub is metallic, put the metallic up here. This is the normal normal should be down here. Roughness should be around the. Put this down some more. Then the base color pull this out up all the way should be fine. Okay, out color to base color, open this up. The arrow channel should be plugged into it for the metallic to plug to the metallic channel, open this up. For the roughness map, the arrow channel should be plugged to specular roughness. Okay? The, bring this down. All right. Then a normal map, input to out color and then out value to normal cam. Now let's begin to set this to roll. Roll set this to roll as well. So it is to roll. Okay. I think this should be pretty much fine. I think this should be fine for what we need it for. I think everything set up correctly. All right. Now, let's do renderer for this. Let's get this at an angle. Okay. Save this. Let's open bring up our renderer window. So we're ranging this out 500 pixels. Let's run this. Okay. Okay. Now instinctively, I see what is wrong with this. We can't really see through the eyeglass. I'm unable to see through the eyeglass, so I'm going to let me get this region like so. Let's do run that region. So we need to go back to the eyeglass pass. Let's do graph knock. Let's unplug, this is just a complete mess. All over the place. I'm going to unplug this from the coat color. Let's unplug this from the coat color. Okay. Let's turn of the roughness. Let's turn off the spec where it good. Let's take this down completely. Okay. So now we can actually see through it now. We can clearly see through it. All right. So I would like to do something also so just to test things out. I'm going to select the mesh. Go over to, I believe this is it under Arnold. We turn off opaque. Okay? All right, then go back in there. Go back in there. Let's set some things up. I want to be sure if I'm doing this correctly. So I'm making sure testing things out just to make sure all of this is kind of coming out properly based on the visual quality I need. Let me go down to the coat increase. Icreasing the coat is not doing really well, but increase the color, increase the coat. Okay? Let's see. I think I need to do a bit of render region. Again, let's do 50%, and the render region, I'm going to grab just this alone. Let's just render this alone. Let's Let's see what we get out of it. Okay. I think let's do 500. Let's do 500. Let's do 500 pixel, so we can get something rendering quite fast. All right, windows give the same moment to just render out. So I don't think I'm gonna be needing this. Friends need these roots. Let me take it down completely. We don't want to affecting it anymore. Move the roughness in there as well. All right? We only need the roughness for the specular roughness alone. Okay, I think this is fine. Okay. I'll need to allow this kind of render out a little bit more so we can so we can properly see this. Okay, I think this is fine. I think this should work just fine. Not too much roughness going on in there, but that's completely fine. Kind of driving this with the roughness of the material itself. But now like to do let me stop this for now. What now like to do it for the outer eye I would need to turn on I want to turn off Opiu also. Let's turn off opeque for it, and let's do under render. Let's see what we get. Because I want the center, the center part where we have the opportity to actually render out render out as glass for light to actually pass through it. Okay? So I think I will need to extend this out some more on both sides. Okay. I think this should be fine. When you bring material, let's just give this default. Let's give it the default and no material. Let's get the unload standard surface material. So it doesn't feel too distracting. So this should be rendering out as glass, and then you should have more light passing through properly. Okay. I think, as far as this goes, I think this should be this should be pretty much fine for what we need it for. Move this up. Okay. Yeah, I think we need good sports. Think we need good spots. So let me stop this render for now. And let's go and render something else. Let's render something else. Alright. I think we should be fine here. And the next thing we need to render, let's see what's next on our list. The neck, let's make the nick visible. I'm just going to turn up this render region, bring this down. Okay, extend this out. I think we can make the rest of the body visible. Because we're not doing too much in here. That's basically repressing the same process over and over again. So let's start with the neck collar. You can just come in here and then change to actually change this completely. Apply new material and not standard surface. AI standard surface. A AI NcNecl. Okay. Yeah, that should be fine. Then we just need to adjust this now to AI Nola. This is it let's go in graph network. Okay. Get in there. Probably extends out a little bit small. Let's bring in the net color material, neck collar. To select the base color all the way to the roughness, drag and drop this in here. Okay, that's fine. Then I'm going to select the material itself. Okay? Do we have metal? Yes, we do have metallic in there, put this up. This is the rough open normal map, open GL. Let all of these bring this out this way. Then I'm going to stand this out. Let's put this color up here. All right. So let's start logging this in. So let's do AI normal map. Input out value to normal CAM. Say this to row until it's rock, open this up. Let's log this to specular roughness. For the base color are increase all the way up, I want the full colour to be visible in there. I think I will do the same also 24. Okay, we now have that applied on the color so. Let's go back to neck color. So the metallic open this up, log this to metalness out color to base color. Then set this to row should be on raw. I should also be on raw utility row. Okay? That should be fine. Extend this let's extend this up some more, right. I think this should be fine. Here, this will This will work just fine. I think we have this set top correctly raw as well. Base call okay. So the next thing you need to do is just to do some renders for it. But before we do renders for it, let's just Let's come down here. Let's apply material also for this. Apply material on regions where we need to apply them on. Maybe entire out team because we're not doing anything extra special. We're just repeating the same process over and over again. Assign you material. I know standard surface. Okay? Let's rename these two AI neckerchief. Let me detail all of what is in there. AI A and neckerchief. Okay. That's fine. You cannot spin the chief very well. I think this should be it. That's fine. Okay. Let's look for it now here and neckerchief This is it in a graph network. Let's bring in specific material into it. Neckerchief, neckerchief. This is it base color all the drag and drop. Do you have any metallic properties in the que? We do not have any metallic properties. Let's drop this in. S this here, P should be fine. Then this should you should go all the way up here. Okay? I think we're pretty much fine. So tab AI normal map. No this one. This normalizer. AI normal map. A normal map. Okay, out color to input out value to normal come. Let's say this to row. Should be on raw raw. Then let's open this up. Log this to specular roughness. All right, then log this to base color. Set this also two to rock. Row that's fine. Okay? Set this also set to rock. So you set to roll. That's fine. Moving on. Move to the next piece. Assign you material not standard surface. All right. Now, let's say you name the two Let me make sure I'm saving as well. Name this two AI pendants, AI pendants, AI pendant, pendants. Okay, that should be fine. A pen. Let's go graph Network. Put this around here. Let's go and then pendant material, pendant, pendants, neck pendant. That's the one. It also comes with metallic property also too. Let's get them set up properly metallic. Normal should be down here. Rough should be A. Then base color, we can just move all the way up here. O color to base color, open this up. Blog to metalness. That's fine. Let's open this up. A channel should go to specular roughness. Then okay. A normal map. So it's pretty much the same process. Kind of being the same process. The same thing I'm going to do for the rowrob as well. Let's select this. Let's say this to roll roll, said this to roll as well. Scroll down, said this to roll as well, okay? I think it should be fine. I want to pause this video on them kind of just do the same thing no too for the robe. Or we can do it in here. I think we can just do it in here. You know you should do it in here. So we have this y set top. Let me save this. Then I'll just go in and select this, apply new material to it. AI standard surface. Is is going to be for the robe, AI robe. Okay? I'm sure you guys want to co up to the same let's just do it. Rough network. All right. And then I'm just going to select the rub rub root group, group, drag and drop this in. All right, to specify where I need to be now. No, wrong wrong. Select these two, put this around here. This color all the way up here. All right, bring this all the way here, set this up, set this here. Okay? Let's do A and normal map. Let's block this where it needs to be input and then out value in here. Open this up, open this up. R channel should go to specular roughness. We have metallic property in here as well. So let's drag the metallic in. Then out cool should go to Base Color, select. Base color. Okay. Yeah, that's fine. That's fine. Then let's set this to roll. Set this to roll. Set this also to roll. Okay. Set this to roll as well. That's pretty much it. So now we just going to do a render for this and then see where we get. So let me save this first. All right, bring this down. Okay. I'm going to put the surface somewhere around here. I don't need to visualize just the fabric alone, save this. Let's go in and let's do a render. I'm going to come back when the render is done. So I'm going to rendering this out one k resolution, let's do 50%, so let's see this as one k resolution. Okay? So I'll see you guys in next lesson. So let me just see the render. So it's rendering now. I'm going to come back when this is done in next lesson and then we'll see if we need to make any adjustments or just leave it as it is. I'll see you guys in next lesson by for now. 61. 61 Xgen Hair Look Development In Arnold Maya: Oh, come back, guys, kind of run into an issue while recording and I got into this step. My recording selfware kind of crashed. So I'm going to kind of like the issue here now is that I can't undo several times, why? Because why working with Egg Jen? You already know Egan is quite buggy, so if I undo, I don't know if I'm going to Egg Jen begin to crash on me, and then I have to do the entire he again. I'm trying to avoid that, so I'm not going to run you guys through the entire recording again. I show you guys what I didn't when I was unable to save on previous recording. So let's get into it. So I've done test ran there just to show you guys, but I'm going I'm going to run through the settings again. Let me just put this here for now, lose this. So before we continue, let me just show you guys the render I did the previous last lesson, we wanted to render out the clothing, so good thing I kind of sad saved out the clothing. So, come on. What is this? Fantastic. We also have an issue in here where I saved with the clothing rendering and then I'm getting this weird issue in here. Why are there so much issues just to get good render out of this Great. Anyways, let's just carry on. What still going to do. But the major thing is that the render we did came out well for the clothing, so the renders render came out for the clothing, so I didn't need to make any additional correction for the clothing. Honestly, Zbrush, I mean, Arnold Maya is just a mess, complete mess, actually. The complete mess. Let's say one of those didn't render log for the fabric, just to show you guys that everything came out well. Somebody's going to render this out. So just a quick render setup. So why this is rendering out, I'm going to explain a few things for the egg gen hair. So once we start inputting the values, which we won't have any issues, okay? So now to kind of use Egg gen hair, so let's work through the documentation for the Eg gen hair. Let me just put this down for now. All right. So I'm going to explain and I'm going to reapply the material again. So just to make it a lot easier for everyone to follow along. So ideally, once you apply your no standard hair material to the descriptions of the generated four hairs or rather egg in hair, whichever you prefer to use. Then you will begin to see some set of pin that comes with the air standard hair. So mostly mostly the values you want going to adjust is the melanin, melanin redness, melanin randomize, roughness if you need to, and then the shift the rest you want to just live at default. Let me explain why. Why? Because it's a melanin that actually controls the actual colors of the hair. Okay? So the melone perimeter is used to generate natural hair colors by controlling the amount of melonine in the hair. Colors will range from blond, 0.2 to red and brown around 0.5 to black 1.0 to control the hair color with a texture map, set melanin to zero, and use base color instead. If you have an external map that you want to use a completely different color maybe pink or dyed hair in general, so you can now zero out you can zero out the you can zero out the melonin, okay? Yes, I came out quite well. You can see how this came out quite well. I'm going to stop this render for now. This came out quite well. So just kind of show you guys that everything came out quite well. So I've stopped that for now, so let's carry on. Okay? So I'm going to save this again. So carrying on. Carrying on. So if we set the melonin now to, like I said before, if you want to use your dyed hair, just set this to completely zero and then you can actually use color for mine. But the colour is going to be appearing on each strand. So that'll be a topic for another day actually inbo. Right now, I just need to focus on the melanin Melanie redness, redness, melanin randomize, roughness, and then the shifts, okay? I believe that makes sense. Let me get this visiblo up here, right? So now carrying on. Now, that's for the. So these are examples for full white A, you only need to set this to zero. Okay? Then for blonde as 0.25, I believe that makes sense. So brown air all the way to black air. And the Mllarium redness going to controls how red you want the air to be, how you want more redness on a few strands of air on it. So if you have this at zero, which is not going to be that obvious, but if you have this at one, you can see more redness in through the air now. Okay, moving on, then Melonie randomize going to randoms between from blue to white to brown to red to black hair. That are the values for the melanin randomize that does. I believe that makes sense. The value of zero kind of maintains what you applied on the melanine and the melanine redness, but increasing that is going to add some variations in there. Then we have the roughness. You can make it's more or less like your normal roughness for the standard surface material. So at the value of 0.2, we have some specularity in there. But for value of one, we have something completely dry, completely dry hair. Then last we need to be the shift. So the shift has a template that comes with it. Template that comes with it based on ethnicity. So depending on what the ethnicity you want, kind of imitate on your hair. You can actually use modest values in here, which is what we have down here. All right. So I'm going to reapply the head again. I'm going to reapply the he again. But before we do that, you have to make sure you do something. So go over to the head calp and on each description, you want to change the renderer to node renderer. Very important. So I've done that already for most of the hair, though not ready for most of the. Okay? So they are all in oh, I think I have not set this yet, so Arnold render. So you want to make sure everything is set to Arnold, as well, okay? So do that for every single collection, and all the description in there, very important. So now to apply the material in there, go to the collection, open up the collection, select the description in the Okay. The description in there and then assign a new material. And standard. Let's do not standard head. All right. So I'm reapplying this again. I'm going to name this to AI I just do head He Shader. I'm giving it a different name. Okay? I believe that makes sense. So now that we have that in there now, so we can actually adjust the values in there. So I'm going to leave the melanie redness at 0.5, okay? I'm going to set the randomize to 0.25, okay? Maybe a little bit more, that's 0.4. Then for the blackness of the hair, for melonin I'm going to use zero point. Let's do 0.7 instead. That's 0.7. Then for the shifts, I would like to use an Asian shift in there. But before we do that for the roughness, I like to make it a little bit shiny. Need to be shiny. I think 0.2 was actually a good one. Let's stick with 0.2. Let's just stick with the default. Then for the shifts, let's do 3.6. Okay? Forms like an Asian Japanese Chinese. That's fine. Alright? I'll save this. Now let's apply let's apply a different material for the scalp. Okay. So I'm just going to select the description for the eye brow and eyelashes and let's apply a new material to it, okay? An standard hair. And I'm going to rename this to A hi shear. Yeah, something pretty much like it should be fine. I'm going to save this. Okay, so we need to adjust the values in here now. Let's go to the air. So use the value of 0.7. We want to stick with the values as closely as possible. Then for the randomize, we can do 0.2. Let's 0.3 instead. Okay, ethnicity, repeat that also 3.6. Okay. Yeah, that's fine. Moving on. Let's go to the mustache and beard. Okay. Now for the moon Sha bear, I think I can just repeat the same. Yes, I can just repeat the same material. Or you can actually randomize it a little bit more. Thinking of randomizing this, but no, let's just use the same material for the head hair instead for it. So the description rightly can existing material existing material, head he shader. Okay, apply that in there, save this. All right. I think this should work. Okay, cause the same satin we have for the head want we also need to have that for the beard. So now let's get closed and then render this lesy what we have. Okay? Also making sure make sure you have this set to rnd. Make sure everything set to arnods If we go, let's say we go to the Mustache, and then make sure I said to rnd and s to Anode renderer. Mustache is also set to Anode renderer, so we are good. So next we need to do is to render this out, so I'm going to do some test renderer and then I'm going to come back. If I need to make any any adjustments, I'm not going to tweak that and then come back and then show you guys what I tweaked, but for the most part, I won't be doing too much fixing or tweaking in there before getting something realistic enough to work with. So just to keep that in mind, right? So I'll render this out and I'll come back and show you guys. I'll see you guys in next lesson. Bye for now. 62. 62 Conclusion: Come about, guys. So I kind of gone in, like in the previous lesson, like I said, I was going to do some renders just to test how the hair is and then show you guys the final result. And then if there's any other settings I kind of tweet in there, I'm going to show you guys as well. So here, it is. So the only setting I kind of tweet for the hair is just mostly for the head hair. Mostly for the head. Let me show you guys a satin I tweet. Very tiny settings, actually, not seeing too complicated. So if I go over to the head hair description, because the same material I was using for the head hair and the same material we were using for the beard as well. If you look closely at the beard, you can see some white tears peaking through it. The naris I took a resolution, you come up, so you can see some white tees beginning on the side. G some more white tees. So that's because I increase the value of the melone randomize, increase the value, and then I think I increase the value for melonin redness. So this is basically the values you want to actually use. Melon one has 0.7, Melonie redness, 0.5. Melanin randomize, 0.8. And then you're pretty good then all you need to do to rendering a higher quality render. Okay. So I'm going to provide most of the for now, my rendering set up, I'm going to provide the settings for you. I'll provide the preset for you guys to actually use so currently, I'm using the rendering render setting, so the nder sentence looks pretty much like so. Okay. Then also, you have your IDs. Let's say you want to actually save out this ID, just go over to Pi Save image. Then you can actually save this to wherever fold or you want to save it to let's say siving it into this render folder. Let's say I'm saving this is render actuals. I'm just going to put ID, okay? Alright, so if I should go into that folder, if you see the ID, so we can at least select and then use the CIV where we want. Okay? So we can use the CI where we want. Alright, so that's just the idea. So you can render as much as you can. S denise Abdo codes. You have the background. We don't have any background in there because it's a backdrop. All right, directing diffuse SSS, you can see the SSS in here. This is SSS. SSS bi Do SSS in direct. So we have everything we actually need in here, kind of get our desired result. And we did a pretty good job for the unpainted textures also to inside of soap and painter. We pretty much have everything you need to actually get this to work. Let's go back to the beauty. So this is like the conclusion and then final chapter of this. It has been an amazing journey. So if you kind of went through the entire process from scratch with the base match, I'm going to provide and moving to sculpting, sculpting details, kim pose, creating the garment Marvelous Designer, bringing it over to Subtan Spinter, creating the UVs, and prepping them for Substance Painter texturing, and then spotting them out and then bringing them back into Maya for egg and creation and then setting up our shaders and look development, then you've done an awesome job. So I want to congratulate you personally for working with me through this entire course and taking your time to be patient with the entire process and then going through every single step, just to get your desired results. That has been awesome guiding you guys through my process of creating this entire team from Scratch. I'll see you guys in another exciting journey, work on a different project. Bye for now, please make sure you also share whoever needs this tutorial and want to upscale their skills also, too. So it's been an amazing journey, bye guys.