Realistic Animal Creation in Blender

1. Introduction: You have problems creating realistic looking animals in a blender. Then I will commit to mix it education's animal creation in. We're going to using free software. We're not going to be leaving Breanna from the basic cube rental, the final renders, my name is Adrian and I run a small company called AC anatomy.com, where we focus on the human animal sculpting for free YouTube channel. And we also sell pretty anatomy models or around the globe. So in this course, I'm going to teach you the basic of box modeling. Uv unwrapping, texture painting, a Reagan and grooming and realistic renders in. Then we're going to move right through the final setup on in Photoshop and do some quick calculations, right? So if you want to take your skills to the next level, while I wait for me now. And I hope to see you in the course. 2. Project Files : So this is a final scene entry. You're going to be getting blender file with all the lights. Basically, we want to be using an NHGRI two lights up or seen concretely show you guys the HGRI Haven basic scene, just a dog and the shadow catcher, this plane over here, which will just reflecting the shadows. Just move out the camera and show you the dishes at a preview. Again, increase the set a vision of the dog. The following iso equal to increase the subdivisions. You can see all of the details. Well, it's going to be lagging some of the surface detail on the dog. And we just dial this down a bit. Drag this damper, which is cell division level one, so that the dog has been posed and rigged, showed a rig over here. We'll rig so you can get a lot of control with this on this dog. And it also has the cornea and the iris and the need to show you guys and the lacrimal via the lacrimals. So oh, and then in the in the camera just showed you as low Louis observations would goods apology. Let me open my dog. I click on the dog and then the viewports people display to none wireframe. See the wireframe. On it. You can see fairly decent upper edge loops around your niche. And so this is a file you will be getting along with the just turn this off. So along with the rig, everything like that. And then also the fold-over. Yeah. So basically, we are going to get these add-ons. Firstly, the four K texture HDRI amine, which we use to light up the final scene. And the lead is scraped surface add-on. This add-on we're going to be using to add that background that you saw over the plane. And this is just this screencast key is just to show you a screen necessary for you guys. But then if you're wondering what was I using to showcase the shortcut on the screen on the bottom side over here. Then if I go back to you, you're gonna get the project files that have been filed and PSD, PSD file. So it's going to be under the project files and reference. These are all the reference that I use is not a lot. That's it. Notice that our version, but, but then I just have that variation of d, d, d, d dog. Actually see the anatomy and realistic. It's mostly based on realistic the actual wild dog. More than eight hours, like real specimens. Reference board. And then lastly, our texture is not a lot. These are the alphas. I used, probably two of them. So the interest for add-ons. And then there's the cornea, especially I tissues that we use to stain so to paint on the eye and this dog, the final dog, I think I texture map. And then the iris also. It's basically if I show you the I showed you the Iris. Hello t, UV Editing can see a bit laggy. Folks doesn't crash. Changes. Delta r is print. You can see this page we can overlap. So we can get a lot of resolution with the something of this nature. Just go out of, go back to Layout. We're done that for our UVs. And so everything was done in planar. And as you can see. So it's very important. Lastly, before I leave, is very important to study the animal. I watch a lot of documentaries of National Geographic, so forth. Just studying these animals before I even start modelling game or stars causing them, do a lot of research. So basically the love for the animals were crucial to help you study the animal and the Indian anatomy in this course, we never went through a lot of the anatomy. Again, to have a fundamental of the anatomy is very crucial also, just to understand how everything's laying out. For me. It's going to use equals, been sculpting these for many years now. So then I can understand everything. When I look at reference, I'm not actually copying from reference. But then just understand the skeleton and the muscle structure, which I always emphasize. So yeah, so thank you guys, and I'll see you guys in the next lecture. 3. Interface Overview: Welcome to this lecture. If you open a blender, this is what you should see. We envisioned 3.2.1. We're gonna be using for this entire course. So this is a quick introduction to Blender. We're not going to be going the entire interface, just the basic setup that we're going to be going through. You should see the screen over here. What you can do, just click in the viewport so we can start. So basically what you get in the default Blender layout, you get this the light camera and the object which is the cube. In this case. Normally we tend to delete this cube. This is just a tradition. So if you want to delete, you just press X and you see the street option over here, then you can delete objects. And this also works also for these other object like the camera and the light. Hi, So, so I press X, I think the delight, as you can see on, on the outline over here, the objects are gone and you can also delete from this side also. If you right-click on your mouse, let me just turn on these screencasts for you guys. So you guys can see that controls over here. So if I also right-click and I can delete over here. So all of these objects that I've deleted, I can basically add them again by holding down Shift a on your keyboard. Then you can go to meshes and then add my cube. And also Shift a go to lights. And the point light, I believe it was a point light spotlight. So you have the different types of lights that you can use or area light. We're just going to delete these slides. And then also, you can also add your camera. So shift a camera, then we also have our camera. So if I press Zero on my numpad, I can basically see through the camera perspective, as you can see on top is changed to carrier perspective. If I press 0 again, it changed to use a bit perspective. My camera is basically instead of a year, if you press G on your keyboard, you can, you can grab your objects out of the center. And then the spotlight, the point light, press G. You can grab it out again like so. The error light. So we have our objects back again. So the, we have this controls the beer in our object mode. So this is a selection. So if you want to make selection, there's all these options over here. We're not going to go into all of them. So this is a selection box. If you hover over again, it tells you the shortcut also and what this does. The cursor. So if you want to move the cursor, which is the Soviet, the center, and then the Move tool and just click the object so you can see probably the move tool to move your object left and right, up and down, so forth. And then also we have the rotation, rotate your objects, the scale and the scale up and down your object in any axis. Then the transform tool, which has all the options so the move, rotate and scale in 12. And then the annotation tool, which I'm using to do annotations on top of the model. So you can basically write anything but this tool and then just come back over here. You see this layer over here to delete, just placed, press the minus option and then less than. And then if you want to measure your objects, just use the media to this Add Cube. If, let's say I delete the space x Delete. If I click Add Cube now. So there's now you can add your crew, just click and drag. And then here is my cube. That's back to the selection to, to, to navigate around your model. You can basically use the right panel. Just click on the gray. I'm thinking of a gray circle. You can basically a rotate around the object. Then you can also click these points over here to snap between the bag view top, back, top as you can see, then the front and the bottom of a year. Or you can just middle mouse click and out outer option, you can snap your viewport like that. So I'm going to be using this a lot. So let me just delete this cube and just add Shift a go to Mesh cubes. This is gonna be in center. The McGee snap between that. And if you have a your numpad hold on. One switch between those view, the front view. Press three for the right view and press seven for a top view. And embrace line for the bottom view. So if you don't have your numpad, if we just click over here. And then here is your navigation tools again, if you when I use the shortcuts. So yeah, you can zoom in and out. And then the bottom of this hand and you can pan. And then this is just toggles. If you don't have a numpad 0 to look inside your camera, it's still going to be using these Christiana. You can look at the camera. Then, yeah, you can switch between orthographic and perspective. If you have a numpad, if you just press F5 between those. And also if you want to use your shortcuts. What I suggest, you can, if you minimize click, can rotate around the object. And then if you hold on, hold on, Shift, you can pan around the objects and then to zoom in and out. You can just use the scroll wheel. Or you can just use Control to zoom in and out also like that. So strongly recommend that you guys have a mouthful for this. Then these are all the layers we will be using for modeling and stuff, etc. So we're going to be going through each NAV to once we use them. So I'm going to be moving very slowly with you guys. So you guys can understand which option am I using? This interface. There's a lot of things going on over here, so I'm not going to be going through all of them. But then what I'd ever to or thing we're going to be using them. I'm just going to go through everything if you guys was the first time using it. So that's it for this lecture and I'll see you guys on the next class. 4. Modeling Torso: Okay, So average is to be creative in your document or a new scene redder. So if you want to create in each document, you can go up to File and then click New. In general, don't save. And then you can get all the defaults, the lights, the object and the camera, or even just press Control, Control N, or command in if you're on a Mac. Now you see over here we have this cube and we have our light and the camera. So what I want to do, I want to separate my lights and the object. So if I click and drag out of this collection, which you can call it a group if you want to understand it better. So it basically groups all the objects in one group, the collection. So I'm just going to move the cube outside and leave the light and the camera inside of a yeah. Sweetener, what do we wanna do? Uh, we want to get our reference and use it as a backdrop for, for blocking out over here. So essentially what I'm gonna do, I'm gonna move to the right view. So if I press three, let me just show my screen cost keys. So you guys can see that if I press a, press three on, the numpad, just increases C. So if a pastry and an unpaired, you can see now I'm on the right orthographic view. So this is a right view. I can probably hide the camera and the light because we don't need this right now. Then m. Let's grab our image. Let me just open the reference over here. I will just grab the dark side view NFA, click and drag on the, on the viewport. It'll create an empty image object, which I can. Then I can use if I hover over it and move it right here. The second news as my reference, for it to center like so. Use this as a backdrop and then we can start blocking out MOS shapes. Again. We're going to be using this cube over here to start with our shapes. So there's basic box modelling is very important to just to use to stay as low poly as possible. Before we add it all subdivision then stuff, and then understanding the edge loops. So I'm just, I'm just going to hide this cube over here. How you can understand this. We're going to be movement leg over here. You see by the scapula over here and by the femur. So let me just use it. There's one area. So you have your let's just quickly go through this. You have your pelvis pelvis and weigh. Your femur will be attaching at articulating a rider with a and then you have your patella. Female comes up a year. Then you have two bones over yet, our tibia and fibula, small one. And the nozzle We have. Or metal or metatarsals and phalanges, et cetera. So basically, you want to have, have these loops going over way. There's going to be movement. Say this animal is picking up the leg to move it aside. So you need these edge loops of a year. That then also via by the scapula need these age groups. So we have our humerus and the radius and ulna, etc. So you need to get these age groups and then by the ribcage, these edge loops connect. So overseas if the flow is not straight, I'm just trying to show you guys how everything will work out. And how am I studying this? Then over here I prefer elixir. And then the head will be another topic of itself. But then where the eyes will, will be closing and opening over here. Polaris or is you need to have all these issues and then also communist side. And also on our mouth. Like knowing these. These muscle groups and your skeletal system. We're gonna be plotting out a blocking out our age loops like that. So I'm just going to delete this annotation. If I press this box over here, I can show my cube. Now if I want to select the object, just click and I can select it. So I basically there's two big, I want to scale it. From the scale. An object you can press is, as always, I recommend using the shortcuts instead of coming over here. We will be going over year if it needs a b. So if a person is on a keyboard, you can see now, if I move my mouse, I can scale this cube like so. And then press G to grab. G to grab like that. Then select to accept it. If I move out or normal mode button, you can see we can say this should be our thickness bacteria, right? Photographic view, sorry about that. So what I'm gonna do is basically too small. You can use the scale tool or you can just press S on your keyboard. And if I press Z, I can scale this in the z-axis. You can see this blue line here. And then plus g of x. Now why would I do? I mean object most like I can't do any editing except for scale, scale, and rotation. So if I want to manipulate the vertices and the edges and the polygons, I would need to go to the Edit mode. So there's tons of way to switch between edit mode. There is modelling of APIs. If you click this layout to switch for you, or if you go to click over here, see that object mode and then edit mode. Or you can just press Tab on your keyboard, which I strongly suggest. You see the more options and more tools and we can use those over here. So the first one, if I hover over it versus vertex select, so I can select my vertices. And the second one I can select my edges. And the, the last one I can select my, my faces or polygons. So there are shortcuts for that, which I strongly recommend that we use. Press one for vertices, two for ages, three for polygons or faces. That okay, now, now we have that. I'm going to switch back to right orthographic view and select my vertices are manifest one. So if I select and drag this, I can select these vertices. So what's important? This is a cube, not a plane. So An important that you know that you also selecting the vertices as you see, I only selected one. So I couldn't select this one over here. So just be careful of that. But I'm gonna move back again over there. So for me to see the other side are so I can just snap this guy. Yeah. So I can go to wireframe mode. Again, there's tons of O2 goes to wherever mode. First one being this one over here. If I click here, I can go to wireframe mode. You can see, I cannot see. It's normal solid object, but then only lines and points. Or I can please hold on Z on your keyboard and then just move to the other side like that. Now I'm in wireframe like that, which I don't recommend we use that option. Again, if I switch back to this or you can just hold on to z, k. Now we know wireframe. If I select now, if I move, can basically see that I was also able to select the other takes on the other side. Shift out of amine to snap to the right orthographic view, Pristina keyboard to grab. So basically going through the outline of our model, then we'll select the bottom one. And this G, going right through my ribcage and press G to grab this guy over here. Just plug on our ribcage, select again and press G. So probably grab this guy plus g to the end of our thorax. Just on the on the, on the subtour is over here. So tourists muscle G and probably led by the, by the lumbar vertebrae is basically now we have a switch back to remote place, z, solid. You see we have our basic thorax. Oh, paleo, torso, if you want to call it that. But in our problem we have our ribcage. Now, this box over yet doesn't fit the overall silhouette that we have for our dog via African dog. So they are turns away to correct us. But we're gonna be using this tool of the loop cut. So there's a shortcut which is Control R on your keyboard. See now if you press control or you can basically see this yellow line if you hover over the center. If you click this, we'll create another age, age loop around your, your, your object. If I press, if I press the left mouse click, I can accept that. You can see if I showed you guys, we have this yellow or orange line rider. We have this loop going on on our object and what you want. So if you want to add more loops, can, you can go over here, number of cats. If I increase this, I can do this via o on a mouse, you can just, okay, now we already have this selected. So I can just press enter to accept this and you see this as disappeared. Again, if I press Control, if I want to add more loops, I can buy it. They can control oxygen over here. If I click and then if I add loops again, in my case now, I want to add one over yeah, his click and then press Escape. Select tool. Now we have all these age groups that can compensate for our shapes. Important not to add more subdivisions. Again, I strongly recommend that. Now I'll do is just select this and press G to grab, fix this silhouette. And then plus, plus, plus g. Again, the lumbar region and the RASIC region of this to get our overall shapes. So probably like this. Just try to get an even distribution we can. So I'm Jim just trying to get data where this g Again, just increase this. So now we have our thorax and continuing. Now you see if I, if I hide the rest, if I press them, go to float back to object mode. My cube selected. Zoom this just how the empty can see. This doesn't look like a toast of a dog, because basically this is just a flat cube and we have been using only the only you write photographic view and not the front and back, et cetera. So essentially what you have for dog, if you look at our reference picture, I find a front view of the image over here. You can see like the shape as curvature going on. So it's not basically, I'm just a flat straight cube on an outdoor x. So let's go back to Blender. Look at this from the front view. I can click and snap. In the front view. We see from the noisy. Um, if I go back to Edit Mode, I'm getting all these points that are not equal. We're gonna do. The easiest way to work is to work in symmetry. You can use this option of a year. The option I like to use is using the mirror, is using the modifiers. Modifiers are basically adding on top of your object. So we can use the mirror modifier. So we can use that mirror object on the other side. So what we wanna do, probably grab the control or just create a loop at is sent over, yeah. Scrape to not move it. Then if I press the Select and go to wireframe first, so Shift Y over M. And if I select all these vertices on the side, NSAID choose plus x. We can delete your vertices. Delete. If I go to solid water again, you can see I've just opened up this guy and the vertices. So anytime on the other side has been deleted. Now we can do and click my objects. We can rename this. Let's just say dog. Oh, to add modifiers and go down to look for mirror modifier. You can see now we have a duplicate on this other side. So whatever I do over here, it also does it on the other side. So this is what I strongly recommend. So next we're going to go Control R to add a loop cut. Fakes, clicking Select, and again add my loop cut like that. And just press Escape to exit that at the center. Now, what I can do now, I can create that curvature. I was talking about adding those loops. You have the center one. Can add, probably add more loops over here to compensate for that. So moving quickly with that, control, our add a loop cut and again, escape, control or escape. Then we added those loops like that. Snap. And getting what I want to move to the wireframe mode z. And I'm just going to drag these guys done. G. If G and Z t only drag it on the z-axis. These again GZ. Scan that curvature. Grab this, grab these guys. These vertices. G is inwards of it. Grab the top ones. G, move them inland a bit like that. The T Solid mode. I'm going to show my dog again, x, g, y. I can do this in the y-axis only. So if you, if you're unsure about these axis, you can see this green side is empty, seat is green and the red. So the red is the x-axis, as you can see over here. Why is the green one? Then the blue and the z axis over here? So whatever transformation you want to use on a single axis, you can just press that specifically a movement, in this case g and then say I want to move it in the access is only plus g x and then it will only move on the axis. X is only escape that. Just a quick tip. Smooth side. K, we have that basic dark shape. Then obviously grab, okay, Wireframe again. K squared, this by g, gx, move inwards. Can probably, it was probably grabbed the top ones, those are gave them inwards. G again, x plus g, Z to go back to Solid mode. What I normally like doing, I like to mix my modelling with my Sculpt tools. So what I mean about this, you can also sculpt in Blender. So there's modelling and then sculpting. If I press Tab to move back to object mode, I can click over here to switch with my object selected. I can switch these sculpting option. Click over here and do a test. I can only use them. Grab brush is easy. Or the words like ZBrush can grab my vertices. Just make sure we have your x symmetry. Let me see. Which side am I on? Your x symmetry turned on. So what you do underside you can do on the other side. And then basically now I can just increase the strength, probably move my vertices like that. Because meal, a lot of control. They need just moving one vertices. So you can see, you can just grab these aligned like that. If you want to look at the wireframe also, come down, see outline, outline. So that's the object option again, because in annotations It's not showing any outlines. So another option now, so you can just go to the visibility. Go to V, V viewport, display and click wireframe. So you can see these vertices or anywhere can do now I can just look at them. Just grab this, move this guy up. So just moving. So you're gonna have your, your ribcage over here. So they tend to be the exam too much actually. Look at your reference again. I like that. I can mix my Sculpt tools with my modeling. I tend to enjoy this or not. So again, just controlling again the distribution like the overall polygons or faces, making sure that they are even at this stage. I'm almost even amine, just like that. And then I can go back to my layout. Can see we have our basic torso. Can go back to the scope, scope mode. Drag these guys done, strike them down in that Ted. Let's go back to our layout and we have a basic torso for our dog over here. Still low poly and I'm still need to continue with the the, the lower legs or so and the head, which will save that for the next lecture. 5. Modeling Front Legs: Okay, So welcome to Lecture list. To continue with our gloves off again and let's do a front legs. I'm gonna be so we are going to be using another tool. This time we, we, we just use a cube and in edit those edge loops. Now we want to take these faces over here and then extrude them and create something four legs over there. So what I would do this option that we, that we have, if we click on our object and press Tab to go to Edit mode, we're going to be using this extrude region tool. How this works. If I go to my faces of click, okay, apparently doesn't say late on the other side. So I can select this side. This side because I'm using the mirror modifier. Forgot about that. Sorry. I want to extrude these guys. And again, I can press like this. Now you see that you don't need to add a lot of polygons. So this will take forever if you have a lot of polygons for me to extrude, there's a shortcut. I can either click over yeah, eval and click this plus sign. Click this. Click this again, select my faces and drag this plus sign over there. That's what extrude for me. And once I have these polygons selected, I can rotate this bar. And I can rotate if I want to press Escape. If employees are just rotate on on a single axis. If I press R and then press X can rotate on the x-axis only. You can see name place, left mouse click to accept. And let me just snap this to the side view pastry. That's the right way. Let's grab on it. We see that the lift orthographic view and press G, I can move this leg falling on a silhouette again. I have that. If I press the Scale Tool, press S, I can scale this down and press Graph to move this guy. We're just making sure that the, the legs have this polygon so we can extract from that. And also we can extrude the neck. Press the Plus, press the shortcut. Also you can select your faces. Shift, select, click, hold down Shift to select more faces. Press E. I can extrude again to the end of the neck. And then press S to scale that down. G, g mu, that is, that we scale this down, et cetera. I have a neck, pretty much basic. And then now you can do we can select this face and then you can extrude the legs. So if I praise, and we go to the right, the front view is order and Alt Option. Press E can extrude this guy. Press R to rotate. G Again. Scale to scale that way down oregon to rotate G, to move that inward a bit. For the legs. If I, let me see, hide my empty layer, I want to show you something else. You see, yeah, this is opening over here. This is because we we don't have let me turn off, let me turn off my visibility and go to Viewport Display and this ten of one of wireframe. This is because we added our mirror mirror modifier. There's this option over there. We didn't turn on, which is called clipping. So what clipping does it at the center of the object. It will basically clip these vertices at the center that they combine them. At this stage, it's creating a shell, as you can see over here, these polygons at the center. So what clipping will do, it will delete any polygon at the center, and it will just make it one object and just merge these vertices. So let me show you quickly. I'm just nap top V, smooth that up. And if I turn this on, nothing will happen because these vertices are very far and we have our merge, merge distance at 0.001. What I can do now to show you guys, just snap seven. Now if I go to the vertex, select two and z, two wireframe can select this center vertices. And if I press grab G, the center, just leave it like that. Grab these and put them on most of the center that you can see. Now, if SG, I cannot move these anymore undecided because what Penn has done, having, having, having this selected, this has merged the ease at the center, like so if I turn this off, you can see here again, just turn these off now. Let me just move out of this. Now there's these points. You see these faces inside of here. So just make sure that everything on the inside or so, yeah, these inside vertices, there is no point of air so I can come in. Just eating these inside vertices, vertices of phasors. We can just delete these vertices inside here. Right-click vertices. Now we don't have nothing inside. So let's go back to Solid mode. If I hide my mirror modifier takeover yet to hide it. You can see now on the inside that we don't have any vertices going on. H is activity C. Now we have that corrected. Now we can go back to extruding our object. Turn back my mirror modifier again to mirror this. Then go back to the polygon selection faces. I can now just grab these two polygons or faces. Just extrude down. Hold on out to snap, press E to extrude again. And then again in place. Ie probably rotate this guy and gt that S to scale. Way smaller than this. E. Rotate our smuggler best stripe is G, which moved them inwards. These legs and relax. Probably scale d, z axis. Shift. This is the NPV 0 to 0, everything to make it flat. Again, now I can look, let's go to our reference. On a sea, show you that this curvature flows from the humerus. It just curves inwards and then it goes straight in an Altoid also. So we never be doing the pose at this current stage. Just for us to get the silhouette. Um, it shows a lot of fun view over here I have that you see this curvature. So let's do that. So what I'm gonna do, I'm gonna go back to my sculpting section. Make sure we have symmetry again. Again. Now I can just move my vertices like that. Making sure that I have a fairly decent distribution. I tend to spend most of my time with us. I'm such a circle. That's probably like an edge loop over here. Let's hit stage. Next. Just evenly distributing these. Grab brush. Moving each and every vertices. Probably as like an edge loop over here also. But in this case it's just continue tweaking these these vertices. Just, just look at your reference and understanding this silhouette. Smooth at and see these ones as question I probably at the front, grab one vertices over here, moves or sad, just evenly distributing these guys. And also the front. I'm just going to do that. Firmly snap into front view. Next. We have our legs. The inside. You can turn on our reference again. It's making sure we were lining up with that. So I'm going to go back to the layout. Snap that. Select tool. Click our dog press Tab to go to the edit mode and select these faces. This in the wrong side of that. We have symmetry so we can't sculpt on the other side. We have mirror mean plus Z to move to wireframe. I want to select these guys only g. Grab them. Yeah. So what I told you about, you see, this is protrude into the yeah. So this is the olecranon of the ulna. So this is where there's gonna be there's gonna be bending happening, Sorry about that. Kind of got stuck. There is going to be painting happening over here and also over here around where the scapula articulate with the humerus. So we hadn't we want to have and just delete this. We want to have our H2. As you can see, I have this too loud party, but then I have my edge loops moving like so. So I'm still going to Craig everything over here when I have edge loops flowing like this. And also over here where the radius and the ulna articulates with the metacarpals. And then we have edge loops of a ourselves. So having that in mind, I can go back to the select to have the Probably gave the lower polygons, grab these guys over here, and then press one to z bar. Just, just to rotate. Not too much. Because k, x curve a codon G again, that engrave these, these vertices as G. Yeah. For this one, you see we need to have some money to scale this up. What we need, you need two edge loops over here. So I'm going to press Control R and then accepts, then control Oregon for a loop, and then press escape. Having this selected, I'm going to press S and scale this. Just to tuck this. Then if I want to select an edge loop, go to a hold on Alt or option that we'll click that one mouse-click, mouse-click to show you gotta shadows. Press S and you give out. This guy does be careful, but not too much. Just like just lightly. Just move in here. G to move this in place. Then if I click this one as a British G, This will be a supporting loop. Press S again. Apparently my screen as an app to navigate. And then we have this alt click and this guy probably skills isn't keyboard. So LSA, we have less age loop, this one here and this one and this one here. For H loops. Just moved to the front view now. And solid mode annotation though, just delete these annotations there. So now we can go back again to the sculpt layer panel. Using the grab brush, we can tweak this guy again. You can control the radius and this trend of anomie use F. And then middle mouse click and drag to decrease the brush size. In this case, I'm going to make you smarter. Click evenly distributing these. Pushing these out. With my broad-brush. Understanding the age, flow and stuff, et cetera. This just looking at the silhouette as why you see me with this, trying to celebrate as close as possible. Where can that? Of course you, my reference can see it's a bit bow genitalia can do also. We can try this guy to find v does and then go back over here, click and drag. Just a guy which is more straight. I like this option over here. This dog. You see what it works. Go back to Layout. Drag selection. Just drag this. Move this to the less scale, this guy down. Over here. Some place. So you guys can just see this. If you look at this, curvature is talking about this. We're, so it kinda bulges out of your muscle groups and also via so we, we, we also want to have that go back to our scope, scope mode. Make sure we have our talk selected and go back to squatting. Now we can manipulate this too much. That can see the size of a straight little bit of bugging are right on top. We are on top like that. Yeah, I think that's the way that obviously like the shapes. I'm not too precise at this stage as we still in low poly. So again, delete this empty area, go back to my modeling layout, delete the annotations. Now I could probably do a rough blackout for the pause. We'll do like a very detailed tutorial for them. Just to adding those those major shapes like, like separately. So what I'll do, I'll go back to press Tab, go back to Edit Mode. Okay, just so you have these polygons. Faces select sector faces, snap over there. Lift with the graphic, press E to extrude. Press U again to extrude. And I'm probably rotate this guy legs. Move that. Press S to scale. Almost just looks like a horse or something. Then what I will do, I can go into sculpting mode. Just fix these vertices again. Because it kinda looks like a horse now. Moving these vertices in place. A central line. Smooth as art. But again, just checking the reference. Show you that just as the shape, shape. So I just move this out, distributing these more evenly. So that's not too important as we still going to add more detail. Yeah. Sure. Snapping. Be sad that we have the front legs as you guys can see. If I had to empty, I'll pick our image. You see a basic dog. Probably say late, like the spacing between this. Probably just have this. Go to image. The sky. Go back to Layout again, and go to front, front of me. Hold on, Alt or Option to snap. And then I'm actually going to grab my image. Click and drag. Move it over. Yeah. Okay. Fish z2, wireframe. This guy down. Just a tad. Move them roughly in place. We have roughly in place. What I'll do now, please select our dark compared to name these guys. Say front view. Each name soon as dark. I'm going to tab t modelling modal edit mode. Now you can see these guys. These are G, them outer butt. Open that up. Just go. Edit mode. Just move this guy again. As you can see now, this is a bit lining up with make sure that it lines up with the proportions. Spacing everything out. This case now, click my dog. Then now I can just move like that too much. So I can go to the H acidic to say, oh, the edges S to scale them down, G to move. Let's roughly falling these silhouette. That takes place. I am probably just add more HU, so here I can probably add a little pathetic, get more definition. And a leap to bacterial side. Z2 wireframe that scales that. But your selection option, which is just go down and sad. Gravity is going to move them down a bit. Just scale them down again. Not too much roughly for you in silhouette. So I'll switch back to surgery mode. We have a target identity, a rough layout of a dog. Just confirming with the family also again in place. So it's just making sure that our silhouette, it's not ruined. Shares as Hold on G. Pushing that end. The mode. So we have rough ER legs for a character. I can treat these for a long time. That I'm just that I get to a point that I'm completely satisfied with these like so, so that's it for this lecture. And I'll see you guys on the next loss. 6. Modeling Back Legs: Welcome to this lecture. Let's do the back legs now. Do a quick save File. Save. Ever been saving for a long time now. Just grab these guys. So what I wanna do, I wanna grab these phases and just do an extrude. Faces, prints three on your keyboard and shift, click, left mouse click and select to grab all these vases. Phase II. Then also press U again to do another extrude making just respecting my my leg over here. So I'm going to extrude from the bottom. Obviously this fixed celebrate. Want to select these faces over here on top. So go to wireframe to latex based one. Essentially you can grab these guys. Square root of m. Again. Decrease this. Grab these guys, done. Now we have the overall silhouette. Z, t, sorry, mud. Do we have objects selected? Go to sculpting? And now I can come in from the other side. Just hide our side here. And then I can just move these vertices side inwards. See I'm getting artifacts of here, so we still need to fix that. Just makes sure that our extrude doesn't create new phases of here. So I'm going to show that setting. It's good because it's happening. Why I'm here would give us what are we getting the show quickly. Getting out of phases inside the object. Sorry. Alex got mode and I'm just going to show you guys quickly hide the empty wireframes. You have phases and side, which this is not ideal. So I'm going to show how to modelling and then hide the mirror. You see we have phases inside of here. Can you give these guys, but then we can try to, we can avoid creating new faces when we extrude. I'm going to show you quickly. Now what is firstly these guys, please treat select faces, left, mouse, click, Shift and click to select all of these right-click faces, then it's gone. Now, if you want to avoid this, Let's say click all the faces and you press E and extrude. It's going to create faces. So go down over, yeah, Extrude proportional editing. Then also delete all these faces inside. Then for Prisma. Like I can just undo that because it's not what I needed. Faces over here. Like that. Now I can come back again, Scott mode. Just move these faces and so forth. Pelvis. Just align these phases. Collector empty. Show that. Okay, cool. Now we have to now see, I'm going to go back to modeling. I'm just going to grab my faces. Yeah. Sure. I'll leave these ones only. Just going to press firmly. Press E portion of editing is turned on. Stephen first, that's fine. Because again, rotate these guys. Move them, move inwards. Just roughly. Dragging these guys are going to be adding those age groups and stuff. Name is G again, basic forms of Lake Norris first fix this and the center and hire this guy big as this. So it's fine. You can fix this anytime. Flex this to center. Go to vertex select. Just grabbed this to the center. Show clipping is turned on. What's causing this clip to center. Now I can move the menu cause they are merged these inwards. So the bottom at the centre, visa will just merge. She is She's very quickly. I wanted to serve you SIV now it's time to fix this. The wireframe I'm going to describe is grad. Again remembering our edge loops. What we spoke about. Knowing way. We're gonna be adding our age years. She's just painting that. I do. I'm going to add an edge loop. Control are over here. Equilibria scale is done. Which G to move it around. Like this. Which GTM over n Again? G, move it in. And also scale it down again. These last ones, the pores. Just basic shapes again. This G or Control R to add a loop. So this will compensate for this person. Just like that. Probably add more edge loops now. These guys now, Stress. Control. Click. What are these guys actually these three vertices, G to move them out of bed. Grab them out like that. For solid mode. Now we can roughly grab, go to sculpt mode. Now we can roughly grab, move a bit here. Okay, so that's the mean. Then we can grab our grabbed brush. This guy. Remember the center, we just need to combine that. You can take these ones are not get an even distribution. Even these guys. So if you hover over and you see this yellow dot that this just highlights and show you that you, you are over a vertex, vertex points. So you can basically move and grab from the kinda handy securities and fairly decent distribution. We now need the activity. Just to Alliance. We are able to align these Beta. Probably delete a friendly go to the back and then go to images and look for the back. Go to Layout again, forgot about that. So solid. Like g, o mH that. Let's click and drag. And then just fix the position over there. I see one leg and gt move almost there. Scale this down a tad. Then Shift and then z t into a wireframe mode. I'll go to tab into edit mode. Especially I would oxidated into rumored to start manipulating your vertices. Vertices, vertices selected. Scale him up. So I'll probably add an edge loop over yeah. The Physick to cover unsafe for this section. Then also add an edge loop over here. Control or probably scale it up a bit. Then just use these guys nice, smooth Erin as CI. Then you have some wireframes. These vertices here. Show you the back leg. G, S. Scale that down. Again, just move it and I'm going to add a look at our X with it selected press S to scale up G to move that. Then selecting the top edge loop. This in place like that. To resect these vertices. This again, these white over the quite skinny. So they know like mascara. Be careful of that. And now we're back to solve mode. Now we have a basic dog, Sarah, grab the same x, Getting, trying to fix this. So in order to fix trials is just for you to add a loop. And then you can fix triangles. In this case, I can get away with just merging these two paste AEM center. Then there's no more triangles. So at a specific gate, try to get a few number of trials as possible for your miracles. Jesus came back to serve you and it's just currently is proportional to z. Move that in that. Okay, So perfect. 32. That's it for this lecture. And I'll see you guys just finish it. Solid. And I'll see you guys in the next lecture. 7. Modeling Tale: Alright, so welcome guys. Welcome to this lecture. Let's, let's do some of the tail. This extra detail from from our measure where this is where we left off from our previous cost. Leeches. Probably just come in here and then press G, smooth these points. I'm just creating this silhouette. A bit. Please G, select that. Move that a bit. Looks about right? It's very important to have a fairly equal distribution on the polygons. So the phases escape is G. So these phases, if I showed you guys, see this distribution. It's very important to have a fairly decent distribution over there. So we still got to correct that. Worry. If it's not two equal, we're still going to be adding age groups over here. And also, as I told you guys, where this is going to be movement or muscle movement over here. We're going to be adding more edge loops and the way we know that the bones articulate. So where the bones articulate, for example, the the scapula articulates with the humerus, humerus bone. And then the humerus articulates with the radius and the ulna. The year. And then you have the Egypt's going forward and this is where it's going to be articulating with the rest of the metric metacarpals and phalanges. So we're going to be adding those age groups. So this is where, where there's an articulation, that's where the optical band Excel or in any direction. So we're gonna be having bending going on, moving right in. I'm going to go to the faces mode. Just look at this in this way. Let me see. I want this loop over here. So it's too big. I'll probably, I can probably decrease this. I'll go to place 1 select mode. Please. Cheeses, move this inventor bit, roughly. Moving that in. This one. Snap that, spin it out a bit. Not too much. And then the top point is as true as bad. Because once I have that, I'm going to grab the faces mode, select the face. And I'm going to raise each extrude. Studio by Smith. Sure. I have proportional editing. You have that by, um, let me see. Okay, We're going to turn that off. That chicken. And I can probably hide them. The mirror modifier, this case. And then that's all to rotate. Show you snap a new view. Click each extrude again, rotate xi. I'll probably go to the edges again. Tab put all selected Rotate G, and then control our edge loop over there. And then just rotate every day. And, um, let's grab this face is pastry gribble phase, which GT mover. Please to have a select which G to grab. This double-tap an old who always really have a proper skills. Then delta n plus S scale this guy down, no, not to my children. And then we have our tail. So if a highly empty, It's shaking if we don't have any intersecting polygons or faces inside. So we have a basic tale. Excel, fairly easy. Now, I can just come in and tweak this. So I can go to Scott mode, supposed to get out of here, go to sculpting mode. Now we have symmetry. So let's just use the grabbed brush then. Same technique as smoothing those in Excel. I just correcting those vertices and the the distribution of the polygons. Remember you, you, you agreed to any action on this side because we have mirror. Probably move this guy inside inwards. Moving, keeping everything as low as possible. Okay? Tend to forget that square, this guy pushing those in. And again, we still have our reference. So again, this guy, if I increase patient and F, F and milliwatts, click Select, can increase your grant brush. And we can grab a decent amount of polygons at the same time. Oh, vertices if my pharmacy, keeping everything fairly low poly, as you can see, we have our tail. I'm going to be coming into this f minuss click Select. We have our tail. So this will be, let's go out of scope mode. About this section will be the cow bones, the caudal vertebrae, so the tail bones will be over yeah. Ranging from about eight to 12 bonds depending on the species. Actually. I'm just going to bed and then you have your coccygeal section. And then obviously the pelvis, the sacrum, and then the lumbar vertebrae, and then the direct sex, which they articulate with the rib cage. Over. Yeah, you can really see my topology also. I'm also considering the skeletal system and a need and even the edge flow. And then obviously we are as always, we do have the thoracic vertebrae articulating with the ribcage. Stood stood ten of them. And then we have seven cervical vertebrae of the neck. And then an S that so that's it for that. I would tell you we have something like this. Show. Hide. This guy can see we fairly getting something decent. Their Zotero, very low poly, which they're going to increase and add those edge loops over here to compensate for our details. So again, thank you guys for your time and I'll see you guys in the next class. 8. Modeling Ears: Okay, so let's do the ears section over here. We're going to do is separately, like to separate geometry. And then we're just going to merge everything together. Once everything is done, just delete this nodes and what to do. Firstly, I'm just going to go into edit mode, press tab with the object selected, and go to face mode plus three on the number pad. The number is going to be, I'm going to delete these faces over here. Press delete faces. I see see-through. And I'll probably just go to HSPs to Alt, click out, left-click, and snap to that. Probably rotate this guy. Our rotate. It it's rotating everything. Be careful of that. Escape. What I have selected. I selected the entire edge loop. So it's particular that so probably just do another selection. I have these ages only selected press R&D and I can rotate this guy over here. It looks a bit fine. Then I'm just going to add some geometry for the ears. In this case, I'm just going to shift a. And then I'm going to add, we can add a cylinder or a plane. Probably end add a cylinder. K is in the GI tract, press S to scale it down. Rotate this guy. Stage, just going to paste control RG a loop. Let's escape. And any of that, probably to make things easier, I'm just going to go to wireframe mode. Select these guys. Square two phases, page three. These faces. Probably please just the phases are exclusive versus inpatient one and then press Delete. Then this would be lifted. Obviously it's not good. Hi David thing started murder again. Recap here. 32 faces and delete faces. And then I'm just going to, let me see. Utility, this calvaria or power, which is Bridget, which ages and select the other HHS. And if I can select it, let me translate it first. Looks like a problem. So let's just take this guy shifted exam. She's going to try and bridge HQ. She had RFA skyline. So our program is just t. These guys faces, vertices and select this guy. And this guy. Symmetry is very seasonal. My mirror modifier, g, **** and do it on the other side. So I don't do probably select the top ones out, click that like that. Thanks. Go to the top V. I probably just scale them down inwards. Having that clipping, going to move these guys and just make sure I have everything selected and everything like that. Chris G purchased these vertices that, and then I just make a skipping again. Now I have these, these aren't the other side or say, let me see if I have the back here. So now we can just open up a side view and then align everything easier. I could probably just decrease the resolution for two ages. Skip one, shift, select this, dissolve some of these edges over here. I'm going to press Shift click, right-click and dissolve edges. So we'll be working with a few number of edges. One that could probably go to wireframe mode. Just hide this guy. Let's make sure everything's selected. Item. Now be focusing on the eodie, pretty solid node. I'm just going to work with ages. That's going to be just me. Rotate, press E to extrude. Say it again. G. Speech Extrude. Extrude. Sectors H rotated, like this one, rotate till even more, press G. So we can just merge these guys, rotate this G to grab. Last extrude. Now I can just probably now go to your point which is Select, select all these vertices. N plus m. Say m sends it into. Are you just going to make this? The answer is you stick to these guys. Now in a matter of just a matter of just grabbing you. Grab brush, roughly. Just showing where your ears should be. Too much. Moving everything a bit. Just cleaning up. Now, heard that right from the side. Just pressing G. And you can see that from the bottom you can see which key and my prison. A perfect. We're still going to finish this. I'm just going to go to the top. And then I'm just going to go to Paris to H, E Chavez G. Not too much. Let me see. I know via gravity is age. So you press E or Z rotates. You engrave this guy snapped to rotate. Rotate them a bit more like a straight. Grab. This guy. This guy makes the university can start with our extrude. Referee extruding, this is top. Or you can just do this. If you don't. Add edge loops. France now, then grab, move that in a0. This guy snapped side, roughly blocking out over years. Obviously we're still going to fix the shapes is too low. Poly modeling. Press G. G. So let's see 123456 vertices that goes like this. If I grab this one. Now it's a matter of calculating just no center, center h k. Now again, we can grabber ages. Probably just extrude them sparingly. G out, click G. G to move that in. Let's click. Extrude again. Carob one. Too much. Press one for vertices. Repeats this one. Same center, AEM center to merge. This ad Skype. I'm just going to press M center, just selecting both of these two. Merge them. Yeah. Now you see, what do we need to do? Now? We need, you see we have 12312 edges going through and we only have one. So we need to add another edge loop over here to compensate with this. Firstly, I'm just going to this guy and this guy, AEM center. Namely to create an age loop over here, control our HD press Escape. Escape. Let's try Mergesort AEM center. Move this one to the back, which g n plus m Center to manage. So I have G T just move those vertices like that. Nothing too major. And then you see we have one. We have this one over here, so we only need one vertices. Do is grab this guy and just move it to the side. Control our escape precedence, this vertex E to merge them into center plus m. And then you can join these. And this is fairly basic. We can merge this guy, the one AEM center. And then we have our quads. That's an S, That's our ears. We're still going to finish them. It's just supposed to get that basic proportions going on. Let me just change this to select these two. We can merge them together. Sensor. Pick them up, is that it's time for us to do the inner part. Let's just do it. Let's go to our age. Sex to this time. Decidedly. Gg grab E, e, E extrude. He is treated as extrude. Again. Merge that. This one converges, see m center to center. So we merge those together. Now so we can grab this to the back. And what I'm gonna do this. So it's all about trying to get as close as possible. If you call it, it's fine. You can always fix that. So what I'll do at an edge loop over here, control or escape. Then go to Chris to select these edges. Ridge, ridge edge loops, to try various reasons. If there's not quite enough to feel this. Now this is fairly easy than just doing the extrude. So it's sort of a counting your, your poly groups a o polygons, your face is actually a new ages. So like on this side, in this case, if I have 1234, if I want to merge these, you see as the circles, I also need to have like four. He lives also to compensate to merge all of these. So that's very important. And it's all about trying to keep the poly, poly groups phases to be quiet and less triangles. If Stephen first is topology. So it's another edge loop. To bridge. Probably dissolve this guy. Right-click edge. Grab this one, press G. G. Show your quads. Quads. Quads. Quads have four vertices, almost square or rectangular, and go to points mode. You see this, you see all these vertices. They make up one phase, these four. And if you have five of them and then starts to be an n, 1506, etc. So this makes sure you have four vertices like that faces. Age groups. I'm just going to rearrange these to seek them. And right-click bridge. Same place via leaves. Or you can just click and press if there's a quick quiz to see over here we have a triangle. Cause, as I stated, it has three vertices and four. So how you can destroy trials? Or should I say, how you can try to remove trials at all about adding an H to break it apart? I will do that. Could probably create a line. Yeah. And then this won't be a triangle. It will be a polygon. So easily edit you added over here also. But then just be careful that this line has to go in some way. So you can go like this. This one also has to join some way. So you start trading ODEs. And this is where you weigh messy. So my way, I would do this, come over here, press Control R, C can create an ADP. If we now go to my Select, go to vertices plus one. You see now I have four of these. So by just grabbing it into place, now, it's no more. No more a triangle. Just move this to the side and say, Oh, to these two back. Pick them up. Go to the bank, goes like that. Nothing too fancy. We're doing an add more cuts topology, should I say? In this case, we still trying to fix this. Now you see we created that intent. Wasn't to necessarily, I could grab these two edges or faces or can just go to S3. Select Shift, select, right-click, delete faces. Now we can just press to these H2 is present if to bridge. And see now. I know so yeah. You perceive a bridge. Let me see. I see we have another age. So just be careful that if a bridge area, it's going to create 12341234. So we still have a party. You just need to shake them up a bit bitter. Two vertices. You see we have that. So the reason we modeled the DES separately, I just want to be able to add age groups around here. There was my saved the ESD painters and green over here. So if I press Control R or Control R, You see I can have HD is going in control. Also over here. So it was very crucial for me. If I H can see we have probably show a side view. We can see now we have our ES. And then what I normally do once I have this, I can go to out of edit mode, go to Scott mode, and just grab the cloud brush. And you can just grab these vertices like this is my, this is my easy way of fixing the topology, fairly easy. Instead of just grabbing this select brush and cetera. Following the silhouette again. Symmetry. Going to stretch these points. Bring these guys down. Using probably do now. Go back to modelling. Just first to get a better understanding. I'll probably now could probably just grab this guy. Is this guy please? Then add. So I need one to provide full control on a loop, press Escape, and then increase this to four. The number of cuts that when you have that, I can plus one vertices G to grab this guy, press M to merge them at the center. And also this is very c plus m. Mitch to censor. And we can finished this crescentic G. The grab, rotate. Press G, K, M or voltage. V is critical to wireframe mode. Again, visualize this. So it takes a little practice for you to see these vertices. To understand them. Even like in wireframe mode. Rotate these orange sphere when I rotate pairs are then we have our ears are roughly in place that we can use the airbrush, push these up. So we have basically as if I had it, he she can see we have a basically very, very low poly and we can, we will still come in and tweak these. If I go to sculpt mode, still going to come back here and grab brush. Took everything together. So let's grab brush makes it way easier than any day. For me. Actually, in my case. This is what I use a lot to move these vertices like that. She just fixing the the polygon distribution, the size actually what I mean, as I explained earlier, shrugging. And then go back to Layout. And that's that we see we have a basic years now and everything. So that's it for this lecture. And let's do a quick control save. And I'll see you guys in the next one. 9. Fixing Ears: Quick and easy. What I'm gonna do, I'm gonna go to the friendly probably heard of the sick, very sick grandma reference paragraph with this guy. Make sure that I have nothing selected. Okay, I can see I'm in edit mode, sorry. It's Tab. To move our very mad click-and-drag. Hello reference. I can say font-face rule probably delete this soon. Is to scale. Roughly aligning it to the center of the line, G, C, it won't be perfect, but then could serve as a good reference for us. No case. Dog micro scale roughly aligning, can see the ears are not wireframe. S to scale. Learn it in one side. And then let's all just mirror. I'm just not let this top safe. Jen could probably scale this guy up a bed or reference sheet to grab. Scale it down. I believe, is too small compared to the party. Should fit. So you still need to scale those? Yes. The height, as you can see, our ears are way too small. So I don't do a Monday that my dog model saved into erythema. Three faces. S to scale, to much. Gt, move to rotate that to save node. Either side here. In this case. For now, grab one of these vertices. She knew them down. Alexa. Wireframe might decide vertices. These ones roughly moving everything. Shift select. Roughly aligned in this end again. And I can just come in, grab brush. Obviously we still need a lot of topology to compensate for this. Age leaves to the side, you can see just make sure that we still have everything. Fresh cheese and eggs. The same process. Just fixing up is like that. You can see say, gee, you can see over here. We have one party. Could probably I had an underside chest SG that down. We have everything. Fixed. Scale was a problem. I can share the front view, we have that. And obviously you can be precise with your details. If you want to. Zoom in checking everything. We do, box modeling is all about checking all the views, like sculpting. Just look at reference on the side only. Yeah. It's almost like tracing on top of your model. Nothing fancy. Shield. For the most part, we're going to loop over here, press Escape side. So I can move this to compensate with this. So I have one flowing loop like that. And auto do. I could probably delete this H for now. Select these bottom of these and right-click delete vertices, just right-click dissolve. So to just delete them, learn is to keep the faces. So as very ideal, if I press a to go to aid mode sectors age, press F to bridge. We can do that. Same process. If we can bridge that an eigenvector one. Jesus movies times, kind of bugging me. I really like that. Just moving and just clean this up now. Just to see. Yeah. So we have our loop going on. Just a quick fix on the ears. Finishing that can probably also go to page two to h to h, safety ages and stretch. Press F to bridge these. Like a glimpse on the eyes and the mouth. Finally, we should see if I select these edges. Snap. Bridges extrude again to extract it. Right about here. At the top of from the ears. Can just grab this guy snap plus G, just to get out of bed. And obviously, we can now just grab out of mud, go to sculpting, fix these, these polygon distribution now probably has the front and side. So we can focus only on these vertices. And again, just using the grid brush. Just to evenly spaced these ads. Try my best. Though they may not be too precise, but then at least have a fairly decent distribution of these polygons. Just quickly using the Grab Brush. And again, we're still going to finish this. Trying to keep polygons and less anyones and triangles can maintain that. It's gonna be easy for us. We need to be texturing or UVs amine topology is very crucial for animation and raking. Just make sure we spent a lot of time and we did topology because we're not gonna, we're not gonna reach, apologize. We be focusing on box modeling and getting a fairly decent topology. Probably snap over here and open the front. Now I have that control plus F to decrease the brush size cell. It can go around and tried to align it at my reference. Even more. Can see. Push that in that, so I have that and hide this reference. Lastly, just f degrees of our size and even the guys. Okay, so I have that. My my dog is going to fix the palm etcetera. Ms. Case as focusing on fixing the ES. So that's it for this lecture. And then you guys for your time. And I'll see you guys in the next class. 10. Modeling Eye Socket: Hey guys, So let's do the eyes lecture. Leftover actually. We just start with the ***. Yeah, I'm gonna go to shift a C If we should add a plane or a plane, you are why you want to rotate in the x axis. So this X 90 degrees C or n or via and our access global. So you can punch this over here if you want to. In this case, I just use the shortcut. Finally have that they can produce, goes back down to find the edges. Girl has GI G ago probably had my Doug. And we just do some AG boundary as she moves us here plus g Again. This is just scaled it down. Sweet. Now we have that work is tough for a mode. There's two to select the edges because each extrude, and let's start doing the loops on the ad. So you want to have some loops, run the ads for animation is very crucial. Also. Like have we done for the ears, like going around and also for our nose? Around the circle. We're going to have these polygons moving and write that. And obviously on the mouth with the model will be opening and closing. So this is very crucial for animation. So that's why we're doing this separately. That's very important guys. And what you do and rotate, rotate this guy and gt grab. Rotate again. Extrude R to rotate. This guy. E, extrude. Again, rotate around this I objects very rough. We can still fix this. Or again, same process. Lastly, E, like that. And then I'm going to go to sigma ij. That's specific to bridge. This one. I can start to finished. These gentlemen were just trying to align this around the eyes which see disrespecting, evenly distributing these guys the sidelines and now it's time to go to Saudi. Show in front of it snapped into France. Fresh G to move this way. Yeah. And I could probably rotate them as just facing the size. Slightly. Not too much. And what I do, you want to de-select it in a, in a vertices. Control? Click and drag, snap, phase G, movies outwards, etc. And we can just finish this and grab these guys. Then de-select these. Safety is back to bed. Obviously, they're not lining up everything. I was just going to check that. I'm just going to select this fish G to move these down, these vertices around the eyes. And that what we want is that if I press control or we can add edge loops, XOs is very crucial in Probably Escape. And I can do this too. So take this plus e to extrude, just to rotate this guy. She to move it a bit. Now what we can do, we can add another edge loop control, D to move it in, which is this guy. In which could also just a stage. Show that finally XJ is bad. Escaping the scale too. So there's tons of ways. It's crazy. We just do a cut. Tab, this. Move it again. Escape, select. Just go down to add more edge loops as we proceed. So once you have that, we can see mine shows a dog this pane over here. Let's take this tab to exit edit mode, shift, select the plane, and click Join. Ever seen object the name dog. And if I add a mirror modifier now, she saved every day shift a to add she uses the mirror. It's not working fine if I changed it to z or soever doesn't work because this is not at the center. So what I'll do, we'll use this as the center. So if I press Shift a and insert an empty pane excess. Now what we can do, this is at the center, so we can tell the mirror modifier to use the empty as the mirror object over here. If I click here, look for the empty, then this will use the center. The empty object is at the center. Now, I'll mirror will be precise. Like that. Yeah, that's what we have. Do you see we're getting overlapping geometry. Yeah. So if they select an object, dog object, staff or edit mode. This treaty sector faces, delete these faces and grab. And just to say these ages. You can select this to select the entire line and Shift Control or Command selective on a Mac. Just inwards. This what we have. Now what I can do, one shown the front photography v. So when you grab your craving, the other x is also less than this can merge at the center plus m. M center will be. Obviously we can push these as we like to again income and finished these guys at the latest stage. Kinda easy for us because we still have these edge loops over you have a press Control or I can use this, which is very crucial in this case. So I'm just going to select a brush. So now it's not merging. And what I need to do is make sure you have clipping selected. So these will merge at the center of the origin. See now it has merged together. Just make sure everything is merging data center. Now we have eyes. See you can remember this guy. This guy E, extrude these two points and then AIM Center. You see we have two polygons and you only have one. So I didn't do this, this and this. If we did feel that his CIO just move that a bit, picked a pitch to pick this up. Is G. Now what you can do and then I can control our edge loop escape. We see plus one to merge these two vertices. I can select, aim to manage it to center. This combined. As a matter of just fixing these guys can come in in nature. The edge loop here, let me see. If I press Control R. Shiva, add an edge loop here. Again. You see it comes in. Also at the back here. Probably you do, you don't want that? Depends on Theta. So we can add a loop, we can fix the escape. All we can add a shape over here also if you want to escape. So we can start bridging these guys to stick these two edges and press F to fail. There's control, our press escape. There's one G, Shift-click. Aim to merge these points together. Well them together and same process again. C plus d sigma these ages. If there's ways to do this, but I prefer this one actually. Then select the vertices squared. Now, I have this liter, so that's what we have. Now we have our eyes and probably extrude this down. So what I'll do, I see. Oh, just take these guys and just select and M2 measure center. As a matter of just fixing this. So using the grid brush. But we still going to combine these. We have 12 phases are studying these. So we have this line over here, and we have this line of AI, and there's no line to compensate for this. Or I can edit as you go here and see like that. And then this will touch here. Then the rest will change the direction. Sweet. Let's GET annotation. Control our press Escape. To. Now I can read, bridge those two together. So in this, in this truss bridge, these two, if I see a 12345, which is not a polygon, but this we need to fix. Do I can do embrace the K for the cat to confirm. Yeah. Yeah. Enter. You see we able to fix it. Yeah. We have four phases with four vertices, but here we have a triangle, as you can see. Delete this. You can see you have three points. Now we have a big N. You fix this guy. So how to fix a triangle? If they get a polygon, you can add an age group. So what I'll do is come over here and press Control or at an edge loop, press Escape. This is normally a triangle because if I press, just select this guy g, you can basically see that this is normal. A triangle. Same pleasure. If I want to fix this, I can just cut, make a cut over here and make it a triangle. So press Escape, because k and I can cut, press Enter to accept it cut. So now we have a triangle and on one end on and then also same technique coming over here. To our escape. You can see we have polygon. You can work as you like. And it depends on how you want it to be rational. So you can obviously exchange who can come in. Gi, smooth that up. And I can come and check these overseas perception bridge them. Same applies to sedate. These guys shifted late. And that's why we have. So now we can bridge these again. This is at a point I can bring these together, is F and see whether you have the space open the way I perceive. Obviously, if you add Cartier, we can, you can cut into a triangle again. G, which we can sort that out a bit later. It's not a problem. We can destroy this triangle again, I told you guys to solve triangles. How to do that? We have that basic box modelling of the way everything. The eyes candidate a group over here or over here. So we'll see at the later stage, I'll show you guys how to fix these triangles as I showed you earlier. So this is for this lecture, and I'll see you guys in the next class. 11. Modeling Nose: Welcome to this lecture is we, we left off. So let's continue with this. Stanford add MEC, our ears, our nose. I mean, we don't know what is an abbreviated with Anna eyes. Very, very basic access to basic block out. So I can finish this. If I go to wireframe mode, you see here the one knows over here. So I'll do a probe it up, Alexa. Let's make sure we can find the graphical summary moving these vertices x. Okay? So that reason, but sod. So essentially what you would want it, as I explained earlier, you wouldn't want to have, as you see, you have these a nasal openings. What do you, what do you do with your topology? You want to add an edge flow that runs next circle and then it moves down obviously. So we can have H loops around the nerves are sorry. That's probably add. So it's very important to plan these early as possible. So you can probably have this kinase to this side. Then I can. So that's one idea comes in. You can see these faces. So these are gonna be turning to compensate. These are just straight like that. So let's put that into practice. I'm going to go to Solid mode. Select my two lead to see for it with just one smoothies that's inverted that serge grab this guy, e like that. And then obviously to the side, press Graph E like that. Fixing that. How we have our side. Yeah. So remembering what we have here. Now, we have this opening. Yeah. I would want to have more edges. So what I can do, see gravitas. Just, just question a bit. And then if I select these three, impressive. Can I ask, can I create a triangle? First set D to E, and select these 2 first empty message at the center. Just grab this 2D nasal opening. Wireframe mode. You can see now push three, just like these phases. Basically four to compensate for these openings here. I'm an embrace that E was inside faces. An animal nuggets here. One is G, just going to roughly align that with the opening of the nose. As the solid mode. Then you have a nice sign or this is a mouth. Like this. Again, m is two points to merge the center, g, g squared. We need a router topology. Body is nice enough. A pastry. I can, um, I like inwards. Again, small do now, can press Graph to push that extra, push that even more. Chris cheaters to correct that. To get our nasal opening very, very rough size and I can come in and just look at it. Inside. You see when you have applied is also for scattering. It's going to make this a way to smooth. So what I can do, just leave it like this. I can add an edge loop over here inside this control, or I can have add edge loops anywhere I want because I have less Skype. So this was the nurse. And nurse for you just probably edit HBO via bugging me a bit. Scape. Scale this guy up. And then again suggests faces, stage G, G curvature i, e. E again. Let me just hide this. Had the funds raised from one, set, these as smooth as the center, there will just merge because we have clipping turned on. Just fish G to move this aligned assembly. Roughly. We have our nose over here. Could probably now is to find these guys each Extrude. Since these two vertices by Sam to merge the center. Just checking that G to E to extrude. Again, merge the center, this one and just move it inwards. But I could probably describe these two English major center in which to wherever ages. Push these down. Now, G, push these guys down. What can decide we're probably rotate them as Jesus, move them at TED. So now again, checking how many I would do a good grab this guy and just press right-click dissolve because we have two of them, yeah, two faces. This face and this face. I can test F to bridge them. One just to move to cx cy. Keeping everything to low potty. And least for rescale. Everything is closed at the bottom. So we have that just to kind of fix our triangle again, if you find a fixed triangles, can add HCl per year. So Control R and press Escape. Now we've fixed that. Grab this does verges with a C, G. That obviously you do don't want these type of things around. So you can basically now change the direction of a. Yeah, let's see if we can get an edge loop. Press Control R. Yes, we can just very important. Aws, ADHD bar and the eyes and around and around and Nick, Perfect, perfect animation. And ERS that for basically our nose structure. Very basic. And yeah, so that's it for this lecture. And I'll see you guys in the next class. 12. Modeling Mouth: Okay, so let's do some margin on the left. This will echo from my video lectures and let's jump into it. So since you actually have images, grab a, let me just open one reference over here. You see properly. So we're not gonna be opening there the mouse. So then that you will be doing pretty much at different technique if you're going to be opening mode for animation, Our motto, be completely close. So, but we need to have these edge loops going around a mock XOR. When you went to set it. You can close this. Go to France. If I view the front and then hide, the dog. Can see over here, we do want some edge loops around the mouth. Obviously I'm only going to be closed. So if we want to add edge loops, shouldn't have these. As I told you guys. And again, they should be fairly tests and also on the US. We already done and also around the ears. Next lecture on the neck. As we went through. Clear this and let's move into it. Show a dog. We left off the, I'ma, select nose during edit mode. So what we do, and I have these as Lee's breast, each extrude we still low poly, which is very easy for us to do these type of things. I'm going to extrude again. So glad it's G sec these two points and center. So I'm just going to think ahead now. So we want to have less and less and less. There's less pressure, CI. And yeah, that's that. Let me hide. You want to see the memory? So let me first extrude this out. Okay, so because we have a point, now, select these two points, press M to merge and center. Now we can do this point is stray. Can actually put where it's pointing to our eye. It also adds at the top are so as you can see, it's not ideal. Undo that occurred just to k TTL cuts. Press Enter. And then I can grab these two verts and JPSM measure the center C. Now we have an angle. So to break an n one, you can make it a triangle. And then you can break a triangle. So I can do this tons of ways. Again. We get a pretty good over here. So we'll say k. Press enter. So we have a triangle. And if I add, if I say Control, Control R and S HD, press Escape. Now we have Skype. Now we have 124123 instead of a triangle. And then we still need to break this guy from the side. So retina take us. Yeah. This is a texture. It just move them at this text processing, rotate them. Cheating. And I'm just going to respect us, change the flow now. Gravis again, E extrude and then just rotate. G extrude again. Whereas E are less than these two points, m center. And obviously gravity is to merge the center. That's what we get. Aligned as perfectly. Now. We can get our mouth. We have this loop. So I can grab these two center, DC, shift select, merge the center. And now it's all a matter of just solving this, which is very easy. So again, remember, if you want to break a triangle, you need to add a loop and just grab these two. Ie. And I'm just going to do a K cuts over here. Let's look at k cut into dissolve would tastes. So rarely to Mercy Center or at least Nature Center. I'm left with this pretty much needed in this case. Say dissolve vertices. You just use E is like that. Now if I grab these four, safer can fill in n gone again, which I can simply break by doing a cut. And this is not ideal. So we have an N gun and a big N 123456 vertices touching. Okay, so I don't want to do could dissolve a field. Cut to 7% here, 12341234, so that an a b n bar. Again, I can come in Excel k2, k2 and make a triangle. And they began to break your triangle or say, I can leave it as a triangle, I can just add control. Our loop. Escape. Grab is an N1. Really easy. Then obviously I can finish these later, but later. Movies center. So grab these for this guy again. Bridge. These ones. This one bridge. Then we have a triangle you just enrich. Sharing Here. Trustee, personally, GG, GG, just move that inward. So I scale it down. So it's doing a fixed that Mt SAC bad. But it's just basic blackouts of the mouth. Very important again, if it's too for us to get those, those values which are crucial. Which for these, if I press Control R, we have H3O, H over here. What is it now? Just show you guys. Actually probably, yeah. So annotations on the mouth, around the nose, eyes, around the neck, and the leeway crucial. And that's what we have. So that's, that's that for. And we showed you guys how to create those polygons. And we're still going to fix them and how to destroy triangles, triangles and n glands and so forth. So we have a fairly decent topology, which we still going to finish at the later stage. And again, thank you guys for your time. And I'll see you guys in the next loss. 13. Modeling Front Paws: Hey guys, Welcome to lecture. Let's work on the poles. So actually we live like this, just not ideal. Previous lectures. Now some food to work on these in more details. So if I can quickly show you guys the seminar reference I have, showing the volume and the hind limb. So basically you have these pads, which equals the pose of the dog, the animal. So we have the digital pad, the metacarpal pad. These metacarpals here, the metacarpal bones. And then the digital than this one over here, 12345. Actually, this one is just more further. And then we have the capo pad over here. So what I'm going to do, we're going to delete these guys. So I'm just going to delete my annotations. The left orthographic view z2 into wireframe mode. Make sure I have my select two shifts like this. X vertices will have to fix this. Probably rotate them. Z-axis 0, G. Teaching the same process over here. Press S, z 0, roughly moving at the same line as this one over here. Our folium. Which cheese to grab that. Oh, we go back to z. We started mode. We're going to start with the easy one. So there are a couple of ways to do this, or I could just use the knife tool and just do this. Present interest K for the cut to cut on pneumothorax center. Oh, these two vertices or dissolve, I mean, right-click. Right-click. Sorry about that. Dissolve vertices so you won't get e to the faces and names. You just add a line here. I have these triangles which I will move them. Move them now, let's k. Since then. Keras, fine. I'm going to select to g x. So we don't have triangles, street interfaces mode. So now grabbed my THE specificity, grab them up. So please treat interfaces. And now we can press Enter and then plus G to move that out a bit. Not too much. Something like that. I would have a couple of pad. If I show my side view, my references here, sum over z, y frame. Could just grab S0. But more how to take this. And yeah, that's pretty much ideal. Now for our problem. For our pause, me. Go to the bottom view. See which one works fine now this y, That's just let me just turn it like this. Second, yeah. Z T Solid mode. And then I'm going to grab my, my reference. Let's tab to exit edit mode. Grab my reference while Dr. So if you look at original chip cookie, show you guys. If you look at it, pause on rewired a dog as a connector, fancy, as you can see this reference I got connect different than regular dark. So I'm going to grab my reference and drag the coaches probably scale this down. Pretty much. Yeah. Somewhere around these lines you can go to FM. Basically kid underline. Have that Z for solid mode. I'm probably name this to pull up our detest later. I open it. Then I'm going to go to MR. storch selected again, shift a shift a meshes plane. And do that. Have you empty selected, shift a meshes plane. So it created a new geometries, fun. And cool. G. G again, I'm going to add my dog view here is Tesco Excel. So click TMZ into edit mode. I'm just going to sub-divide this guy. Please. One set of vertices that will roughly aligning this with my reference. Doesn't have to be precise. Again, select G, Select name plus g. You can see it's roughly not aligning with the referencing, but it's fine. Let's triggering haven't finished this. Alexa. You would want to add these loop cuts, but a bit of a later Shift D to do a copy. And probably delete these vertices. These, these three vertices press X on the keyboard, delete vertices and just gonna base g. And moving this, looking at our reference, looks doesn't have to be precise again. Philly something keys and because I'm going to move to the underside view if I select my plane and my poll scape, mostly all of these guys just move them down on the z-axis. Something that's selected, escape or to wireframe mode to make sure everything is selected. Now, if you press G, you should be moving your whole plane to the bottom. Cheesy XL, some over here. Now I can grab into, furthermore with the z. I can go press three for face select and press just snap to the lift orthographic view. Each Extrude. Next up is S to scale. One axis, z, y, x axis. Go white. So we rotate to work. Then move this n, e again, extrude this guy. Rotate them, scale them down. E to extrude, Rotate, grab, move this Legs. Scale Tool again. Press two to enter age mode. Can see Hold on how to select the inside h. It shifts like this. H. Snap on the side view is grab, rotate this guy. We have our basic pole, which will, can finish, can probably scaling. Scaling. Now, if I grab the pastry, PCT sago these faces. Oh no, sorry. Snap. Extrude, I say. And I could probably leave the Soviet fish GC, that Apple goods. Now what do you want to do now is create a copy of this. So I'll press Select. We isolated. And if I go to the shelf t, I can do a copy of this. Or to rotate. Then I can just press one G, select the vertices x0 for wireframe mode. Grab. This will be much different than when that one previously referenced. Again, obviously if it's not the same, selecting these guys like that. Before I go overboard, I will just merge these Z to edit mode again. What's very important is the bottom part. Two don't merge at the bottom. Major at the top. So of course this actually bridging or merging. So just looking at our return study, what I'll do, I'm going to add edge loops over here, control our escape onto our SK. I have these loops which now can come in to fill. Shift select this edge and this one. If two bridge, bridge the top 1234 sector faces. To see multiple phases. E to earn a place to escape. Each Extrude. Once more. I could probably just delete these faces. Vertices. I mean, these two x t, which is e, is fine. We hardly need them. Now then doing a crystal one. So it is worth, she could bridge ME see, looking at this from the other angle. Like this. Should we have for them secretaries plus F2 Bridge. Now what do you want to do now to these copies? Again? Because this view, I'm going to go to wireframe mode. Grab this in place. Like cause I, I add another edge loop. I can have more control with these guys. That Z for solid mode. These just press L If you say 1 and press O, you can see everything that is isolated, not merged. And then you can shift D again to a copy. Rotate too much. C5 didn't go overboard. Rotate. And then Shift D again. Now of police kill this guy down. Rotate Ci to move in place. Please get him the upper bit. For this. Select these points. G to x. Sorry, a presentation. By mistake. She just roughly aligning these as you can see me do here. Same technique to enter a solid mode. Now could probably hide these are pretty much distracting. And now some folks to bridge these. 14. Finishing Front Paws: So what I can do grabbed these four points. And these two are saved bridge. You need anyone to let me see. I'll grab 12 or squish everything. This created a very large N1, which we can fix fairly easy, fairly, fairly easy. Let me see. These pointers can hide this poor exit, the de-selected that because if it's just for to cover the bottom. So t, Let me see if there's any space left again nothing. And again, select these bottom faces. Showing for selected. And she also have a space. Yeah. Sure. I have my bottom faces per se. Show you close everything. Yeah. Probably push CI to decrease increase that. At least four of us. On him also bridge that. We have all these Angolans, which we can sort out. Now. Press K to select the cut to the knife to amine. And let's add these cuts. Control. Our machine is to get the dough. Lucille can do. It's going to be using the knife tool. And polygons. We're going we have an enzyme. So we're probably just press K for the knife to cut through all of these guys. Okay? Spirit to think ahead. Okay, because this x or I can just dissolve this vertices to enter ages and I will just create a triangle. Yeah. Okay, for the next two. Let's enter that always very easy to break go. Yeah. Mrs. Kay can break this by adding a line again. You can break your triangles because one plus G. To move it down. Let me see. Triangle. Yeah, that's fine. If I could grab this line. K. To dissolve H. Space Treaty, these phases, phase one, 234, if the bridge is merging, yeah. Character's shoes like this H dissolve. She's going to need to cut over there. Let's enter one smoothies guys. Next step is m two major center. We have that messy at the bottom. Obviously. This is the bottom side. Okay, so we have a pause. We could ask to the edge e, e, alt click, shift, click. And we can extrude these guys. C, E, extrude and rotate. Scale. Undo, undo, undo, undo. Each extrude. Excel. I'm going to turn my dog so you can see which we're going to merge these wireframes to select everything. G to move as a TEDx, probably say, my dog, dog and plane. Right-click or just exit. Dog and click Join. Now, we have one side. Not a problem. So you can add is a mirror or a mirror. And just choose our empty switch is episodic mode. Tab into edit mode, Snap Plus wireframe. It's going to scale this up a bit. It's time to add these guys. So to decrease the lines, you see we have a lot of these could just merge these guys. Create triangles over here. So please one MHC into the same mesh center. On this side, we're still going to fix these vertices one. Okay, Just making sure when I look here, we are not merge these two scenes. And that chicken Dina get the sun and re-center and proceeds to feel, Oh, I'm just going to connect these two. Looking at this now, this has to be just one signal. As a way, as you can see, my mistake, we extruded all, everything. What I'll do is z. These top faces, this top point. To save mode. Right-click delete vertices. Make sure that whatever I'm extruding, yeah, only these points over there. Let me see. Excellent. The extruded these inside points, which is not ideal. Shift select me, see. Okay. De-select that. Now if I press OK, I can issue that. She just grab. I'm just checking if there's any inside faces selected. No cap of it. No control, my drug, my dog. Again, we can just extrude one's more acidic, this H plus S to scale this age. Let's get it. Outwards. Shift select this age, these points. And it's just so sweet. Perfect. And some to decrease these lines, I can see we only have a few lines going down here. Okay, so as to compensate, I could add a few edge loops. I'm going to start on side. This guy can edit. Over here. You get one and NH2 inside. They're in control or press Escape. And then also the underside. Press Escape. Select Wireframes like these vertices and co-owner and H to hide Z for cellular mode. Make sure that rotating here. From navigating. That is fine. I'm going to merge these ones. Aem center is inside one MHC into this one. Last time. So I have this. Then I can grab my, okay, grab these vertices. I'm missing something risky to extrude. Kay? 1234, F2. Bridge. Doesn't grab. Shift select. Save to bridge. Again, same process. Makes sure that I'm selecting the testes for and receive to bridge. Name is going to close this whole now. We can basically see how you can see we still have a little AGGA. So then probably dissolve many of these lines. Script V and E. Just move outwards and adversity again to extrude. Jesus moves sideways and is false. Select F. If like that. Then we have, let's just join these. And if I just roughly add a subsidy subdivision surface, just to roughly see how everything will work out. Can see we have display a five-day more roughly look like obviously these pinching x squared xi this. And see when N goes up, hold over here. So I have to fix this. I was just checking this. We can fix this. Looks like an NGO and actually from the inside, he's clever then cut, cut in-between. Our model is closer to the epicenter. We have this G to select ages. Scratch, move the vertices. Okay, lastly, so I take my salary and surface again. We are getting older. Pinching going on geometry. On the side again, basically view it perfectly. You can see these ages. Side arms. Scale, scale goes out to those age groups. How does Activision surface S to save and continue in the next lecture. 15. Modeling Back Paws: Welcome to the lecture. Let me unhide the dog in us all. To join these, you will need to know how many edges we have over here at the top and also how much of lines we need for us to be able to see that. So if I go to this option of view polar overlays and take sticks, make sure we have this on. And shows you the vertices, the edges, etc. So if I do a selection, you see it showed me I have one H selected out of 1.4 inches on this model. And if I go out and select this edge loop, I have for h, H is amine and eight vertices. And now if I select this guy, we have 21, which is way too much, four over eight. So the trick is now to increase these ages of a year. We decrease these ones here. For what to do. I will just merge these at the center. I shall basically just doing this, go to your points. And this and this, the last one and press M and then add lost, merge it low. So this basically move this guy to the side, like this one and this one and say m, you get lost. So now we have this triangle over here, which we can fix that later stage. So same applies. Let me see if I can manage this. Then as I say, I am lost. Ships like this. Each of these triangles, triangles, let me see. So if I select these vertices again, have 17. Now this and less, the same as lost. I'll select 15 left atria. So that's fine. We can keep on going. Merging these guys that we don't need. Can grab this and check this. So again, have a triangle. Can we wish to write Kc does all ages 1234? So I can have a polygon 1234. If I delete this line, m, o right-click, mean, love ages. And I have a polygon again. Appreciate trisect faces. Can select this one. So get everything in line. Also VS increases this out a bit. Just reshaping it like that. This is two sectors, age, right-click, dissolve. 1234, get a polygon. Same process of sequence h, dissolve one to six and H could come back and just roughly aligned in this more perfectly. Now I can do also grab this and this guy plus m at last is to set the stage reflect, dissolve that one, say test, and then just start removing this to get a better shape. Obviously, the edge flow is changing. That's the case. Nfl out select. I have 13. We're almost there. We can just stick these guys lost, which will just merge to the last selection that I made. And Chris to select this edge, okay, dissolve. One is going to move this in place. Let's take these guys out of 12 of them. Could just come in and just say, grab this line, press K. Let me see. There's k tika. Click the center. Press K will cut. Press enter to this edge. Go to H plus to take these two ages, right-click dissolve ages. Far out, say Jai of ten. And I hope I have 12. I need to remove two or just add two at the top. Which one works? For me, it's fun. It's fun to see if I can dissolve some of these guys. So I don't do again, I would do extrude. And I will do an extrude. That's appropriate scale. Let me see if I push y, z, s, and z to make it flat. I can start with just some ATP PCR. In this the easiest way. In right. He loop here, Control R, one, escape. These age groups. Yeah. So to compensate it, hold on. I have tough and you see I've tough. Now, I can bridge over these, can select this and this breach edge loops. Obviously it doesn't do a good job because everything has not aligned perfectly. So what we'll do, this loop, probably just get it down a tad. Obviously this one, scale it down. Move it in place. And do that. Press Z to wireframe, go to wireframe. Sheeting. Ted. Yeah, So if I Z solid out cyclic shifts out and click select this loop, right-click bridge. So this should try to bridge. You know, you can fix this by just lifting your vertices one-by-one, cetera. So we have our pole or pause over here. Now, add a HD. So Control V and just grab my Cu2 plus k center. And then plus k, This guy. So every loop going on over there. Jesus knew that. Then obviously now I can grab my remembering our reference. Remember we have these digital pad and one digital petty on top. So if I show this, let me see if I have a good reference over here. This one over here is due to a pair, so we need to extrude this. See if I have another reference. So just showing that in more detail. So you guys can kinda get a grasp of this, this one over here. Still pad and the nail, common law. So to do that, really easy, grandma faces PSI in extrude G to grab a guide down. Straight. Rotate again and press E. And I'm going to run this place to this loop. I'll select orange is going to rotate their guy. Scan down a bit. I'll select that loop. Let me just say this. Face. J, k lambda g is smooth and rough dx. So we have either one. Yeah. So once you have this weekend, Go to take this one duplicate and just paste it over there. Which that's the easiest way to go about this. So what I'll do phi to the suddenly click, yeah, we have six of these, so we need to add more edge loops. Very easy remembering our flow control or Skype and I've obsolete with eight. Remember we need about 12. Press Escape and then last edited back over their escape. Gravity's HGFS P flag down. Now I'm going to grab my go to wireframe mode. I bought these variable, these polygons. And right-click that cannot split, took the wrong one, right-click. Want to do a couple of these shift D, move it over. Yeah. Make sure that they are at the same height. G grad movies guys should leave this here for now. Z for side mode. Or whether a mug. Just going to move this g, x. Shift, select these edges. Movies inwards. Just select these edges again. Shift select. Move these endurance. And also loop-based one for point select. Just going to grab this single-point. Probably show my side view. Now. Remember these two legs over here so that as proportion. As the overall proportions. Making sure these toes are very weak, then I'm just creating it. Now can correct my shift. Select this guy. Can they scale is sectors 1 first, scarce up, roughly aligning it with the reference. And just getting this guy up. Some of these guys just go sheeting. These ones. This is to scale. And then plus z wireframe SZ, they will have the same Z size, 0 at everything. So how many edges I have? I have ten of them. Let's see, effect a solid mode. No hard right side before now. Smoking show now this is in place. But inside that inward grab that act that when you need one HE loop now, this is this one here. Just press K, escape this k. You can just say, oh, this basis. So check that out and that in a sec center. So a pastry H to hide something I want to space out. So d H, H. Oh, these ages, this shift, select this edge, this one. This one. So we can bridge these to close the scalp. Press F. Now you have that press K4, K2. Just doesn't cut it. Now, if I select or deselect, I can grab this entire line. One face inside here. That's why m then managed by a distance. Then if I grab it now, everything and just say megabyte distance, everything that those vertices that are overlapping, this one very far. Learning together. Distance, total distance L probably increased at distance. One. You can see over here one vertices removed. Gravity, press G and C. Everything is. So apparently the faces inside day. I'm glad it happened. When why would still doing this? So you guys can basically see this. If you haven't those problems like you cannot add edge loops and stuff, et cetera. Just be careful, just check that and you'll be sorted out. 16. Finishing Back Paws: Purchase. These guys in which roughly aligning these lines, even before we bridge, that we can get it better. So if I select this, I have 11 vertices missing one. Escape. Escape. Or under, probably edited to Francia compensator. This scared me. See where does it go to trace a cut? I'm going to continue with my idea. Anyways, yeah, if I edit this to work or escape. So this loop just go there. And then the rest are we just sorted out. So this D we need loops over. Yeah. I didn't press Escape. Again. I'll come here and just fix this. Really, really odd, say this loop reptile. I have 12, yeah, I select this right-click. I'm just checking that bridge lives who have poured in place. That would be topology. So I can do could exit, edit mode, control S to save, go to squat. Now, we can use to grab brush. If t2, t3 suppress us. Can play with these points. You can play some music and just moving these points to help you relax, because this takes a bit of time. In place. I go to my viewport display. The wireframe, can see the wireframe and I just fix these pores. So the bridge bridging option did it pretty much nicer job. Was this, especially of symmetry turned on again. My case is C doesn't work well. In my case here, we see something wrong with my symmetry. It's fine to just turn them on. Supposed to be XX doesn't even show some over. Yeah. Just go to this. Because this is a nice symmetrical. Because I'm using Sorry guys. I'm so ****. Sometimes I can estimate you because I have the mirror modifier already and it works then Scott Moore, as you can see, what you guys told me, I'm sorry. But it's fine. It's continue with this. Neat wherever symmetry. Now case. Just fixing a bridge. How it reached out everything into fancier. Grabbing those edges. If I add a subdivision surface or it's just showing that as no added surface you can see still need to fix the edge flow here. Hydrous per liter times e to the back one. And again, we just fixing this pose only. For this next class, we will be fixing the entire model. For going through this. See over here. It's a very skewed making sure that the distribution is pretty much, pretty much equal. Much the same polygon distribution. Outwards. Good consideration of our topology. Sky. Fairly decent amount of hello to my surface. Then we'd probably go to the British painter, my wireframe. Have a polarizer. There are probably fix this guy. We add me, Jennifer step a mud to scale. Three to six faces. Scholars face up. Urine, subdivision surface on I, I, the spaces. And then also for the nails. My scale doesn't fine, so I'm just going to pay scale E, c plus b. What I get. So I could do these for whatever reason. I stood inwards postcode. So Chris is just extraordinary cheesecake. But yeah, I guess just goes like Skype. Each extrude. Same process with a shoe. And if I turn this on again, what am I doing? Subdivision surface. We are getting that for our nails. Roughly gain there should be some movie on top. Button. Is fine. And that could come Christmas tree. She swollen to decrease that. Yes. I like that. Escape. Stood out about it. I want to wireframe mode is faces. Yeah. Good. Push, G, sec, These ones only. Remember she just moved upwards a bit. Z for solid mode. Shift select all these, press C. Cookie sync, these guys. Tape it down. Press I want snapping in place, extrude some surface. You can see what we get back heels, but then it gets to correct that. Later I'll pause. And lastly, there's just to those inner extrusions over z wireframe. It's going to select this home. I hide. Just going to show these Only mode. Scarce down, possess it extruded inwards. So this one, as I said, just go Francesco today. Sir. Press E. Same process over. Yeah. Last one and student much Sweden, Alexandra, that HF in v, everything except exit mode. Now we have roughly opposing place. 17. Modeling Nails: Hey guys, welcome to the lecture. So let's quickly do the Nios for animal to show you guys these fellows over here. Just open the surface that we had. With this one. You can basically see these nails poking out like so, and also the small line over here. So let's quickly do less for falling van or hind limb that and go back to Blender. Let me quickly do some cleaning up over AS select these two objects. Press M. Switch back to my drilling mud users, is to press M to move to collection, create new collection and say Save, backup. Backup. Then. Oh yes, hi, This collection. Because you don't need it right now. The light and the camera, etcetera. Sweet. Now let's start with this. So we still have the selected object to a Dog and press Tab to go to Edit mode. Remember we still have the mirror modifier. Anything I do decided, also apply the other side. Stole this more. I'm gonna select this polygon over here and press Control R to grow selection and position scale. This is good. Board. You see zooming here. Undo that. Control Plus, Plus is this guy up. And then that's what we have. Look at it. Two pattern B could probably just grab this guy and then press I to insert some gay then artifacts, which is try zooming. Probably. I sell my face, Extrude. Extrude again. This girl, Jesus in. But the next scale, smooth. So KCL at my polygons, going to move them up. But quickselect, making sure about, yeah. Please to predict, I'll click Select the loop. First, make sure that there's no overlapping this loop. Just like the sun sheeting. Move it up with x. Let's say this guy is G. Move them in three G. Now, if I replace one subdivision surface, able to view, as you can see, we're getting those nails, Excel. Then obviously hide this. For now. This guy, g, the bottom has a GI. So these are facing the other side. I'm going to grab the first phase and just grow the selection to select only the nail. Me control minus just going to rotate the side. She again and then rotate. But it's not too much. Zhe. Just making sure that is facing the correct direction. Let's reservoir that downwards. Minus. And I'm going to select the HD, move upwards. Next one on sectors, pastry. Select the face inside, Control plus sedation process to scale. M is your place to select as age scale. This is three, Control R. To draw those as scaling down. And select this face. Please. I extrude inwards. Each extrude out. So this graph is to scale it up. Each extrude G to C, and then scale it down again. I will say pick it up and then press to just describe this guy is two edges, G, just move them up with that. Select. And again, just move this guy up. Three sector phase. The next street names go. Sue, I have D space to select the edges on the side as a very bulky shift select this scares me to select these edges and the scale. Something of this nature. The bottom part, G foot grab. And we have that second nail that is confirming the rotation. Changing my select tool box, select rotate. Rotate, just G to move. So rotate that and just G again. Not too much. So if a solid mode. Second now know subdivision surface. Just clicking that, that we can just grab these with the grabbed pressure on once I'm done. So let's just do the last to hide this for now. I'm going to go to this guy. S3 for my faces or Control plus scaled as, Ooh, that's way too much. Adrian. Control yourself. Something of this nature and Control minus. Alrighty. Then select that face. Student knows. Chris, I pinch, it doesn't look now. So each Extrude. See from the top row t, gt me. Don't rotate too much actually. When you extrude. Rotate. Scared, I'm scared. To select G to move upward. Sensitive to certain gene is going to move these sectors, subsectors one G smooth to go to the wrong one. Skype. Okay, this J movies upwards, this girl. And then grab the bottom one, g. So g, In this case the Senate grave goods. And then as that, then let's do our last one. And yeah. So like that pastry for faces. Control our mascot it up a bit. Because I shared outside too much, making sure that things so today are to rotate. She says she grabbed move it in a bit. Our GM extruder mean a N, S to scale is G. So please to select this age group and please grab escape MPG. Just take the bottom line, this up top corner soviet to write them up on things. She just, the mean would be too big. So we have our NAOH, let's do the last one. This phases pastry six faces, whatever the mirror server that and select this face. And then Control. Plus. We're going to be scaling this bad boy up. Surplus is. But select this face and then just get it up. Not too much. Then press I stood inwards. This girl. My mouse is very wonky today. Each extrude or to rotate. Each extrude again. This girl then need to extrude Zhe scatter. But now we press to take these, both these ages. Emphasis this girl. So I have a little party and in not too much. And then we have our library on, our nails are so copper is grab this guy and this G moving now to add to that, g is pushing on this shape this time. Okay, sweet. So this is for the nails. Palm. First poll Control S to save. And I'll see you guys in the next class. 18. Finishing Nails: Alright, let's finish off for modeling the nails on our hind limb. Now. I'm seeing some artifacts going on. Yeah, first H to hide. I see, I see going on here. H, let me select this face, pastry G to grab some. And do that. Now I see these are merged together. Press one, you see again that same measure center. So these two images answer. Press graph. Now, this should be almost like sir. I never noticed that actually. So it's better to if you're getting points like that there are no water together, which is press control. A. Select your entire vertices at our mesh. Press M, merge, merge by distance decreases or 0.01. So points that are overlapping Bettina and not merged together. This action will be done, but they're not going to S3. Can start with down. Now, press S to scale that control plus, and then press Control minus and plus i, e, e textured again, there's G. And then each extrude down a tad. Too much. Something of this. My mouse is a bit wonky. Like this press to select. And I'm just going to say this. We've done a bit g mu that these edges pick them up just one way up. First now is to pick that up x squared. I guess the easier way, S3 select the face. I said faces and E, extrude. Scale up, bad boy. It tastes good again. G2 that. And then each extreme, one small is just go to, I'm going to grab my Ages g to pick this where I'm glad this side one page G. Scarce. Six the top edge and then just pick this up. This one I say roughly around nails like that. Then those will be straight into straights and stuff. She just move it roughly around day. This guy. Just as I see, this just keeps some bugging me. Okay? Now what I'm gonna do on these two edges, grab, pick them up, pastry, select your face. I insert faces. Each extrude this, go up. It said, pick this up. This G, move it down. Let's get G. Says something of this nature. Again is pick out these phases. Let me grab the H rather G, pick it up. Take this arm. I was like, Yeah. Now, let's do the last one that lost now. Before we get carried away. Let me grab this one. As I see this cheesy crevice, Asia. So let's pick it out like so. And then lastly, just grabbing this two edges, G, picking them up, press three legs. I'm going to paste, I extrude inwards. And I'm just going to, let me see. E for Extrude. Obviously. Scale this guy, weigh up G, pick them up. Not too much Adrian. And then each extrude again. And then extrude pay scale, scale this down. Down, press to select these two faces. Sheet, pick them up. Let's go overboard like that. And then grab this bottom edge. And then just press G, pick that one up. Probably just grab this face over here, plus three, plus g. Next. Probably also rezoned. So this should be done. This should be facing the side. In this case, the wireframe mode. Just G rotate and G. Too much smoother like this. But to solve mode. Again, something of this nature. To select these edges. Because Jesus, to move them in. Because I pan we have overlapping geometry. Yeah, just keep a little smoother. So we have this, our nails or done admonished just quickly preview these guys. You can see fairly decent. Can just go to the while having smooth turned on. And I can see now, as I select these edges, G. You can kinda see the details. I'm getting. This one. I'm just selecting these guys and just picking them up. Sick this H, whereas this one here, go to the front. Come on. My mouse isn't working very well on this side. Put this up, brevis h. Again, picking it up. See, Chris G, this guy plus g. Now what I can do and then just grab the bottom edge here. Because g, h with G pen around this guy. So in this side you can kinda see that it's fairly decent. Would even this smoothing while on she has made it's like it's coming from the inside. Here. We could probably just grabbing a minus sign ages. So smooth that out what? Shannon move this. So we have that. I said for our nails, them it just moves back. But again, Excel. Let's see from the side. But it works and it's gonna be a bit fuzzier. So now it's just requires a bit of sculpting and aligning everything together. So let's sit for this lecture and we'll see you guys on the next class. 19. Modeling Eyes: Hey guys, Welcome to this lecture. Let's do some modeling. The eye I'm modeling. So we can get a rough idea of how everything is going to be laying out over here. As I'm looking at this, something of a C, I need to add some H over here so we can get more control. So what I'll do, select mode, select my object, press Tab to enter edit mode and control bar. Add an edge loop, press Escape to receive coordinate as you go. Yeah. And then escape. So let me see. I think OVO is also via by the nose. Press Escape. And do that. Control our smooth it up with a bit of his escape. The center. Have a dissenter. Lastly, add escape. Freely. Have these age groups where we need them. So it's very important. So remember I told you guys that my annotations with is going to be painting, going on. Like OVR in any way the patella articulates with the fibula. The fibula with the pelvis. See you already have m H loops. And then told we need to add edge loops here. One here, one here. We already have some, yeah, so we need to add edge loops, all the regions where there's going to be painting going on. So firstly, I'm gonna go to control our scape. Will yeah. Are scared. This this will be our patella. If I had my subdivision surface can see properly control our escape uncle or escape. We have those over here. And some bending going on this side. I'm going to say Control or escape, control, risk. Escape. Nfs girl started down as yellow already have decent amount of eight H loop. So mean, so over here on top, control or appropriate scale to scale and console are struck. This painting going on the side as a tub. They control or no. But could I do with this guy? I'm just going to select these. Press two slightly ages. Excel, right-click and dissolve. Just fixing this. So you see we have an N gonna fix this simple case k. Remembering create a triangle since they're also on this side. So we can get that age group again. We can destroy this. Show. Break deals with an edit line over there. To break the n plus one. Click and drag. I'm getting fairly easy. What? We destroyed our triangle. So quiet. Doesn't have to all be all quads. Just try to have all quads less triangles. And a few n on the left. F9. Pretty much impossible, but then you can try push yourself to that. So I'm going to push tree and grab these phases. I'm just going to G2, move them out with that. Then everything is sorted. Those edge loops. Now what I'll do, let me see just as selecting and dragging. Good thing, something D sense here. Push these grabbing these overlapping. So that's fairly decent. I'm to quickly save our project. Control-s. That's that. Select our object to have everything working perfectly, just everytime. Make sure that you control a and then apply, apply scale and rotation. So if you look over here, is the item she my squared is at one. Excel has to be one-on-one. Cool. If I shift a mesh UV sphere and r, Let me see, regex is no Y or X 9090 center. So to have this facing us, snap that I bet. This is to scale G to move it perfectly over here. Is this girl from Alexa. Snippets decide, gee, why? Move it on the y-axis? On the y-axis, only. Roughly having eyes. Probably scale it down a bit. You see I still need to fix my eyelid. This is a rough scale. The eye should be around here. But just it's exactly. So we have, I could delete a sky. It's just classic ASM room over here and face back view. I don't know. If I had the dog. Select our sphere, rename this to i, just because we can show in front of you now, can see roughly having that in place. Now what you can do, select our IO object. Am I this guy? And I can select control a. If I press N to users, you can look at that scale. It's 0 and word, word, word. So to have that, everything's working fine. You just sigma I control a aplastic and rotation and see everything changed to one. And the rotation is as 0. You just make sure you do that. Also. I'm going to select my eyelid and to edit mode. Select these vertices, control algae grow cells. Sorry about that. Control or control plus to grow, to decode the distillation. Snap TV, sad V, G to grab. That. Might show a G like that. Come from minus two. G. Birds control or to add an edge loop just slightly this side. Press Space to scale up words. And if I apply, the subdivision surface, should be getting something like this. Again. We still need, can correct this here. Hey there I can do arithmetic. Scale this guy up. Oh wait a second. And I'm going to read out, select all these vertices. And student. As you scale down. And then press Enter. And then press S to scale it down again. Everything on or say m, center. And then Control plus two, crease that GI, smooth it out a bit. So I can get less pinching. Here is a problem. Down its head. Sounds good. Movie. Then Control plus cross selection. G, move it out to it. Probably just go to wireframe mode. Also in mode. Grab this guy. Snap, G, altruism, control plus two, plus two. G, N Control plus scares me know, it's a bit like that. Let's step to view that. Could grab my pointer on bugging me. Let's chat. A merge squared is point G. Move it inwards just to TED. Does it proportional editing? G, Everything. I do. Yeah, we have Iris object. We're still a murderer. You see the typology is fairly decent. As you can see, they're sweet. My set of in-service, turn that off. Let's grab this point. Now it's time to do the iris. So we're gonna do, we're gonna be doing the the sclera and let me see if I have object to bear. Not my eyes. Open this image. I see we have the outer layer, which is the cornea and the iris, as you can see over here. So it's fairly big. And we have the lacrimal and the tear duct like Monty attack the watery part. So if I turn on noise my dog on to see how big is this iris. So it's ten. Scale sheeting move. This can move it inwards. She eyes, if we're going to talk, you just control a rotation. So they basically rotated about like three millimeters. Three millimeters. So what you need, grab the rotate tool are rotated in this case and then the z-axis. Say three and say, I see Andy, are this case it's saying negative three. This side on the Z-axis. Just say temporarily I say three. If I say there, you see the difference. Every tree over there on the rotation. And it's facing that side. Can just take Greece 3D object go to Edit mode. Because this end date I'm going to press control, not control our escape. Control plus. And I'm just going to scale this up. I'm going to hide my dog scaling this up, but Chrissy, next number is just going to show my dog or so on and see if this went to wait to four predictors. So this will be the iris object. So roughly here, undecided. At this, you see like 1D reference. You see how this iris is filled, pullover and you can hardly see the sclera. That's how it is. Sylvia. Sorry, I just hit my blender. K, So that's what I'm trying to press S to scale it up too much. She to move it and just stick this line. Press S to scale. Open my wireframe mode. I'll click Go now, moving these guys, Control Plus it's getting the East. She to move them out to this guy. Then grow selection control plus xi. And then Control plus once to grow selection. Because G to move that inlet Excel tab should be getting something like this. For a cornea. And if I Control minus, minus again, G smooths out. This tab to look at an outcome. Varies like this. If I show the dog, you can see now the iris is a bit covering most of the parts of what we're looking for. So that's that's for all i now I'm going to hide the dog. Had the MTR Side and this is with the subdivision surface. Turn that off. Go to Stat Edit mode. Could probably add an edge loop over, yeah, Control R plus S to scale. Scale is G team. So we can have a curvature. I'm looking for this curvature, we're mad. Yeah, scalars, material, this view that, yeah, that's about it. For cornea. And now for our iris objects press tab. I'm going to bum, bum. My sick to control our discourse. A selection like this, iris, Shift D, Skype and I say separate solution. Let me see if I control Shaking. If there's any faces they rename this iris. If I can spell right. Name is iris and I'm going to name this will be the cornea and the sclera. This will be iris object only subdivision surface. Now for the cornea, I might delete the subdivision surface. I say just for now for, for this preview, you can right-click and say Shade Smooth. You view this n and how it will look like when you smooth it out and just say shaved flat. So that's just a preview. If you want to view it. Makes the cornea and my iris. The iris is not yet done. To have a mug. Grab this guy. Just high as it is moving every day. That I'm just going to let me grab brush for everything. Everything. So that's, that's that does so we will continue in the next class. We have our cornea is over, we'll continue just modelling the iris, which is fairly easy. I think as we're turning to see you guys in the next lecture. 20. Finishing Eyes: Okay, Welcome. Does this finish off modelling our iris is really so from our previous lecture, what I'm going to grab this point, go to Design View. Snap that. I'm going to add my cornea. Control R to say let gross election. The side G move inwards. And then Control Minus Zhe move inwards. But Control Minus again as g mu minus g. Those guys. And Control minus z0. Moving those inwards. From minus again, moving that Alexa, you get like a rough surface, a flat surface, and just grow the selections. But outwards. Minus g. Minus g again, fairly Shi a bit about that. Appropriate control plus this move, this a bit back, has way too much. Okay. So this is our iris. I can do for pupil, pupil lens. Another word, legato reference. These guys now see our, this is our lens. Fairly almost the half the size of the iris. So this should work for that OB. Do any extra root, press E, extrude and the MVC against the x2 to create undo that, escape, undo that, undo, smooth. Jesus grabbed the y-axis. The size of this, this is a Beta x squared, y z squared, and a y Omega is 0. That's what I can do now. Because if I add a subdivision surface, this will just be flat out. Need to add edge loops over. Yeah. She's motivated the sum over, yeah, and control again, shifted sum over. Yeah. So now if I add a d subdivision surface, can see already smooths everything out. Press Tab. So we have our iris object and our lens press tab. You can also move this a bit further. Go to wireframe mode. Because Jesus died on the y. If you want to. Then this, this, this, this was fun because it's going to be black anyways. Smooth it and why Alexa? Better side mode. This term, it is a subdivision surface. So we have our cornea and our iris inside of it. So if I go to the front view, I can make this a bit smaller. Scale, just a tad smaller. That, so it's an insider, but I'm going to just highlight that and it says 0.9. Just undo bullets 197 times five. So we have our AI. Yeah. I think my cornea want to disturb this age. Snooty, I put that in say plus one plus G term and right-click Shade Smooth. Just look at that I feed it had subdivisions, CA, shade shape that I could probably grab my cornea and the iris. And just group these guys, press M nucleation. Just say eyes. Please enter the same side. Messina, open the dog. References. Just cleaning up this because m new collection. Just cleaning up our file. And this is a grouped everything. Collisions yet to see the camera and the light can cam Camera, any of the dog and the MTA. So we're going to do now and just click over here to hide the references. For a dog, I'm gonna do a copy. Right-click or just say shift, press Escape. I'm going to hide it in the render. And my grabbed this one move is still using the mirror modifier. So what we can do now, we can delete it and start prepping everything for UVs. So I'm going to grab the eye also the cornea, right? Add modifiers and go to bum, bum, bum, I didn't mirror modifier. Wondering where does it go to? Just select this and select are empty. So the MD is at the center. So it will just respect that numerator way. Is everything. You see. Our eyes are symmetrical. Grabber, iris, same process at modifier, mirror. And say 20 and select the object empty. And we have the Iris Murdoch over. So that's it for our eyes. And I will see you guys in the next lecture. 21. Unwrap Eyes: Okay, so let's do some UV unwrapping on our motto. Motto, yeah, I object. So expecting you to have a little knowledge of UV, unwrapping the basics. I'm just going to show you guys how to get a very decent looking UVs for product, for production or re-optimize in Blender. So what we need to see every other plane, we need to apply modifiers. So essentially I'm going to delete my subdivision modifier, the tech guy. And I'm left with this low poly here. Screws. This is just bugging me a bit. Okay? So I'm left with this guy, this low poly you see with all our nails. So she Control S to save them and modify this. Get off edit mode. You can add apply when you're in edit mode. And I could click on this Arrow drop-down arrow can just click Apply. This will just applied in memory. It's gonna be one object now. And go to our eyes. Cornea. Make sure we don't have many subdivisions. Keep it as low part as possible. And right-click on the arrow, apply iris objects again and then control a to apply this guy. Now we object. Thanks to all of these objects, control a, Apply rotation and scale. Remember I told you guys, saw a blender will calculate everything accurately, show the applied rotation and scale. So we have our basic dog low poly models, our eye and our eyes and our base mesh. Now we want to go up over yet to UV Editing. I'm going to start with the cornea. Probably. I'll probably just see. Hide the tag and go to polygon mode. Select everything, press a, you can see the UVs I have. I have for the cornea over yeah. Which is not ideal. So I'm going to go to edge select mode, a key frame. I'm just going to say about, around, about the same. So over here, I'm going to create out select and press U. Then Mach seen. This creates a cut on our model. So this way I'm going to be cutting our motto in order for us to unwrap. This is like the other one is a memory of two of them. So same thing, you and cut UVs away. Since you remember, we tilted our, our eyes baseline. So we have our cuts away. So planar we'll just cut and then unfold. These are neither side and on the other side. Sweet. Now what I'm going to do, go back to our faces. Press a to select everything. Go to the slide please. You can unwrap anymore, but it had done for us. If I click L to select this, show. This. Now this is a U visa we have. Now we're going to do, I can select my object. I'll go back to the layout. Let me just do this. Sigma cornea and go to shading. On time. You just froze on me like that. The key to zoom in with dark on the numpad. Now clearly new material. I might just change shift a and then my input vector, let me see which is a vector. I'm not a vector. Texture. Image texture. Drag this to the color. This is a temporal. And he knew generates UV grid texture. I'm just so proud of him. Click and drag the sliver default. It's just say 2048. 2048. Black, fine. Okay. Now we have these UV grid grids which will calculate the UV Editing. Now we have these grids over here. When these guys. And so this will be the front side. And let me hear bum, bum, bum, bum, bum. She live. The lavender mirror axis. But it's fine. That I have is a UV. Greater net textures here. Just like that. So I'm just going to press a to select everything. Can see like I'm having a straight chain, can see the blue polygons. These are way bigger and then these are smaller. So what I'm going to do in this case, everything in this case. So we want these what, what, how this works. We want these front, so sanitation, these front ones too. So from this age, cut these front ones to have a lot of texture resolution as this section will not be seen on our model. So we can make it us as low as possible. So I will do that. I'm going to grab press a again. And I'm just going to click 1 over here. I'll just start with these ones, outside ones. I'm going to click 1 over here. And if I press L, It's going to select the UV shell S to scale. You can see the live preview. We getting these larger boxes, which means it's not using a lot of pixels or texture resolution. This list six resolution that has been used. Just going to move this to the side because this will not be seen. Even if we turn our eye arrow never be visible. So we don't need this to have a lot of resolution or any graphs go to move that aside, grab this other one, also. Press L on your keyboard. Press S. Scale that down. I said, Gee, this moving these on the side. And let them move them, move them at the center. This out and just take it out. Grab it back just now, press L again. And then I want to scale with these guys up. So this is the sclera cornea. Have them do have x, L S to scale. You can see our viewpoints. Dating, live with them. Then L S to scale. The Empress GI. Smooth them in. The center of gravity is because L, G, the energy, scale them down a bit, but also this forever, yeah. This is just a scale. So it's all about trying to use more texture, more UV space as possible. Sea slug for grabbed the space L square. You can see over here will be this will be more high raised in any of this kudos. I'll just grab this if I press Control plus. So this will be our iris. If I click this point and just like the points-based one and say control class. Just grabbed, this is where our iris cout will be seen through. So I can also scale this up. And also this guy over here. So I'm just going Control a can scale this up. So you press S to scale. I can scale this. And Control Plus to grow it is to scale. Just give it more texture resolution as I can. And then Control Minus scale it up the side. You see him getting that, pinching me, see if I scared it's addressing this. Just be careful of that. When you scale your UV map. But I just want to show you that you see we are getting that pinching going on. So just be careful of that when you UPC scaling one over here, THE not getting any pinching. If I grab the control plots again, it's going to show you guys, if I continued with Modoc, look at the pinching navigating, I'm going to undo this. I'm going to show you guys that if you want to cheat like this and I won't work. So undo that. Soap is a odd tools that you can use that the relaxed to grab the bracket keys to scale down the size. And then you can just relax you. Here, you can wrap like that. I can see spreads out. But if you want that affect my case, I'm just going to wrap this which is distributed unequally. But I won't do that. Let's just undo everything. So person a. So if I look at this, you have a fairly decent distribution. You can do that. Overlaps, have this over yeah, which will have the same texture if you want to. So you can do that also. If that's that desired effect. Okay. See this better. So we have our UV for the cornea. Yeah, we use it for the cornea. Nice time to do the the iris. The iris object. Like to lay out ten of the thing. Viewport display. This is a UVs we have for both of these guys, imagine what I can do. Yeah. I can add some cuts because the lens won't be needing at a resolution. So what I can do, I can grab them. I'd say click select this loop. Do. And I'll click Save this loop and press U and then mark scheme to create those cuts. Sex, sex is loop of some oxime. If I select everything, you unwrap. See we have nice irises, but then the pupil is very, very bad. That's because we we never done no cuts over. Yeah, so it's going to be pinching is going to be painting going on. So what I would suggest for you to just do some cuts over here in it over, yeah, so fine. Go to place to place this shift click Select here. You again, Maxime will just go through the entire way. Said Please you mock seams. So this will just cutting and unwrap this part separately. What I can do, these guys and you and then TSM to delete the mocks, him. Grab this edge loop, you and then mocks here. You can see I'm going to do this without a side also. So we should be using symmetry actually. So you can actually use mirror. Beside. You unwrap. You see now you're getting this Lux soap pupil. So I'm gonna grab this age group. Shift-click a small one. You Maxime, sake this guy. Then you mark c. So this is just a replica and then unfold. And then let me just check if I've done this over here. So again, delete this line cut. Let me see. Click this guy, and then Shift-click, Shift-click this guy. And then you seen highlights everything and click on Wrap. That's what I'm wondering. Is this going to see this guy? Let me just check my line cuts here. Okay? This is what to do to make a cut to be also lets you mock same. Now this should work fine them. So these are pupil doesn't require a lot of texture resolution. L. L. Please select every island. He just grabbed this up. Let's smooth it out. And this G, move it out to it. I'm going to press L, G again, an MTS S to scale it up. So please CI The sun is just go and do the hidden that. We have our iris object. And now I'm going to grab this guy, smooth them inside. So then this going so specific. And Ted, S, G, probably like that. S G. This is too much at your lens. And this should be our UVs. So this should be our UVs. For our iris subjects. You can also add a material for this guy. You go down to shading and press knee, shift. A texture image near UV can limit Iris. Iris. Our wrists. Take the color node to the base color. I have that. And you go back to UV Editing. You see the distribution. We have over here. Ready equal amount of texture resolution. Nel mondo legs. So that's it for our iris. What were they doing? So I have the cornea we have also your cornea done tested. And it's time for the dog. The buddy you actual body. And it's just sick. This guy was a shading. Let's make sure I have my dark selected. This one. Esd shipped a texture image. You name it, jogged, presenter, UV grid, color to base color. Oh my word. You can see how bad these UVs are. For the dog. The dog. I'm gonna do a separate tutorial for this. We're going to continue in the next lecture because we're going to be covering a few of way to add those edge loops. And again to you guys for your time and I'll see you guys on the next one. 22. Dog Seams: Hey guys, Welcome to this lecture, this relief of my piece lecture. Now let's do, let's continue and wrapping our dog. Shows these guys the backup person. Like so. Now we have a dose-related, we, we've added a UV texture, just wants to display this. Check a box as OVR. So these boxes has to be almost square. So you see this stretching going on. It's way too messy. So the outcome has to be a fairly decent distribution. Like for eyes over here, as you can see, really equal amount size of boxes. Checkboxes on our model suite. Go back to the dog and go back to UV unwrapping. If I click on the edge and press H is negative, then you can see these are the UVs we have. And this is not good. It's because we don't have any seams, are cuts going on or a model? First things first, we need to understand way to replace our seams. Why do we place that seems. So it's, what's very important to note is number one, you need to hide. Need to hide. You need to hire. You seem so my handwriting is bad. Idea seems. And also a few, a few number of scenes like perfect location. Location. So that's like a very decent place to add your seam, then it must be very optimal. So we can capture those details. We need to understand how the model will be viewed. In our case, we know that we cover infer. So in this case, it's kinda different than you doing skin test like you do like a character will be, which will be covered public wearing a t-shirt, then the face will have those skin details. So we want to have more, let me see if I can draw the side. You want to have more texture resolution for the face and then the entire body underclothes problem. But then the most space you want it to be given to the, uh, yeah. We would like to be given to to the face because you know that that's where you're gonna be having more skin details. Why did he did annotation? Is living with his fans. I'm not gonna be stuck up with this. Apparently consider pellets now, sanitation and decide it doesn't show. Very strange. If I go back to Layout and UV Editing, still see the layers. Rgb. I'm kinda ammonia is fine, discontinued before I get everything messed up over here. Get T, remove these later. Annotation here. Wow, agent. So, so smart. What about that? Let me just delete everything on the layer. Sorry about that, guys. Okay. It got stuck up for a second. First things first, we assayed, we want to hide those seams. And now you see why our edge loops are very important. So. If I would place the same over here, if I hold on Alt or Option, you can add an edge loop. Yeah, I would. First things first. Solid mode, you can't see properly seam around the ears like that. Oh, most, most part the side. Let's shift select this side. We have the scenes around the ears. And I'll just press you an oxime so we can cut our motto, which is having our ears in a separate place. And then also the head separately. So yeah, and then to follow this loop, I can hold down Control, Control and Shift for the end of this loop. And I can turn on symmetry if I want to be less, no idea. It was better off. Okay? Because you Maxime, this loop shifts like this one. Issue is in TSA and I want to add this loop over here where there's already a cut. Just press control shift, click. Thanks. So Control Shift click and press you. Maxime this guy, this guy, this guy, this guy amongst the team. So we're gonna be having cuts over there. Let's do a quick on-ramp and see the progress so far. And wrap. You see we have our our dog face. I see. Kinda makes sense now. And we have our E is aware. Obviously there's pinching movie because we didn't add any lines going three. Now let's go back to this. If I show my grid now you see a grid are coming into place. But also there are sick that. Now we want to add some cards at the back of the ears. Over here too. Or is this over here? Control shift click. So this will unwrap OVN, unfold the sides. You mock see, click and just shift click over here. You mark seam. And yep. And also what do we want to do? When to add some cut around the legs? So I'm just going to press Alt click, press when hide them. So Christine Maria, OVS, just have symmetry turned on. Now for this side, 20 doesn't look good cemetery, I don't know why. But also to that, a bit later. I think this works. Same oxime. Let me select this one and this is clear, seem to get more upwards so we can actually hide it. You you marks for the legs their shifts like this. You mock see. The legs will be unwrapped. I would also want to have. The pause to separate geometry. So just six. Yeah. She has like this side. You can wrap I'm not seeing for loop inside a loop like this. I do like that. Oh, this one, yeah. Whichever one works basically. It's a bit more hidden. You mock seem. So we can have cuts inside. So if you don't have been kept going the cytosol. So we will just be a circle and it will be pinching on. So we wanted to do this for the cytosol. To get a loop. Try fund and I'll click, I can look for current loops around my model. Works fine. And then Shift Control. Shift Control click. And then Shift Control drag to continue that loop. And then I'll probably just cut it over here. Maxime. Leave it like that, and select these ones. Shift-click. You Maxime. And we have these separately. Now for our thorax or Theresa, tell I'm going to separate my tail also. I'm going to cut to the center where I wouldn't want to go right through. So what I'll do, I'll select the beginning, will enter to start, start over here, over here, and select where I want it to end. So some movie or shift control, click. And amp is you Maxime, probably at the bottom metaphase also. Start. I'm going to hide it. Yeah. You see now we have our cuts. Let's see how it looks like. When you separate the tail first. Just the vectors tell from the body. Presume oxy. And I press a and a plus you to unwrap everything. I've opened my checker box as I see this pinching going on over there. These are the palm. If I go to shading, you can see we have a fairly decent distribution of air. But at the poles, we getting there, um, but effective, I see. So we need to fix those pores. Like so the body is fine. And the head needs to be fixed. Probably add more cuts on the head. Fled to work fine. Let's even wrap everything. So this is the body and this is a head to rotate. It just goes up G. This should be legs, etc. So if I say from this side, I can basically see where I'm having issues. See which wire-frame. These are the the pores can see the pores are not well. So we need to add more cuts on the polis, fine. Bactericidal mode. Let's start with this. Now. Pretty much easy. So I'm just going to continue with this line. Probably just unfolded tier or just delete this line and say, you shake this one. That goes like so. Chefs, Chef click, shift, click, Shift-click to get the side and you walk seeing upward. You TAC. I'm going to do the same for, for the side. And let's just take a bit of time, but it doesn't work. It's time-consuming. But once we done with test, we're going to be sorted. Again, we not too much concerned about these ticks. There's dilution as firm will be During the most part of it. Selected. Shift. Shame on you, mocking me. See if I saved it as partner. Yeah, yeah. Give us on it. So it's going to divide this into two parts and see how it will look. Let's take the reading quiz. A lot of my time. I show my check a box wireframe. He's got a question. I'm getting. So when you add more cuts, pause again. So I'm going to cut these guys as E for solid mode. So I divide this into cache control, our cluster mean to grow selection. Control I to invert it and hide. 23. Unwrap Dog: I focus on these early Christians first, especially because we have loops. Control, click again to cut the shaft on top. All mistake this guy. Part of a year and then you mark scheme. Similarly, this CMA, we're not necessarily saying because I already have a cut going inside. These guys know those lines around until where the lines meet. You Maxime. For the nails. Had to do this. Those wireframe mode, you'll have it selected, you Maxime mode. Select the inner loop. Just separating the nails. Go to wireframe mode. You see I have that selected and say magazine started mode. And then also selecting this inner side when it on auto option to leap. Show ever selected Maxime. Lastly, soon mode, maxime mode. Then lastly, I'm going to grab this guy. Kind of forgot about him. Separating these nerves are very important as you see, we are getting rid of pinching. It's not ideal. I'm okay with being sought presume oxime. So that's as far as side. Let's do this for the Sedna. Just separating our nails out, out. I definitely am grabbing the horn. Here. We go. Perfect. You mock see. Small, smooth. Listen, on the other side. I'm bum, bum. Catalysis. Zoom in here. Hard to get inside. Maxime. Zoom in. I'm not just she said Why don't they can carry inside. Yeah. I'll click once here. And the other sleep again, get up. Early persona. Click this shaking vaccine has selected and you Maxime. Second around one. This guy, z, k, Perfect. You mock scene. Probably increase plus g. So this last one go to why? She's we just see the seams and 234 back, way back and asked him for the backside. The hind limbs. Click that. If I can find it. Z, k ever sick that you mock scene. This sickness. But the leap oxime. I'll click select this loop again. Z to check the wireframe. Suddenly Morgan pursue in a magazine. Cut out click press Z to confirm. And then you Maxime, and let's add a cutover separating this. And then you mark scheme, and then select this loop. You Maxime. This guy. Control Shift select apparently is select the first and the end. Control Shift. You seem to delete it, cut. So we have this flat. Join us. So Control Shift, click my cursor. Just be closer. So hold down Control and Shift and click an MSU Maxime. So I have those cuts. Does seem. So. Just deleting the cuts that we don't need. This loop goes around. Okay, same process. So we have a few cuts now let's see how it works. So it looks at to H to show everything. Select, everything is selected. Press a press. You unwrap. It used to getting some pinching over Z and see which side is it. So these are fine. Soon as you reach while he's pinching. Hello troubleshooting, let's close. That goes to here. So what I'll do, I'll unwrap one-by-one. Wireframe. Control are going to unwrap this. And see what goes on. She need to add more loops. Okay, cool. So node carrier, she is what I needed. Separate these guys. You Maxime. I'll say this loop. Because everything is joined together. So Edmodo cuts by, forgot to a cutaway, Elsa. Make sure all these parts which are hidden. Same OK. CMOs. Show them. Everything would just go wrong. Then add a cut over here. This oxime and wireframe. Select every bad boy left side, and then come over. Yeah, Bless you, unwrap. So again, just these two sections. We organized. Now. K shifts these guys, the knees, more cuts. Cool mode again back. So I'm just going to be adding more cuts now. Cut or yeah. So had join them. Then join it over. Yeah. Once-ler, straight cut. She joined this guy. Separate them into part-timers or distress. Maxime. The show. I want to add to my shelves or we're shaking. I lived any part. Shouldn't be a lot, right? She wireframe mode. Looks about like kids join a group connected under nails or my word. Hi David, debt. Seem click or click on the button. You Maxime. You. Then lastly is seen as a container. Nails are suddenly cut this and cut frame. She unwrapped. Smooth reasons. L, G, not words. Let's do one set of time. You sell to put these back inside. I don't know which part is this? No. It's not designed to press Control plus two. Selection. As pinching ghrelin does not add more cuts. So there's gonna be one shell and then this one will be one shell at a time. No. See, now this looks fine. Pause. This guy points. Netflix this again at a fixed it over here. But just be careful that you don't get any overlapping. You see. 24. Unwrap Paws: Okay, For a pause, we will come back again. Let's continue. So we getting a pair of our effect of stretching as you can see, when we, when we UV unwrap, as you can see over here. This can be caused by many situations, but as you can see here, we have a big N going 12345. That's why there is a lot of stretching going on. So what I will do, delete these faces. Select x, three phase, and this is a polygon is fine. The triangle. So x delete faces. And now press X again to delete this face. So based one points to promise. Just joining these ones. See this guy. A pastry again. Select the faces of the hours. I have an N1 and triangles or 3D space. I could just go to wireframe and just say these Control I to invert this H to hide. So I can just focus on needs only to certain mode. So yes, I'm fixing these polygons here. So we had a bit of an issue. As you can see. It looks right, but then it's not right. Fix these. We just need to add those polygons today. So our brush tool, I'm just going to fill this, making sure that you see over here it's attached, attaching at the wrong place. So the co2 and H trick is all about you. Just take this phase-space three sectors ways. Is this phase here to this edge, G to grab three sectors face 1234. I'm just going to delete this guy faces. Now we lifted this one select is point G, smoothing that inwards this. So again, if I select this vertices and I picked this up, so I need a 1234512345. I'm going to bridge this space if x. And now I have an N bar, which is not ideal. So what I'll do, a cut, I can dissolve is point C. O and C. Grab this H is like this point. Just extrude them. I'll put em to merge the center. Now we have a polygon that's where n is one, m. Message center. Now we have polygons and a ij n gon. This in this extrude. And this is two-point AIM Center. Now lots of France here. Grab this guy and this message center. If this is one selected and press Shift, select this guy. If to undo shifts like this. If I have 1234 polygons, just make sure that I don't have any Angolans. A pastry. Now, I have this triangle over here. You shouldn't be much of a problem when I UV unwrap. It was only that m one that we had. So out H to unhide everything. And then go to my wireframe mode. Take this shift, highlight 11 with a vertices. You still make sure I have all these selected. Press delete x the vertices. And these ones. Make sure that they're cool. I can add in memory fire dog, object mode over here, press tab and go to add modifiers. And like I said, the mirror modifier and empty, solid Chris tab edit mode. With this at the backside. Just hide wireframe. View this only. So. And then Control I to invert and again press H to hide. This, makes sure that I have this selected and come back and just check away FOR England. We go three and respects the faces. And this one, let me see. Okay, this is fine. It looks about, right? There's three precincts, the faces, XD faces, cool. Now only have among gifted test. I'm going to join these guys are first one is verge of x. This will dissolve on me, Sorry. Just 1. Now what I want to grab him and him. And then because k is create a triangle, a triangle. Just fill this guy. Just Chiemsee. Okay, So let's see wireframe. Cool H to show everything together. And then just go back to object mode and apply modifier. What would you say merge, UV unwrapped. Basically the last scene, let me see. Number two. Okay, seems again. Now a more cards at the back. Remember we have first to get more Paris, better and red. So hold on, Alt. Shift, click out. You, Maxime. This is separate our nails, which Tesco's or problem. That gives us a big problem. If you have any insight on an alt checkout wireframe again and then pursue Maxime. Next, alt click wireframe. You Maxime, sort about a windy day. And then Alt click out, click that wireframe, check that that two-sided mode and pursue mostly just separating those nails as we've done for the previous one. Click check. And then you Maxime. Let's click this. You see that? Okay. Mark seem lost one. This one. Yeah. You see Here we are that anxious need to separate this from the inside. Just click the line. Just because you clear Control and Shift. Control and Shift J or Control and Shift. Click, shift, click. That cutting in-between. Yeah. Hold on. Shift. As you walk seem create a dissenter. Probably remove these guys. Excel, TAC, TAC. Just add them over here. And also shifts of you mark scheme like that. And let's give it a try again. I'm just going to highlight everything and then do a quick on-ramp. So now we're getting a much better result. Because we've done that. Now. It's just us just see now we are able to separate those nails into one and easily tell or face lay eggs. Now only these these pores of air. So if I click here, I can kinda see that wireframe. That's right. So we can just do it these things separately. First bot selected, just press U and you see a much better result and that then obviously we can just go Stan. So you just put it, put them outside like that. And this pose here, the side. Okay, Have them are dead. Compress, you unwrap. Grab that. Let's see if I need more cuts away. Doubt. Can wrap this guy. Uv, unwrap everything you see. Cuts here. Just go to the bottom. And let me see if I need more cuts. Say you, Maxine. And also, if you want to do this in pieces, you can just pastry. Let me see three and include your selection. Select your faces and faces selection. You can see these ones are fine. And if we just want to check which ones are stretching, these ones are financing. Three, grow, grow. So basically this part. So his cruiser selection, de-select these faces. Over here. 25. Finishing Dog: De-select that. And I can just press U and unwrap. You see I'm getting a much fovea. Spoken skills. Escape. Again, see if I Z to selectivity. And to that, I can just paste this one, l, scale it down. Just move it outside. That. Then I have my my entire palm. Pull pull him. Oh, he's put them here. Actually. Scale it down and said, Take these geysers and my poll. On your side. Then if I select these guys, you see we also have them on the side pinching going on. So you can do the same technique. So if I grow the selection, you can kind of identify where you are getting pinching. So it's not this one. The next month. The last one. Yeah. Yeah. This one. Select de-select this Shift. De-select legs. See. This one looks fine. Separate UV shell, so are these guys. So probably this is the selector. Now, obviously, Basically it's only this side. Right-click here and I press control plus. You can see only this guy. Fairly easy I can do is press and wrap. I have that's G to move it outside. And if I press Z wireframe, you see we have that. Select this guy escaped. Press L to select the shell. Is this guy down? G to move it and make sure we have an eval and even distribution on these guys. Will correct these later to certain mode. Because her back legs now fairly simple. To follow the edge select and then select these guys. Just gonna go around them. Control Shift clicking, Control Shift clicking until I meet with this edge loop here. So when this age So I'm going to deselect it that go one step at a time. So important to add a few cuts here. You Maxine. Do this for the cytosol. Just saved, click Select. Just selecting these guys. Yeah, we have the whole entire group selected. So everything is connecting. So we're going to have a cut-over they cut to live in for now. The same time. So from here to the center, probably just remove this one here. Cool. So we have that. Now we'll do wireframe mode. I mentioned acidic, just my face and get it moving outward. The Press unwrap again. You made a mistake ER, and then scale it down. Just move it to the side. And then also Mud fish three to four phases. Now just Selection and just look for which part is pinching. This one. So as I said, Yes, please read those separately. This is much Let's get it way down. Please G to move it to that aside. So I frame is just making sure that I have them over. Yeah. Smallest. This is going to be either pull, this one, does P, This one. Those cuts me. See if I have one here. Select everything and press U for unwrap. Cool. I'm going to move this to the side as a way to highlight everything. Crab skeleton mode, look for the one that that is stretching. It's not this one. Selections control, our cryosections control, or probably this one. We've got our Sac State. Now once you have them, please, you unwrap and such. You should have G move it outside. Z4. Z4, sorry, my mouse, I just located at sky. Press L to grab, then G to grab a mean and S to scale. Way down. Just move it in Excel. So we have all pores, channels, some voice to just lay out everything properly. So I'm going to use solid mode. And I'm gonna go back to my show my texture. So the body. This one can be scaled done is bring in my face. L. Also rotate. I'm just going to create a place for it over here. G t graph is just scattered out. More texture resolution. Product equally. See over here, very nice. I need to increase there. Was this the tail, let me see. The bright. So I could probably just rotate. Press L to select the entire thing. Rotate xi. So probably give it a but bigger scale, maybe just for us to occupy the entire UV shell. Zhe, okay. Enter, lay eggs to rotate. G to move that in place. Okay. Let's go way up. Compared with other chiral there by kilo to now go to my page two. And then I'm going to, you see movies. You mock seams, didn't have the face isolated. And age is continuous, culture. Separated. Control Shift click. And then you see whatever do you just want to. I'm going to select the wireframe mode. Let's take this side. We maybe the poor is just she just the upper body. And grab these guys. You, I'm a perfect. This editor, we're back again to solid mode. So phases like that. I'm going to grab this face l. So these are the ears. The tail L rotates. Put them at the corner, is full scale. Gravitas. To grab a shell, to rotate the body. Just have a look. Let's go this way up. Almost to the bottom point. I'm going to grab my ears. Whereas this girl she didn't order to rotate. To fit them inside. Yeah. So if you add a cut-over, didn't get a much richer resolution, then the legs. G rotate. She she just moved out inside. So just laying out everything perfectly in this space and in the uv space that we have. But we're just zooming way closer. A good margin on cell. Remember my face? And rotate scale. We have a pretty decent distribution. Again for the ears are just going to move it the side L, l, g. These two. Well, the idea is first go schmooze in inwards up. Reasons. You have that then scale the leg. Forelimb. Rotate distance. These mobilize them somewhere. And one of them oppose. Decrease the scale. Degrees Kelvin mole. Because G is rotate to fit them inside here. And when I add a bunch, now rotate, he's got okay. And do that. Rotate now. As she moves as hovering over g squared. And what's left is just these ones. We change the script. Let me show you grab everything. Can have them, yeah. And then have these guys just rotate them. And D, G, These make sure there's no overlapping. Now. Finally this guy, she picked risk. And again, I'm gonna get the texture. These boxes are VM. I'm trying to get this even distribution. Firstly occupied is basically split these up now. Shelves that have moved in. They rotate, press R, and then just move this in place. Now these ones, this scale. So you would want to give it more time like when you're laying these, these UVs out. But for the sum for his class, that's gonna be it. Again, just to recap, just make sure that you do getting at a fairly decent amount of resolution on these polygon two distributions over here. If we were doing like skin detail and stuff, We, we're gonna be focusing mainly on the face. Have more smaller, smaller boxes, which means they will occupy most of the UV map or the texture resolution, if I may say. So. That's as far as course for this lecture. And I'll see you guys in the next class. 26. Overlap UVs: Okay, so now let's say you want to have overlapping UV's basically because this is symmetrical. You want to have, let's say this front side, this like this. Select annotation, this on top of this one. And get more texture resolution like that. Pretty much easy. Just grab my eraser. Erase. This guy is annotations. I'm going to show you a pretty mucky to have it. It says, I'm Clay Beatty, select this, go to wireframe mode, go to wherever mode, and then solid X delete vertices. Now we only have one side. I did the wrong side actually undo that, control either invert and then press X three vertices. Now, if I go back to my press Tab, go to my Object, Object Mode. And was immodest phi is a modifier. Just add the mirror modifier. Having this go to Edit mode selected, Everything's overlapping. Make sure you have this selected and hide my iris. So I'm gonna go to tab, make sure happens a coin you selected only and press Tab z for wireframe selectivity problem. Yeah. Ted, exit. These are just good to my cut selected. Let me see what brush you pursue. Unwrap. Gives me this. And I can apply the first tab again. I have this far. These guys, you see, I'm getting this. And these are on top of these ones. One, we are m plus l. Then select one and then have that. Now just say get out of wife and mother decided mode. So I have the front skill areas. Compare this to scale them up. G, move them lexer. And I can scale them up again also. The checkboxes and Control I on the side, Control I to invert. Because those guys done, gravis, move them down Adobe. First, select everything you see. Now. We have that. These will have lesser texture resolution because basically they are, they are at the back, so we don't really need them to have and they won't be visible. So now we can occupy this texture. We get all those details. Can see as you can go overboard. Just make sure you're selecting both of them. When you're doing any transformations because right now they just overlapping. So yeah, so that's it. For the cornea and the iris. You do the same process. Press Tab to exit day. And I'm just going to open it and hide the rest. I'm going to click on my iris, this tab. This is our UVs to select wireframe mode, select everything over here, x three vertices. Go back to object mode, select our iris, add modifier, mirror modifier, and just select our empty. To get it at the center. Where you have the selected press tab. Highlight everything. Cool, and then press U to unwrap. We're getting the same thing like that. And then go back tab and press Apply modifier. Press tab again to go to my word. Edit mode. I'm going to select this. I'll press S to scale it down. Again. Just make sure that when you have these these ones, that we see it and have all of them because they are needed each other. So I'm gonna go to my solid mode, go to Ages, slick this age. Then it will crusher, functional or just this one. Select suit the loop control or to grow at that same color. Cisco every age group, alt and shift click Control R to grow. It. Just makes sure that at least the soldiers who to pay them more meetings, very easy. Issue. Select these polygons, these ones, and do that. Plus b, c, d, x2 and escape. This is the easiest way now. See is all of them to see these escape that loop. So this loop to see if I have this loop. So yeah, we have these guys, which I can scale them down. I can also show my checker boxes. You can see the resolution I'm losing when I scale these guys done. Reasons. Scale them down or so. G to move, it could control I to invert selection and grab these guys. G to move at the center is this girl. And I can scale it way up to center and occupy the entire space. So I can have more resolution on those. Then Control I to invert again, shift select scale. These guys, move them in, scale, way down. So I'm going to say select everything. And that's what we get. Let's get it a bit up. So and just move it in place. So that's it for overlapping. So we have these guys overlapping like that. And yeah, so that's it. Controls save this, It's all lecture. And I will see you guys in the next clause. 27. Fixing Polygons: Already, yes. It's quickly refine our ages. Select my dog marrow, and go to sculpt mode. So we just going to refine those points. Then go back to the visibility tab and go to visibility. Turn on Wireframe so you can see our ages. Now what are you doing, your eyes? You can see this distribute, distribution is not equal. So what I would do, so what we're gonna be doing, just scrubbing, using the Grab Brush. Just making these, hey Lee equal using the mirror modifier. See you are probably at the top. If we go File, Open it **** together to merge at the center. Let's continue to move this debt. To worry about this silhouette at this stage, just getting a decent amount of paragon distribution, as you can see, this moving these points that I'm not having that HE per year. So we have Show which means we have two polygons overlapping. We're going to fix that now before we even forget fixing these. Let's go to Edit Mode. Modeling mode is fixed. The Soviet before we even forget this, I can relate to my grid is still in there, but it's fine. We just leave it as an a need. Grandma faces. Say it each faces and things opened for the Cut tool. Yeah. 66 plus one to the point M. Not much distance. Aim at Saint. This Grab now, everything is together. Now we can go back to our sculpting. Yeah. Everything works out fine. Everything is sorted. So I'm gonna grab these guys. Another way specifying where it is a female and male. Decent each flow. Okay, I'm just writing this. Take this anywhere. Smoke it upwards. Going over these vertices one by one line there. This guy, Tim, I saw you on. This, can add more to the tail. Increase in breast size. Decrease this way too much. Safety decrease by says this move these inlets. And I'm going to hide my son. Describe these lines. You can see that some of them are various. Question is not ideal. No sign to face mother's womb. Crucial. See that it has to go this side. My case doesn't pick that up, but it's a Sunday. Again. So the nose and the mouth push the sandwich takes that way too far. Gina. Preserve size. Again, just so every correcting her silhouette. We can get into that. So I'm going to add this youth were sick. See the front. It looks bad. And probably just coming in. I can see there's points. Correct? Words. Smoothness. And I'm just going to make sure that this, Let's take this straight. So postfix this mud bit too short. If this fixes the new, go back and fix them. Finding this shadow puts safety is the size. Push this upward. So if burst again. Yeah. What does wearing me a lot. I see it's not too, because I just need you to push these more prestige. Strike these guys. Very rough as a two-part sound. So a face is very crucial. Nice. You have a lot of typology. So we still an edge loops here. We finish this. Just moving, these guys can just move them up to it. And then this whole sky pick it up. Something of this nature. At this stage, I'm hardly any reference. I'm not doing any reference. Just me memorizing my muscle memory. Because obviously we do want to come back and do a lot of sculpting of they and this guy. And everything will be corrected all the way. To get a basic layout of the mouth. Overall. I came in and move them at debts. K roughly every scholar to modelling snip side view. But I massage your sheets. This side of it is that manifests trisect faces is just go down. Each extrude. She to move, each extrude. S to scale. I'm going to grab my text like edge down. Just make sure that I have Let me see. Ages. Decide H0 Andy shifts like this side when I say snap to the side. Because CI system moves in. The last one, g one. Then I can save my words. Let's select snap. She just moved them out with that. This guy, just a TEDx. That n-side wind. Select, de-select that. She again, move them out to it. So that's our refining. So we could just look at the eyes. I said, it's best to modify the eyes once you have the AI model. Hide my son. Hello. Grab this top quirkiness. Moving to using right triangles. You just got mode and subdivision to decrease the brush size. If again, just grab brush, stroke restaurant to them in this way. As it's much faster to manipulate all these single vertices. As you see me do here. We finally have, you have a decent distribution right now on our model. Before I haven't made any age. I really like working with low poly models for a long time. This time I see that everything is working out. Can we go back to modeling mode? Side? Piece is to fix this control RMC is loop. We have it looks on the i's escape and also around the ears. Press Escape to compensate on this. So we have that this is a basic low poly model over dog. And then I can open this silhouette, just making sure that I go to sculpt mode. Snap that. Grabbed my brush in a very large brush size. I have a fairly decent, smooth just like bees. See now that it just kinda went a bit overboard there. Fix this. Push, push it in red. Again, we can modify the low poly mesh at the later stage, in which you can show that now the silhouette, a top view. If smooth it in what they've, they fairly skinny on the top view as you see, I have a reference that shows away. I can see the acetylated over and over again. Do Shen go to V sub E, snap that tab to exit edit mode layout. We might read my reference, this top reference over here. And just drag this in place. That my sculpting mode. Same process. I'm going to just move this element, this outlet. Please. If she said brush size. Now I'm just messing around with my She's getting these proportions. Overall, rib cage, etc. Those points. Then you square that. I will probably name this guy. And just say top view center. And just check this. The helps a lot to just use your refund to get those proportions very easy. And if I hold down shift and then smooth, some of these guys knew that in there inside. For my necklace, I need to fix that. Go to the top view. Sped four legs, it should shut em and revenue legs. Too much Adrian. Pushing that emulates. You see me two over there. Hi, This guy. I have the overall thickness. And just trace smooth, hold down, shift while I click. Smooth out those edges where I kinda went overboard. This point over here. Pushing that in noise. Just going to move these flits. Push these guys yeah. For Nick. And we'll go to a top view. Look at that name that if somebody like this, and that's that I'm going to hide my reference. And it will go to modeling. And we actually have this dog model of probability decreases that equation to one. Like dog model. Everything's too smooth. And looking Phi of v, I could probably just fix this silhouette before anything else. But that's it for the polygon. Fixing our party loops. As you can see, we're getting a decent poly polygon distribution, which is very ideal. Distance is pretty much equal on all our polygon ligand. See your face, are we getting that on the nose and the eyelids is you're going to fix. Once we start with the sculpting, this is a fairly decent base mesh to start blocking out all sculpt, etc. Yeah, I think that's where time and I'll see you guys in the next class. 28. Sculpting Dog: Alright, welcome back to this lecture. I have opened up the pure ref. So you can get your software online for free. Pure ref over here. Let me just right-click and say mode overlay. On top. If I click on the viewport, but it won't be removed on the screen. So it's a very good software, free software. You can download for free, where you can just drag and drop your images and use it as a reference on-screen. I normally use like two screens and stuff. But in this case, I'm just going to open these legs. So sorry about that. And have this on the other side. So what I'll do is go select an object and go to sculpt mode. If you notice over here, I have symmetry turned on, as you can see. So we can start blocking out our model. So what we can do, let me go back to the Layout tab. Click on my object. So in order for us to, to start sculpting, adding those primary forms. Those those forms actually, we need more resolution. I don't want this. They just kept some popping up like that. I have no idea. But I think it's poor if we just turn off my just disconnect, my nature, go via WiFi. Turn this off of here. Cool. Now I have this offer. I doubt it's going to be popping up again, sorry about that. Saying so we have these low polygons. So in order for us to start sculpting, we need to add some subdivisions. We're going to be doing. We're going to use modifiers. Go to add modifiers, and we just move this guy right mouse click. So there's two ways for us to be able to sculpt week. We're going to be using the multi-resolution instead of this subdivision surface. So this works better for sculpting in Blender. So let's click here and you notice nothing happens for now. So there's no change in our geometry. But we added a subdivision, the multi-resolution. So in order for us to see those changes, we need to press a sub-divide. And you see now I mentioned has been subdivided once. What I'm doing when I go back to my scalp mode and make sure you symmetries turned on. And then I will start sculpting. So that's the reference that you guys will get. You guys have downloaded this also. Just look for a fairly decent view like this. The dog lift the front view. And then I'll just grab the grid brush. Press F to increase the brush size. And this just dragging these points. Let's look at our reference. And again, this is all covered in Fergana. So it's not gonna be we not going to be too worried about the overall proportions. So I'm just going to decrease the brush size. My screen course keys I'm showing. I wonder why. So when I'm in sculpt mode, they don't, they don't show up in pieces. They still unsure. Apparently. It's a city of MTD. Okay. I'll fix that later. Just tell you guys that as I go along. So I'm just I'm just fixing this point now that I have more resolution with these just coming in, striking that in, I'm still using the brush. Scribbling those points inside now. Still. I am respecting my polygons. Again. Smooth that in Excel. He grabbed Bash. As you see me do, let's start over proportions. She used a brush that is present if mouse click and drag. Just put these up and push them back. Just fixing these polygons as you see. I'm also not trying to destroy these polygons and stuff. Can I can sub-divide even more? Sub-divide can add more resolution. So make sculpt mode to deform the basement Schwab. Sculpt the base name shall I say? I have the settings. And I'm going to grab my free brushes. I use a via an additional discrete case. This trend, because I'm using a mouse, increase this way down. Masseter. And holding knees. If you look closely over here, a bit of a separation that goes on. Just creating that isn't the case. Strokes. Again, just using a mouse again. So you've been done for along with this. I could turn off the viewport to wireframe. Probably also the color object. So to invert, I can press Control and Shift to smooth out. So we're not going to do a lot of sculpting in this up to two in this course. Just some basic skeleton principal who we are, as you can see. Hold on control. If I am a current brush that we normally use to increase or decrease the size. Now we know our muscles that you have a brachiocephalic huge muscle. You can also open your reference over here. For the side. I can find it. Okay, they decide we are going to be good with these muscles. Are basically a brachiocephalic as it curves like so. Then our trapezius. I'm just checked, my resolution is about right. He's a meter of air and our lats. And also Torres and also our break your bicep femoris, cetera, who isn't muscle groups and our glutes. So just knowing these form, these major formulated, as you can see, I'm plugging these out very quickly as I've been skipping this whole way too long now. Semimembranosus, my tendinosis over. Yeah. So knowing these muscles, I can grab my brush. I know when I added that and hold down control tests and I still see see we don't have a lot of resolution here. I'm just going to smooth that out a bit. Andy. Probably subdivided once again. Now we can get more details. And I grabbed my crease brush. This time. I believe this is the highest level curve. For this, we're gonna be using procedure. The procedure is roughly bugging out these. These muscle groups. So we have our glutes and our tensor fascia. Yeah. Making sure that tricep, having these muscle forms is very important. Motto and our extent and fluxes. Foreign control again, I can invert this guy's sure ever lead to pretty much invisible. And also our trapezius. For tell a pinching you. Make sure that those muscles on the inside, yeah. Everything very rough at this stage. Have in our okay. Strict anemia. These sharp points here. Then I'm gonna grab my my clay strokes. Building these. Just make sure and do that. My my, my brush it in resist. They said firm faces only. Saw that the previous time. It was also grabbing the point. I didn't need to make sure that you have what don't control my glutes. So that the African wild dogs have such smaller muscle groups. So we're not going to be exaggerating them as we've done for the tiger. Cause. When I'm controls do this. Again, I'm just using this master to this basic sculpt out. If you want to increase or decrease the smooth intensity or just smooth brush and just dial this down over here. Go back to my strokes. Start sculpting again. Press F to increase the brush size. Confused it again. F is a fish on top. So pointedly will need to add gastrocnemius and soleus muscle via this lease. It's not going to be to emphasize remember, I told you that these animals are very skinny. Leg bulges I can top and then everything does mixes up today. I want to control. And then if I go to my dog agency, really skinny. Like the ribcage. Obliques. External obliques pieces. Yeah. Hello. Triceps. Brachiocephalic. Again. I'm just going to smooth those out. First to get those basic forms. We not focusing on the sculpting on the tea towel. It's just supposed to get those those muscles overlay that. And I can put my grandma, I grabbed brush and just fix these formulas. Make sure that they make sense. And rarely inflate. Increase that guy. So then I can grab my strokes. Acidic tenders. Give a toast. Message to the tail. Total control. Publish mean. Wasted would oppose us. First to match these guys. That makes sure that superficial muscles are they. You can see. So now we'll just be using the grabbed brush. So this is the first stage and we will continue in the next class where we were going to be finalizing these, these cop details. Guys, and I'll see you guys in the next class. 29. Primary Forms: Okay, So let's finish off sculpting that. Doug. Welcome back to this lecture. So we will lift off. I'm just going to continue with this very quickly. Strokes brush. These, decrease the brush size. Now we can add those minor details. I tend to sometimes forget just hold on control because I'm just used to probably if you just used to ZBrush and stuff. So I do sometimes just mess up these these controls. Hold down control and invert. We are on our gastrocnemius. Kinda see this intense going on? Yeah. Very intense. It does just bulges out. So we have our Achilles tendon just bulging up like that. Then these tendons just come down to supply the phalanges and the tarsals. Hold on. Control. Me. Just look at this. Your friends. See all those details. Patella, no tibialis. Back to my smooth brush and then just thought Andy, smooth intensity. Make it a bit softer than for smoothing tease out. What about the next steps? Uncontrolled again? Apparently this not including the current scope over here. Let me see. Okay. Just a scalar is typically off. So if I go to visibility and go down to wireframe, then look at the wireframe that we have. Don't need it in this case. That out hold on shift and a keyboard. So very soft. But if it's inclusive across as a brush size. Friends. Yeah. Hold on. Shift. Smooth that out a bit. You know, Greg, if you increase the brush size. No, Just me just dragging those polygons like that. Very messy. Making sure that I'm still maintain the proportions. Not going overboard. Reduce guys. Pushing that up forever. If two brushes hold down, Shift to smooth that out again, I'm just confirming the silhouette. So crucial, just chicken, you know, and again from the top view. So we don't want to be this. So I kept working fine. So just smoothing that out, ownership. Then we have our basic shapes. Control just like that. Push these out like that. The grid brush. Moving amino acids is currently my Achilles tendon. So if they like moving inwards. So the hind legs speaker for that. You have that in place. If it's making them smaller again, because they've got a very yeah. Just picked him up a bit. Too much. She has a curvature. That you see this. We have this code. We can see that nine. Just going to build these up and then you're pretty safe. Whenever those proportions, so it's, it's kinda easy for us because we have that geometry to compensate, could probably increase the intensity of my brush pressure. Come in. This is just not working well. Faces only should be about right. Okay. Continue. So far I see two sharp corner on shift. Sheriff to smooth out those forms like their digital pad over. Yeah. Yeah. I'm just going to split out too much. I can grab a brush. To increase the brush size. Just move this term to push this time. Isn't a grid brush just fixing this celebrate. So it is very important as you see how this is looking. So much a straight line. So I'm trying to do here. D is pushing them down. Then also under kinda easier for us to smooth this guy out. Push this n. And the n is two the same for this guy. Wasn't open right up to you. Let's push this done. Excellently silhouette again, as I stated to you guys, this tariff we getting the overall shapes, dismiss this like that. Yeah. So we have overall Shift to smooth surfaces. So I have this little party which is almost dark. So if I go to the side, I can kinda see the silhouette. You can see lookout, then easy, ease. These hind limbs or the limbs are very tiny. Just make sure I have my silhouette that put these up. So making sure that I'm not questioning too much over there. Probably increase the size. Sculpt. Then we're going to go strokes. Ftd is a brush size shop. That clay strips forms and those muscle formula, olecranon. I have that checked references. Just going to brush over says chicken, this silhouette. Now, we'll be doing more detail. There. 30. Secondary Forms: Pelvis, shifting everything, civil pelvis region, a, bony landmarks, and our vertebral column. And we have a ribcage stitching groups. And our cervical vertebrae is underneath and our lumbar and thoracic. And our code over here. We have our patella, olecranon of the ulna and radius, and the ulna and the metacarpals, and the metatarsals, the tibia and fibula. So these are the major bones in the skull. Those don't be carried away with the muscles and ignore the skeletal system. As I move the forms, I don't want to destroy that curvature that goes on as you see. Have all these fine. These primary form. These will be for layout and C. So we can be able to do our texture and so forth. Increase again to the third. And go ahead Mike Stokes. Good. Now just come in. Some geometry, had no idea. Go to the eye socket. Sculpt, easy. Shifted by size. I'm just going to go to, so you can check the version. Because then I'm just going to add this code. Now I'm going to read the airbrush and fix this. Okay. Just take these out. Push those in. Hi Anna. And it's just going to be K strokes. If those homes in place. Then grab brush and I'm going to press Shift to increase the brush size. And can just drag these points. Yes. Thank say. From the top view. This is very important. From the top. One would question these guys. Inverse f to use a brush size and I'm just going to move. I suck at Luxor. And from the tub. Going to take out these guys. And clean strokes using the same brushes actually kinda build these. Again, hold on. Control. Shift, subdivisions, shift. There must be a bit flat. Brush. Okay, we check for it. And strokes. If I decrease my size, just built around vertices. Louis or division one. Yeah. Gravity. She was touching the eye. And Sylvia can kinda see her silhouette. Push Shift to smooth that. We roughly have our African dog. And everything is roughly working as planned. Just a few tweaks here and it just finishing off the party. And remembering this from the front view you can see check these out into two subdivision and K strokes. And roughly be building up at the top mouth, lip around that line. So we getting that overlap. And it's going to smooth that out. Bottom section. Make sure we don't touch that line. Then press Shift to smooth it out. Building again. We have smooth this out. So I'm just going to grab a brush and just yes. Finished SSID I only and then we have our basic shapes. Dog. Okay. So I messed up here, but I'm just Craig doesn't. Then. There's very fun and nice. I could take the entire day with these. This will be the Delano just come in. Yeah. I would do just grab the brush. So it suddenly yeah. I know. Just inflate these nails. Just include some of these names. Some of these ages. Grab these guys, moving them in place. Now, the collaboration, it's better this way. And it's much quicker. Ownership to smooth and go to the back ones. And also just the same technique. Brush scrub them over here. Picked him up but so yeah. Check the top. Bigger. So pretty safe to increase the brush size. That's that. That's for a bit smaller because they always more elevators someday. This so yeah, we have Doug everything basic of again Doug. And again to you guys for your time. And I will see you guys in the next class. 31. Painting Eyes: Okay, so let's do some texture painting on the I is going to Sigma I is just hide the dog. This guy. Obviously, we don't have a resolution. I can probably add the multi-resolution subdivided once. You get this Moodle, you just right-click and just shade, shade, mood. Just get the preview. Legs. Steve. Okay. Now we have this selected. Go to your texture paint. You see we have the UV grid applied. If I go to my texture pains. We have the cranium it to create a new texture and say base color. And see Connie, Connie of paint. Give it a one. K. Should be fine. No alpha. K. I just say select your paint. So you see that this works. 63. Could see that this material via texture, There's nothing and just delete it takes ten and go to the color. And I can paint like that. As you can see. This is fine. Now. I would love to just if I select my texture, There's no texture over here. So I say new and new texture and just open texture. And look for my, I see a texture like that. And then just right-click and then just remembering that controls as right-click to scale it, Right-click and shift to scale it. And just right-click to move that in place. So this basically a Iris. I'm gonna say this to stanza is just scale this down this side. Then if I stop paintings, he is painting. I see. Yeah. Just increase the brush size. I'm just going to paint roughly. Yeah. I'm gonna move this to the smart to sustain, so just decrease the bad stuff. The backside does that, which will not be visible. Sylvia, it just shows a UV, great because we haven't applied the texture to the shading. Now I'm just going to come in and blend. Make sure that you don't go to the edges because there's going to be stretching claim on symmetry turned on any of those guys. My preview, I can go to my shading and just make sure that I have this one applied. The UV good. I can see that texture painting. Again, go back to check to paint a stem cell again. Spending these together. Scale this down. Just make sure. This way, ISO be some over here. Scared of this glow around the edges to the corners. So he won't get any seams. All these uv maps can play and you can see over here, these guys. Again. I texture. Open it again. Good way down. Shift and right-click. Smoothly descent to the x. Krista bursa in a bit. More. Paintings, literally forced. This center part will be transparent so it won't be visible. We don't need to worry about that. Smith. Sure. This is set to white. You see now we getting those cutters. So sort of like debts. Everything was very dark. And press Z to increase it and make it a bit darker. Z, scale this down. Bracket keys. You can set up a size and then his panties. Then I can just come back. This makes sure that that he's painted on there. Moving around. There's a bit of time. But just giving your time. Just blending everything. No animals. From the top. Move to the back. Corner. Texture. The darkish. Remembering this will be hidden. So what I'll do is select my wrist, go to Layout, Control S to save my cornea. Same process. Select this guy. Go to texture paint. Remember we have the UV grid. So what do we do? Put a material. This material, new material, actually need a base color and texture to say iris. Paint. One white, except it's going to be an essay material and as it texture. Let's again go to this guy. And then I can just change this to paint. Is zooming in. Zooming, roughly aligning it. I start painting. This doesn't update because I don't have this shading applied. Go to Shading. Make sure you remove this checkable and just add it. This is paint. Now you see it updating live. Go back to your texture paint. Just come in. Let's paint this one black. So delete this guy. Kinda pick, select this folder that can, let me see this. Black. Could go to the layout, texture, shapes, and anti-matter reservation, purchase subdivided once viewed as an EV. You see you about color. Go back to takes to paint. I can now just come in and just blend this. This seems yeah. With my black arrow selected. Decrease the brush size, make sure I have symmetry. Then I can increase this a strength. But if there's any lines, it looks about right? So we have that texture painting. So yeah, so that's it for painting the eyes. Fairly simple. Remember we combine everything. We just using these tentacles to get those textures. This tissue that I'd done in Photoshop, painted them together for you guys to to use them. So please don't forget to download the files and you can use all these maps and practice this. I'm going to do just for time and I'll see you guys in the next class. 32. Painting Dog: Hey guys, Welcome to this lecture. So let's do some texture painting on our model. So there are a few ways to do your paintings in Blender. Premise defense then zebra showing you one option, basically painting on the vertices on your model. And we're going to be painting on our UVs. Though we're going to be using this texture paint feature. So click on our dog and select texture paint. As you see now we have our UV layout and our dog OVR member. Lastly, we added a material in this on this dog, which was, let me go back to UV Editing, back to shading. You can see we added this over here. Composers rename it and just say UV and just press Enter. And this was for UV texture painting. Our checkerboard. I want to remove this unlink, this formless dog or the ISO go to shading this, grab this, and unlink it. So it will be free from any texture. Go back to texture paint. My material selected tissue. There's nothing to just gonna say. Say New Me too. That. And go back to sitting over here. Selected, you have no textures. Click the plus sign, click base color. I will change this guy probably something around black base color. So these dogs are kinda like the black line. And the neat one k will now turn off the Alpha to save space. And I just named dog base color and press. Okay. Once we have that, you see nothing shows the side because we still have dog UV selected. I'll tap this arrow down and then look for dog base color. Now, everything is black as you see over there. So we're gonna be using stem cells to paint, basically grabbing those realistic images and would further detail on our mesh. So go to your Settings, go to Brush Settings, and go to texture, and click on new texture. Now, we don't have any texture, so go to Texture menu. Click open to input. And I'm just going to select my word oxide image, which is this one. And I'm also going to go back to the settings and make sure you have stencils, select it, and click on image ratio. So to navigate around himself to Japan to move this, you right-click on your mouse and to rotate, hold down control and right-click on your mouse. And zoom in and out what I'm Shift and right-click on your mouse. I'm just going to roughly align this into place. See that symmetry turned on. Yup. Just roughly aligning these thing semi over day. So probably just snap to the side. Rotate. Stop painting on at door x. To paint. You just click and drag. So if you move out of the viewport, you can basically see the update going on. I'm just gonna click and drag. Sarah flee, add those details on top and move aside. We can just rotate to grab the legs. And I just rotate again. Grab these guys over here. And then just click. Stop painting there and tap and paint this until I say, this week, week two is fine. Kinda went went overboard with the she'll respond in a few seconds. Give it a second. Just pause this and just get come back once this time. It's begun responding. A believer is close. This tab. Canada near side. So we're going to have this in full screen. Say, and right-click, shift, right-click this girl. Smoothness into place. I'm just going to click and paint on most. Just view and just right-clicking. So rotate, which control? Cos k is k. In that n is aligning this leg. Two buttons. I'm just going to right-click extra, roughly align it. And then I start painting top color and also rotate it again. Roughly over. Yeah. I didn't because I have too many applications opened. She gives them time to update. So this is just first to get the color, the color detail for alpha. So it doesn't have to be. High resolution and stuff. Which is first to use this as our guide for, for our color, indicating some of this. And I'm just gonna R to rotate, make it flat a bit. New. This back. Right about here, is grab, Shift and right-click to scale. Excuse me some time and then to update. I don't want to say so long. Today. Shouldn't be shouldn't be like that. Just give it some time to calculate it at all. Well, as we doing this, What's symmetry? So hoping that the other side is sorted out, she's faced tend to just blend the middle of the of the animal. Move as you see. Can just move this x. I could probably use my brush size. So click, right-click and just, and I'm just going to do my tail. Let's scale this down. And as you see, we managed to capture the other side, which is very nice and convenient. This first nudge it just to blend these at the center, which will pretty much be easier for this case. And this case, I went to the side and then just scale this guy up. Hold on, shift and right Mask or something of this nature. Raphe get that color. Too much. I'm just going to do the just man does can just come in and just being these guys are just going to move this just roughly aligned in this guy. Get it up. Hold on shift. Not only aligning, but then could just guess I'm only down to Ted. So let's give this a try. Start painting. Again. You have symmetry. Now it's a matter of just aligning them. Hold on, rotate for their neck. And just move that up. And then rotate again even more. Slightly getting that. Just kind of painting inside the EMA dog. Going over the ages as linkers is roughly our paint. A dark. Honestly now, I just could be that just color pick this guy. And he just come in. My intensity a bit lower. Just coming around those eyes, blending everything together. So I would say she has served as a guide, serve as guidelines. Intensity of it. Select and I drop this color. I'm just going to play in this brighter one. Increase the intensity of one. Make sure it's white. Having just color, pick this guy to keep on picking these. And, and do that. And just kinda pick this one. Paint inside the ear like that. So I don't do this. You see near Quebec to texture, and I just opened another texture. Let's go to our textures and see which tissue can import. We have, I have this Aeschylus, which can help me blend everything together. In this case, can use this guy asked me, put him back. Okay. Andy, dark side. I'm just I'm I'm moving. Just positioning. Scale and then rotate that. Right. No. Summer where I'm going to move this down. Move it like that. Hello. Oh my word. Now I've just come back over here. Not using a teacher, I was just using black. So I'm going to undo that. And I said about texture. Go back over here. Make sure I'm using my texture. And write and speak to, and try this again. Scale this up, rotate it. And scale this up again, and just move it. Aspect ratio on to say, it's a matter of just grabbing 1. Lending. This blended together. And just use an then the mouth, ears and that roughly align text is inside. Make sure I can see that. Top part. I don't want to change about the center span. Do that. It's just the odds. Just finish it off. The texture. We can add any texture over here. So this now we have basically edit TCO, Cody's pods. Now, what's leaves just to critique Sylvia and also just close these gaps that we have. A fairly easy process. You get. So let's continue in the next lecture. 33. Clone Painting: Hey guys, So let's start using the clone stamp tool to finish off our paint. So I'm just going to quickly show you guys using the clone stamp tool. As you see at the center, we still have spaces over here. So what I will do, You go down over here to the clone, select the Clone. Just use that default told you select the color on the other side. You place it down Control and just increase the brush size using the brackets key. And then hold down Control and click. And then when you start lip mousing, left mouse click, you stop painting on that. Using, now, using this, what we picked over. Yeah, Obviously I have symmetry turned on. Everything is a bit symmetrical. So I can come in just moving in like that. Using all the colors that I picked over. Yeah. Pretty much works like Photoshop. So if you had the chance to use Photoshop, and it pretty much works like that. Can decrease the brush size a tad, or uncontrolled muscular bag. Let's bring back the color. On top. Control-click controller command. Works. You start blending these together. Control. It takes a bit of trial and error. To get these two. It doesn't work properly. It can give you that. Break down the surface at the center. I just control click. Share, anything like that. You see I'm blending everything. And even at the center, could probably just come fix this one here. On the brush size. They shall be saved in the scanner. Right top here. Hold on. Shift control, I mean, control. Kind of pick. Try to blend these colors. This makes us work very fast. I can also run bracket t, two interests of our size. Control. Just come in and fill in those gaps like that. And I'm getting all the colorful just for free control contest side. That just looking for other space as we're going through that. Brush size control. Because making sure by our UV editor that everything is fine. So this is a ears. It's not perfectly fine inside. Yeah. So what I do, press Control. Then I'll start painting. As you can see, it's filling it in. Control. The edges coming in. That's checking on all the sides. I've missed any place over here. What I'm control lines, key, stats for the side and just looking at everything has failed and probably run your legs. Yeah. If you look at this side, it's time for us to just control. Blending everything together. Control. And I can even tell daddy intensity the string, giving it a blurry edge. Instead of those sharp lines. I can come in and just blend those together. And you can have symmetry turned on. And I'll probably increase the student is aside. I see inside here. She hit the button. We having this coating that or no control. Giving them a different color variation to it. Yeah. I will show you how to use the throne, the uv space. I think that's it. Yeah, it's going to combine these two. If you want to use the clone on the side, you need to go t or just add a texture. Yeah, probably this guy works as tensors. Same burrow to this guy. Then I can just paint. Put it alongside. I'll put it over here. So if I press zoonotic, but I'm basically using this cut out the black color texture and make sure everything is at white. I'm actually grabbing everything. We're going to go into my textures palette. Select my texture. Hi everyone. This guy. Uv. And you can basically save it in an imported and then use it as a copy. Ten years as to do the clone on the side. Basically say Save and WV. Question one, you should say 11. And save image. Now, can delete this guy, say open. Grab this image. You can use this as the image exploration. Just scale this down. Poses, increase this. Scale it down. Move it inside. For this guy. As my UV. Kind of hard to see this. Here's my UV ending in a texture and just move it. If I paint, now I can paint on top of it. And do that. Midway in the sky. In place. You can see it. It's kinda tedious to do this. I do painting. This is a way to clone on the side. So if you just click Cloner mean this or wasn't a brushing to, sorry about that. But then it's the same process. Changes to stencil. Then you get those same texture. We just clone on top of the mesh. You stop painting. You will be cloning on top. So that's fun. That you can just come in. Finished, finished this cloning tool. Let me see. Just predicting color. Pick this guy. If I change the color, choose this guy can see again that. And then just living species and we lived out decent over here. We have a special on top. So this is a top of my head. How I didn't see it. Because the shading is going on. These little yeah. When I'm control, just be careful of these little GIF it's closing. You see, maybe to remove that. Again also to the side. And then have improved on over there. She get the color variation I said to it. And then look at a 2D texture. But I'm having problems. They shouldn't gotcha. So we can just clone this guy. Just move him in. Restraint. Restraint is at one. We'll just close that gap again. No, it's just moving around corners. And close this gap. That's just move around and closing those gaps are where it's easy to see them when in this 2D mode. You see now on your ear, we have a cap currently over. Yeah. Just kerning everything. Looping around. Good. Our model. We have the painting similar to press Control. Clean this up. You can also just paint this guy here. Toe tap. Again like these jagged lines. Just fill them up with the color picker tool. The brush size, smaller. And filling in those gaps now mean giving it a very smooth transition. Small brush size, you can see it's blending, blending everything together. And again, I'm just using them as filling up those gaps there. That we have no model kind of poker game. She does check the lines and do that. Up to this fixed. He knows perhaps slightly credit, but this guy. And it goes on this side as so, this is like almost painting in Photoshop. That's why you need those clean UVs. Much. 34. Finishing Painting: The side chains mesh brush sizes, but don't control. Then just fill it out. You can see over here, some of these things are not visible, so just be careful. Yeah. I said I'm gonna brush. And then just color pick this painting. Increase my strength to one. Fill the space. So again, just come back and check our UVs. Having a better job. Okay? Just looking connected to fix, connected, merge these inter, connect these points. Real quick. And see if it works well now. Let's go to the top. These ones that were not connected with some overlapping later on, it's going to merge and center. It should work. Let's grab everything. So I'm getting I was getting Lewis is check for one that the frontal lobe to texture paint. Just going back and forth with these guys. The easiest to read. And just paint over there. A similar color. Just filling in these gaps. This guy getting this film come in. This brownish, diverse, very low poly nails actually see some of them. I just put them in a lighter color. Yes. Hello. Yeah, I'm painting that painting. Record overall color is filling in those gaps. No. You can't have a UV grid. You can see where there's no Kyler is come in and fix that. See from the inside. Getting a bit of blending. See we have UVs, yeah, but again, nothing is happening. I'm just using a base kinda. Trying to cover up for this. Just going to kind of pick this. I just took a crayon, orange, kinda paint this guy. Just know that Euler's patient that I haven't painted it. Brush size, brackets, key, something like this. So with the clone stamp or an ad, it's going to come in and just fill in those gaps. Page on top of our UVs. Mesh the together. This guy see everything is close enough. Whenever you are using the same color. I'm getting a whole yeah, I'm just close this guy. So what that phone connection on my laptop. Just coming in and looking for those issue here. I have a few of these same color filling in those gaps, no spaces where if you clone tool couldn't paint. As you can see. So this is just requires you to just come in by hand and correct. Two spaces, which is what I'm doing. Just making sure that it's covering. So these, these lines are actually covered with color. These UV good. That we highlighted. See that one. This just requires you to take, to take your time and the quotient, this, as you can see, I never saw was hiding somewhere. This one I say sum over this nature. And the easiest way, let me say like for instance, this space over here, you can go to UV, UV editor. Select everything, and only select this polygon. It has to be some more. And then any polygon like highlighted, that's the one that we should paint over these polygons now. So I have them selected, press a on the keyboard, and then go back to texture paint blender. So I'm just mixing these colors. So we should have all these spaces filled. Now, I went around the entire UV map. You see now how crucial it is to have really clean UVs on your model. Again, to just a paintbrush, change the color. Here's a color picker to select this guy and do that. And then just painting these a bit gray, diffuse my strain size. Just carrying this, I know a great color. And I have symmetry turned on, so works like a charm. Filling in those gaps. And then I can just destroy it again and just blend. So we have a color map or for dog using a tone and using the clone brush tools. Let me see. Yeah, kudos, I just change the color. This guy. Make them a bit more bright red because it seemed like the same process. Blending them together could increase this trend. She only lived to one year. So what I'll do, I'll go back to same process. Lastly, UV editor, select this. She is polygon. And go to these ones. So these can be joined altogether. Texture paint. Can we give her that kinda show so everything is colored perfectly? You took stone to I can just fill in where I need to that so we had problems with that would impose. So but I just showed you guys how to fix if you also having experiencing those same problems. So this is about it for the texture, the texture and part of the overall dark. And I'll see you guys in the next lecture. 35. Detailing Iris: So you're probably wondering what, how are we going to be sculpting these details. So we have really textured everything, the eyes and et cetera. I'm just going to show you a quick trick which we are going to be using to add those surface details. So usually very easy and quick and dirty way. So select your iris, go to the shading tab. Remember we added this color map. So once we have this color map, everything is fine. Shift a on them the slight Victor, and select the pump. Once you have this bump node, drag the color to the height. So we basically want to convert this color texture to a black and white bump map. So there's always just like cheat as if these details of Rio. So right now the surface is, it's very plain. What do we do for this to work? Grabbed the normal to the normal slot. And you should see your bump details. Obviously it this way overboard. Normally invert this details coming out. And just use the pollex 0.2 value or 0.3 to get those details, as you can see now we have those details for free until we have these details of field without disrupting anything. So this is a preview that these details are there, but they actually aren't there. If you want, you can also invert like that. I believe this one is fine. It looks about right? Yeah, I just want to swine. I'll go with this one. So this is for iris and click on our cornea. 36. Detailing Cornea: Ok, So quickly detailing the cornea and the sclera as we done also for the iris. Can see it over here. You can see kind of cheated didn't displace the geometry. It's just a preview as if they is displacement. But there's nothing like the cornea and go to shading. Remember we added these this color, this color paint to the base color. Same process, shift a victor, Bump Map. Take the color node and add it to the height. And then take the normal to the normal. Wow, that's a nice tree cheese. The strand, probably 0.3. This one, I can just make it 0.11. Just switched to break that surface top and I just invert this guy. This is what I was looking for. The veins I actually popping up can probably increase this. Two will be decreasing this as we go along. Once we doing, we do the shading. Right now it's just a quick way to add those bumpy details. I just make it 0.15 as a little bit. This is way too much. Yeah, Like so like subtle details like that. So we have the iris and the cornea detailed like that. Fairly easy. If I grab the dog now. Sometime WV and do the same process, shift a, the bump color text yet put it in the height, then the normal to the normal. So this turns out divide the geometry and just invert this way bad. So it's 0.1 or something. This first to get to a surface details can remove the color so we can better visualize this. You can see we getting the surface break up when our model. Haley, easy. Challenge is too low poly cell divide them once. Can there will one is flying for this guy. The base color of a dog, somewhere in the world. And we go either way, which still needs fixing. So that's it for this lecture. I probably need to fix these as a lot. Let me hide the cornea to receive. The iris is sitting nice and big. Perfect. That's nice and big. I'm gonna go to File, save. And you have a dog. Nice and easy. And again and again for your time and I'll see you guys a mixed loss. 37. Lacrimal Creation: Eager as we come to this lecture, Let's start with this dot width anytime. So I just wanted to show you as quickly, so it's just going to bring something to your attention. This 3D cursor, we're not at the center of the world, which is very important. Let's say we want to import some 3D objects in the scene. If I shift a select measures and add cube, notice like it important that at this position over here, if I, if I press the Tilde key and go to the front view, you can see this is not at the center as this is the center line. Yeah, so it's probably some over here. So any objects you import, import at the center of the 3D cursor. Here, just be careful of that where you have it recurs. In this case, it's cause, it's very lost somewhere in the world. So we can fix that very fairly easy for conveys x cube. And go to the 3D cursor tools. Or basically you can move this around like so, which will take you a lot of time trying to position it at the correct place. So the easiest way out is just to press Shift S and then closer to the origin muscle. So it will just snap that back over the Indonesia will switch back to the Selection tool. Now this is at the center. So any object are important for now shift a mesh cube. As you see, it's at the center. Fairly easy XD, it's cool. So now we have that our way. Let's start our lecture. Basically, if I select my dog and press Tab to edit mode, I could select these faces. Please. Go to our reference first. Let me see if I can find it from ferry. Yeah. If you notice properly, if you look at these these eyes, they have this watery line, it's T9 and the lacrimal OVS. So this is what we want to model. This watery part where we talk very important to make those realistic eyes. Stanza, which gives us use a masking. So we'll just use this selection. If I'm in my face is mode and let me just hide my eyes. For now. For an out, I can select loops. In this case, I don't have one. I can press Control R to grow selection. Now control, sorry, hopeless. To grow desolation. Believe this is about it. Yeah, I think that's right. And I can Shift D to duplicate, make a copy, escape, right-click and then a guy just separate this rate election. So create another copy with the multiway is leucine modify applied. If I hide this guy and I'll go back to my dog, was to have this intact. This is k, which is fine. Press Edit Mode to exit, and then go back to that, this copy that we've made over here, this fella. And what I can do, I can select them and renamed double-tap, just say lacrimal. Another word or so forth. Anatomical word for this, it will two lines here, dark howsoever you say like remotest the scores. And then I have the selectors, my lacrimal selected. If I select my dog first. Just increase the subdivisions. So I can see that beta two or three xo and then go back to the lacrimal selected, go to my sculpting. Then I can just use the Modifiers. This one, we're just using my brush. I can find it. If middle mouse click Select, and I can just move this into place. Remember we following the reference over? Yeah. So this is inside the eye. Just make sure that see me pick that up but it's moving in. That can press Shift to smooth that out. And again, please, if to minimise, just turn on my on my screen cos key so you guys can see what I'm doing. At the bottom. That in shifts his meet those building just moving one vertices at a time. Yeah, I'm able to grab most of these guys. D grab brush. Can probably add some thickness if I have to. Be careful of that. Now. Have a smooth surface. If minimise click select. And then again, just move this in place. If again we must click Select and just bring them back. Likes me, I'm just going to shift. Yeah. I'm just smoothing it out again. Pushing the inside so that in due of them go back to Layout. And we'll probably just turn this doesn't just apply this modifier. I can have this geometry. If I press Tab to go to the edit mode and I'm going to hide my dog for now. Just focus over here. See I have only the dots. Don't elicit Celtic exit. And then zoom it in. See we only have this flat surface, which is fine in this case. What I can do, just give me some cookie V's UV map, using this dark color selected. Is we, UVs are bad because it's terminating this kinda. Yeah. So we can live with this code if I press the Tab key and my diagnosis see the color. Because we're not going to be exporting these guys. So easy. Visa, fine. Yeah, well, back to my color mode. My maturities. Just go right-click. Replace. Limiter is a lesion. Can go back to layer is subdivided as clay. When I say she is. So that I could start sculpting on this and create this effect over where I think three is fine. Go back to Scott, sculpting and go to hey, strips. If to decrease the brush size, select. And then I can just come in here. Those forms. It was a slightly if I didn't have my dog. If I can find my dog, you can see it. I'm able to get that affect the knee. I'm just going to increase my brush strokes, decrease brush size. And it's coming in. Again, I'm still using a mouse again. It's very soon to show you guys how easy this is. Nothing too fancy. Just going around with a C or no Shift to smooth. If I went overboard to see roughly see way we're getting with this. And then gradually just go and grab, right? She just finished this guy. If that in with trickier. As is, this is very thin legs. Make sure what this is. It's undersurface. Can see if I turn around. It's not under surface. I'm just giving it that going in top view, front view, bottom view, et cetera. And this is going to pick it up, reflect this. We have the TA duck again DO so. If I go back to the layout, if I hide the eyes, should have it on a surface like that. We just fine and I can leave that and add another modifier. As you can see, we only have it on one side. So to add it on this side, we would add the mirror modifier. Mirror. And I should mirror force on the other side. Fairly easy. We have that. And if I want to, I can do like separate UVs, which I can quickly show you guys. So if we go to scribble a quick save it and just close this. Like Yeah. We just apply smart rooms, Yeah, right corner which is collected layer first and then just applies modify this. This. So it will have like 200. So you would have to apply this mirror modifier over here to add those UVs. This case, if I were, if I turn on my texture, you see, we're getting that color. We're like it's blending. So what I like about it is it's using because we extracted this from the surface of achieving their texture paints that we painted on a dog, the actual dog, which will reflect that as you can see over here. So that was it fully CEDAC was to have them humidifier like the equals we integrate, exporting these out. So we just leaving it as is these modifiers and the multiple ways, etc. So what I'll do, I'll leave this here for now and we'll continue in the next lecture. So again, do you guys with time? And I'll see you guys in the next clause. 38. Mesh Check: Welcome to this lecture. Let's add a few of these fine details. Again, I'm gonna go overboard on this class as we won't be focusing on that. As stated. If you're gonna be focusing line. So without wasting any time, now click on my motto, my dog and sculpting. So we using these smart to raise and we need a few geometry over here to compensate. So you will subdivide, or in this case, we sub-divide and increase the resolution to live for four again, four is only on sculpting is fine. I leave, this will work and go to my case troops. Brush size and make sure I have my symmetry is turned on. So I can sculpt on the other side. I can start now. Again. There's no low resolution here. Just coming in. Just adding those final refinement on. Nope, dog. You can see meets me that out. If I went overboard. This particular app, we can see on the nose of it how those forms are laying. The smooth is very harsh. What I want to go back to this mood, Does it down. Please just save a pretty smooth, doesn't fit that a lot. This time. If you decrease the brush size. Again, just fixing those are minor forms. A door that will have sold the piece. See those? I'm going to grab the brush. Just decrease the resolution as presented. And minimus click. Need to move these annelids, decrease the brush size, deterred. This just roughly for him in this shape over here. Just push this back. This figure from the form, the fight distance. If it still looks like a dog, the silhouette shapes. And as we're coming from this side, push the trigger. No angles. Silhouette legs. That's 40 years as you can see, two a day. Can you see that? You can really see any details of the kind of house you guys to just keep those minor forms. I increase my subdivision scouting. My two, raise some time to calculate the thickness of that. So what I do, I'm going to go to the Pause and do a rough Scott over the yeah. Easy. We just model the man, the very flat brush size, something of this nature. And just do some breakup. So listen to you. Mustn't be too uniform as magnetite shops. I wasn't eating won't be even visible. I'm just being very picky with these two very concerned. Again, I'm just using one brush and smooth brush, very, very soft. See we have that. And then at the back of the smooth that out artifact, by size, just picked it up. They loose. Again. Splitting up those forms. And decide is this one creating a breakup that we have done? It probably should be greater. Strength. Increase brush, concrete. Just going to decrease my match, erase. My eye on a C is correct this way too big. So what I'll do, I'm going to grab the stick, the grid brush. Just pull those n roots, push them back. You can see we have the Lagomorpha, so I'll just go to merge. And I will select my lacrimal. What badges built-in. Zoom back in Michigan, I have my brush. Just finished that. Here we see. Again now we have these major forms. Could also, because I'm very picky. If I wanted to see on my dog. Just create these veins going on so that my talk selected go back to Scott mode and increase my resolution. You can see the curvature. If push that in. My one just was too bulky. Knees, my store shop case job's done. If Minimize clicked. Again, my cases right. She's a direction. The Achilles tendon. Those muscles are those muscles loose? Sheet duration. Dig in, Shift to smooth that out. A few of this nature and I'm just going to grab this silhouette again. He still was a very skinny Shift to smooth it out. Just fixing the muscle flow as a C. Well to layout. Then we're still in the normal pose. Good form for it must read like a dog. What I see, oh yeah. Pretty snappy. See the silhouette is not good. What is called Tim snapped that can decrease this. Now. Give it a four if it gets the right size and fix this. So decreasing as my annotations. So these are the scapula underneath, or probably just because it's at a neutral position. I draw this. And then some of these vertebrae, so come poke out of the thoracic vertebrae. But also this C7 C7 way it articulate with the vertebrae. One poke out excuse me, I need comes in and barges out. So we have this curvature see proper via any bulges out again, what? With the sacrum and pelvis? If I hide, this voice is not good. I can go back to grab, right. I can just fix these silhouettes. Too much. Yeah. They never see barges I, at the end. And I can go back now to my layout. Him better visualizes. Can see if I look from far away to we're fixing. So that's it for these remover acetone. We were not gonna be focusing on details. It's just as to get those primary forms and then need this can this is probably an overkill what it will do a can produce coming to smooth this out. There's way too much. This shouldn't be something of this nature. And this one even be visible. But it's, it's very good to have that. So our brachycephalic, you see this is one. This is a muscle that lies on top which are still no muscle. Make sure that it doesn't bulge, bulge out too much. A very big muscle which splits over as being Shift to smooth that out. Go back to Layout and roughly about dog likes. I'll leave this here for love, this course. You can see we turn those off to the need. And some of those details. Yeah. So yeah, I think you guys retirement. I'll see you guys in the next class. 39. Scene Setup: Hey guys, Welcome to this lecture. So in this lecture I want to show you guys a very quick and easy way to just get those backdrops and like setting up a scene basically. So at this stage we don't have any scene setup. As you can see, it's already a dog, no flow. And this dog is standing on the ear and stuff. So what do we want to do is add a background and propagate those realistic. And try to find any image over there. Realistic. Renders the background that is actually probably some of the dog over there. Oh, we are going to be using an add-on, a free add-on which will be which is available on the project files folder, disclose its folded over here. So if you on your our debt on your folder, you're going to be using this lily surface scrap add-on, the zip file. So it's gonna be on your, your, your project files guys, but all your refunds, etc. But if you want to download it, you can go to search because GitHub and then just look for this lease of a scrap around. It's free for your associate's name also, if you want to buy a bike or believe, yeah, Michael, we're back and we have that downloaded folder. So what this does, this, this basically just adds the HGRI and they just gives, gives you also the like. Your, your animal is actually standing on that. Hdri. Makes the Azure App a bit flat stuff. But let me just quickly show you guys so you guys can understand that. So if you want to add this add-on, like right now, it's not here. You can see it. If you want to edit, you're going to go to edit because you preferences. And make sure you have add-ons, elected official and community. She's not reporting this case because what are we going to be to be searching over? Yeah. Add-ons, we're gonna be going to install because it's in our completer. Basically opened under bite document while Dr. Dog and we want to select a zip file. It is scraper add-on and press Install. So pain, basically install this for you in the module. And if I click this drop-down menu, I can just check this box over there to enable it. For you to be able to use that backdrop over there. A few settings, just one sitting, I believe there's one checkbox. You need to turn on. G0, use ground HDRI. You have this checked. We're autosave is turned on. So it was Amyris to appear in the list, will be on. The waist. Looks about right? So it's close. This guy. If you go to your world, it's material or sorry, issue, you should now see the levy surface scraper. Now once you have this, you can basically import your H2RAs from poly haven HDRI. So quickly I will just reiterate it to the link. Make sure I so this will just open the poly haven website where you can import like that. Or let me go back to Blender. Or you can import world. We need to add the address of the URL, import from clipboard, etc. If I go to the web. So I already have an HGRI. For you guys, which I download it. So it's this. Let me check if I were to if I was at a folder, we go down to downloads. So it's fully bugs mountain Midway, which, which is this one over here. Midday amine attack select this guy, which you want to do. Just want to select this link and right-click and copy. Once you have this copied back to the lender. And you can import from clipboard. So what they do is just grab that URL. So in imports for my clipboard. So this should take a bit of time depending on is it really interconnection and stuff. So blenders is doing is actually grabbing that. So what I'll do Chico VI, so you have 24 K or the resolution for this. For now. There's two to k HDRI. Check that. Okay? Because downtime to accept that. So basically it's choosing the amount of resolution for the HDRI folder for the final render, I believe of a, but for the final render, for Ks is really enough depending again. But then for k will be enough for us to get those realistic renders in a blender. So just give us some time to load that to two k texture. As you saw there, we have two options. Like to file formats like XOR and the HDRI. How? I've noticed this, the HTML file format has a much smaller file size than the EX OR. So. It depends which one you want to use. You seen. Okay, So this should have been important. Now, we have HDRI important in the world. If I could go to my shading tab. And j, because the material isn't a stand on. Our mood changes to world. You see what this plugin has done is she has imported this and plugged in the TK takes HDRI. So if I go back to Layout, see this guy, and go to now can't see nothing. So if I click the arrow and go to Scene world, we could see now it's just issued. A is done. Now you see that our dog, it has imported our HDRI and made and has given it like a flat surface. So we can now just grab our dog and just move it. For our tab. As you can see, this is, let me hide this for now. As you can see that this dog is not sitting on the plane where the axis. So what you can do, pretty much select everything and press the arrow key. Then. Urgency geometry works. Smoothies arrow key up on the y. This roughly evidence over here. Or you can also just press the G key. Just roughly having this underflow. This will be very important for the shadows are pretty, GT is roughly on the surface like that. If I snap this to find viewers, we have flow. So if I now turn on my material, these arrow, the unseen world. We can get that what we see now there's no shadows going on. On our, uh, yeah. So what do we do? I would lose the shading that dog to the object mode. Remove this, just make sure I have the dark color on the UV this. Now to add those shadows, you would want to add a plane and then create those fake shadows. Very simple. Or do a Shift a to add and go to meshes and click plane. Now is very small. Press S Tesco's. Not too much. We sum over here just for us to catch those shadows, to follow on display, to hide the plane and make it look like the shadows are actually on this. Okay, Yeah. My show you animal is sitting on the plane actually. So right now, if I go to cycles, you see the shadows are actually on the plane. But then we don't want to see the plane. We just want to see the shadows on the top plane. So what do you do? Very easy. Click the plane, just rename it and name it. Ground. Stomach ground for now. You guys ground for now. So this is the other way you're going to play and go to visibility, this box over there, right down to visibility and just to know and shadow catcher. So you see now what it has done is it has deleted. It has hidden the actual plane and this showed the shadows. So now we are animal looks like it actually sitting on the ground, which we want for the final render week gonna be increasing the resolution. So you see if I turn around, I have my animal out in the fields. The more resolution we have it more resolution on the HDRI should just be careful of that. So we just took a, in this case environment, are we going to be using the full k just first to get more realistic, more resolution for the final, the SLC could probably was high this now, we have our animal-like debt going to choose a position for it. You see the shadows are realistic as everything. So the HDRI is lighting the animal and the scene. Looks like a standing there. So that's it for this lecture. And I will see you guys in the next class. 40. Rigging Dog: Hey guys, Welcome to this lecture. So without going any further, as I was just looking at this model, you see over here on our lacrimal mirror modifier not work perfectly as it doesn't node E center line. So it doesn't matter that property. So if I open this chosen x axis, but now what we do for like as we can for the dog. Just click over here. Just choose the empty that we have in this now just mirror perfectly as you can see. Easy. At this stage, we have our motto on the amaro, symmetrical. Everything is symmetrical. And it's like there is no life to, it. Accompanies this. Symmetrical. Things are symmetrical in life. If you look at these dog, this dog renders the job references. I mean, sorry. If you've got these poses over here. It has this live the zig zag is moving upwards. The head is total up a bit. And there's life in this picture. Like these ones also see the leg is moving a bit up. The head is rotated facing that way. So all of that is very important for the render, fully render and stuff. So we must be careful of that. So what I'll do is always to do that. Like in ZBrush, you would just use those transpose transpose d over. Yeah, maybe if he set it dog and this tab, select these polygons and press Control I to invert our, sorry about that. Then you would just be manipulating only those rows. Now, everything is just moving. What we're gonna do, we're gonna be using some ringing. Ring is very complex. We age is gonna be doing a very basic rig for us to be able to pose. Aware of animal over here. If I snap this to the side view, the right to graphically, we want to add some bones for us to be able to move this animal. So how I, how I study this, how I learned this. The principle of Reagan. Reagan. That's why I say, it's very important to just drag my skeleton over here. It's disco, muscle goes down. It said G to move this in place. I would understand this grim annotations. If you look at the cranium and the mandible, which will say this is the skull. Via these forms, you would want to have one pole over here. So that's one pole. And these circles you can pair with dividing the two cervical vertebrae is which we have over here. So you could have add two bones. Rig. And as I go going forward, like on the scapula, the humerus, the radius, the radius and the ulna combined demand the top, the metacarpals and phalanges. Really, I actually have 111 unless you want to be moving these TO separately. But you should have 111111 to something and then goes forward. But we have these directed to lumber. So I'll show you these bones. So going forward, just delete these annotations. And grandma guy, the empty and is possessed, delete. What we will do right now. If I shift a, I can only add a single bone. So this is not very ideal to work. What we'll do, we're going to be using a free add-on which ships with Blender. If you go back to, go to preferences, hide this guy. Make sure that you are on Add-ons and official and communities is highlighted in blue. What the arrow looking for is 3d5 is RE the rigging refactor and this time the default settings. So make sure you enable this. This jaguar is turned on in, autosave, is turned on refreshing and close this. Now we have activated this add-on. Now what you can do a Shift a go to image and you can see the animal, human rigs over here. What we're looking for is the one closest as a wolf, obviously not the cat or the horse, because the dog, the wolf and then comes out very small. Object mode. This is T scale up, roughly aligning it to our model. Again, it's disappearing. What o2 visibility and look for in France. You see now our image is in France. So I've scaled this racial control a to apply scaling rotation if she's getting in object mode. So that I've explained that to you guys, everything will return back to one. Now, why does she need If I tend to find mode, it's roughly at the center. Now what you wanna do, you want to align these bones to your mesh. As I stated earlier, understanding the bones as you see the scapula, the humerus, radius and ulna, and the meter, metacarpals, et cetera. So just having that lets you do this, you go to edit into edit mode. We want to move these separately. So we don't want to do this over here and into his size. So make sure you have symmetry turned on and the x. Now, if I click one of these guys and fish G, U, C on, it, moves us on the other side. Is ideal. So do Zhi grab that, respecting our skeletal system. Just about bright highlights and drag and gravity is. Move more of these words. Now the head is, please GET moves, ads. You see the ears are wafers or to rotate. Scale these guys. Uniformly cheating, move them. Roughly half of that. And also on the front, She's a fun phase. We have that on my ears. Could just shift, select these guys, scale them up. G. This is roughly moving them in place. So these wild dogs have really huge is G. Don't forget when 3D. Something of this nature. That and go back to the the hind limbs and select this guy is g, move them back. This fella where Achilles tendon and him by the patella. Make sure it's inside the mesh. That's good to spend a lot of time with these. As this will be very rewarding once you we rewarding once you apply the rig, like to wait painting and stuff. So that might be precise with these. Make sure you don't split them. Roughly inwards. And then 40 called hour or so is this guy our toe bones discredit last one, just move this guy inside him. Sue them in with a too much. So for these ones, I could delete these guys because I only needed I won't be moving these individual individual pores. So what I'll do, unless you're going to be moving individually, don't eat these guys. We just align them as I showed you guys. But in this case, for this course, we're going to be teaching in these bonds. Deletes, allied plus x Delete. Make sure, and just make sure I have my screencast, Keaton, little short on y, x. Just press Save. And listening happens in Blender. Slick. These guys ease bones, basics. The last district is him. Zhe that in words, sue them inwards. Make sure I'm saying the correct one. G. Then also go to the hind limbs. Just going to delete these guys. Delete quickly in a city like these guys. Shift left mouse, click select x, three bonds and one inside. Yeah. Yeah. This is in place. Schicchi also. See this one is not inside. So this G is moving inside. Now it's time to delete this fun. Bones of the face, the tongue, etc. Just like x bar. If you're going to be animating the multi should leave those. But in this case, we want the job. Now I'll probably leave the ones on the sea. Sick. These guys. This eyebrow, eyes. You want to move these similar facing this side. G. Now I'll probably just remove this Joanne's need and actually make sure that you only selecting the ones. Actually teaching these. If Andy, Control Shift Z again, I'm only reading those ones. I bones again is g nu them inside the surface. Link click this one is just roughly aligning these. It's a tedious process. But then once we done, you'll see that very rewarding. And again, we also have symmetry so you don't need to worry about the other side. I'm just going to roughly align these scrubbing the individual bonds. Really depressed. If instead of VGG, these guys who then G, that antenna infant, eyebrows, we roughly have this smooth, this inside the mesh is good news. I say we say infant to see these guys in front. So we roughly have a rig, our bones aligned in place. Say this inward, she's being picky. So please make sure you moving both of these and I just want to do is just drag this one down. Something of this nature. So we have one for IES, etc. Let's exit, save. And what we will do now, I go to your umich awake, you can click Generate mature egg. So this was, you just give me these controls, which we'll use to control animal is already so you can hide the metal rig, the bones, or delete them. We now select our object and select Shift, select motoric, control P, and select with automatic weight. So Control or Command P and then select with automatic weights. Now that's what we just combine everything. So, so even start manipulating objects. Do this for good. Pose mode. If I select my rig, go to pose mode. Pose mode. Click on these controls. Zhe, you see now I can be able to move my motto. And again, it's a bit like Was I have a resolution scape. If I go to my retina, GO TO YOU, modifies, going to find him. So just decrease the matter is when your dog so you can be able to get like a smoother transition is you got to object mode. Go, yeah, modifiers, much resolution, increase. This guy renders three. Scarves, viewport, one. And I have a sigma. Again, Object, go to pause mode. Sigma F is G. You can see now I have a smoother transition. My rig is in place. Now we can able to pose our character in a specific pose that we want. So again, I'll see you guys in the next lecture. We're going to be posing. Our character. Is this. Thank you guys for your time and I'll see you guys. See you guys in the next one. 41. Ground Setup: Hey guys. So let's do our final scene setup. And some few tweaks here and there. So this is where we left off using the surface scraper add-on. We used the, if I go into my world, I am go up. We use d to k HDRI. As you can see, there's not a lot of resolution. Lighting up our scene over here. What we'll do, we will do this final setup. We have our, we have our shadow catcher over here. This plane which reflects, if I can show you guys, which only shows the shadows. So if you look closely though the plane is hidden, but then the reflection, the reflection, refraction, reflection, sorry, console today are actually visible on the model itself. As you can see this wide plane over here, specularity we can do to solve this, select your shadow catcher. Go to visibility. By Sherif culture. The ray visibility turned off diffuse and glossy. So you can see we've removed that from our animal. So this plane is completely not visible in any reflections and so forth. So we'll just leave that as it is. I can see that it's a bit more realistic now. Once we added that, now redo, we want to fix this plane. As you can see, it's not realistic as the ED surface has created this long ground flow, which is very flat. Very easy. Go back to your world. And as we went through this, as we went through this, you how this works. You just need to copy this on your on your clipboard. So I can go back to the browser that we open. This is our HDRI again guys, using it's going to be available also on the download files tab and just click copy to make a copy or Control Command C. Close this, go back to Blender. Now we can import from clipboard. When was it was giving me an error. So there's a bug. Whatever happened. Let me just say project, save and then put on the board and see guys give me a big error message during your going to just go to the potty haven. My Internet connection is bad. Kick this, see. So it's opening. So just remember your name. So our HDRI is first big mountain midday. I don't know why it's not allowing me if I do that, leaves the Internet connection from just read this error message input world, let me just put the URL where you can paste it here and plastic a big error message. Let me just try read this. I've also, you guys are getting this connection max current input anymore. Again going to the shading, shading. And if you click on your world, see here it is using the skills or the ground is GRI, and then it's using the two k texture, which over which we want to change to the public of four k is even if it allows me now, doesn't commit. Okay, it is for his book. Same copy link. We acidic to this. And then copy this link. Collective blender. Important to give me a report. Or you can just select here. Could close this. Click Open. And it's going to import by four k scene. You can see we have that. I'm just hide my shadow catcher. Resolution going on. Yeah. As we just added four K, She can see disappeared going on. And you see me using the for k as a background. So that's, that's the other way if you experiencing problems. And what I like about this now, and come back and choose the TK again. Now we pack on t k. Let's go back to folks. She's a bit crispy. Again, it's not realistic as yet, as you can see. It doesn't look like this animal is actually a very flat. So the way around to fix this very easy, It's called down to your sides, your ground HDRI and decrease the probability of a four. I can see you getting that. So if I go to my renderer and turn on the shadow catcher, see like it's like the animal is actually. So by just decreasing that can also change the square root of five. It gives it that bumpy surface. You can see over here. As you can see now, we're getting that landscape thing going on. So it's fairly easy. So we have that all set. It's time to start with the grooming and stuff. So this is a four the scene, the final scene setup and we can start now with the grooming. So really you guys for your time and I'll see you guys in the next class. 42. Fine Details: Hey guys, Welcome to this lecture. Let's move those surface details quickly open over here I have this open. Does not the actual African wild dog knows. Just a random dog I got online. Just an apprentice. Your intention, like you can see over here that almost like only this part of the nose won't be covered in fur. So it kind of makes sense why she add some of those surface details over the animation. If you look closely at our skin, it has that like leathery skin going on. And also this pore is going on. We know we'll be focusing on skin tears. I just want to bring that to your attention that this will be visible. So let's just add some blue surface details using alphas. And if I open also another image over here, my references, this image are always open. You can see these wrinkles over here. That's all. And then the rest is totally not visible. So we have that. Let's see if I have an array reference. So, so, yeah, as you can see over here, is the wrinkles out available for us to see. It go back to Blender. When I moved to a solid mode. Here. We need to do, we need to add more subdivisions, as you see are high cell divisions. We have, essentially we have four. I'm going to subdivide once you get those. Sometimes the calculator abbreviate is going to make around 2 million polygons on the actual dog. And unexpected. Give us some time to load. If I open this test x n skin cross keys, Sorry, zone gives you a VR. We have around 3 million polygons on our dog. And then we can now start adding those fine details. So I'm gonna say my dog and go to COPD and I'm already the friendly dog and go back to sculpting. Have this very cavity on if you want to go. So in this case is Livia is shake statistics. We have them. Perfect. Now what are you going to be using when we're using alphas? The leg here, I don't know why. So press Enter or click on this arrow. To tools. When I select my brush, tool was a texture and I want to just add that texture. Click over here, press New. And you'll see everything is black. So what do we need to do again? Same procedure, we need to edit textures. So go to the textures over here and click Open. I have always alphas. Probably can select the Moon is open image. This one here. If I just go and confirm these Alphas, see it will be available. Helices alpha five. This kinda of like leathery skin. Going on. This is a gate to sun and we have this largely this one over. Yeah, sweet. So just taking the mapping T, Let me see you playing. So it must be tiling. Stroke increases it as games if we properly. So the stroke method can attach space to anchor. Now how this works, when you click and drag, it works like a drag rectum ZBrush. Let's see, I can drag that off on top. So let's just undo that. I would want you to turn off symmetry. In this case. Click and drag again. See, density is very harsh. And do in this is the pore is open one, no symmetry or analyze two on which the learner should also check if my M15 fine. Let's try 0.3 and click and drag. Switching. My job is if minimise click Genesis in CX. So I'm just going to end-users just takes a bit of trial and error. Something of this nature. You never know, knows our word. You also want to go to textures. You see which texture what I use for randoms can offer to delete this guy, open, select alpha two. And then we have to select. Now if instead This is triggered runs up. I'm not too concerned about the entire body. Is first of all, in these areas. Over here, we will be getting the road was vendors. So she probably decrease this. Zoom. And see. We have a lower resolution. Just click and drag it around Control on your keyboard. You can subtract or like an inverse ton of symmetry. On dissenters. Can put some control around chondro is invert that two unknowns imagery again, I can come back surface details. As I, as I always emphasize that this won't be visible. Just firstly due to Cato surface break, break up. Like as you saw on the reference I showed you that. On the face, It's very important to keep her control. Like an inverse linear. It's not that important. As you see, I'm dragging those large strokes and we're probably just the way up to the overall body. Student. Hard those hard strokes. Right now just going around my entire motto unit. It's way easier because we have symmetry. Turned on. It's a bit of a process. Those fine details. And then just hold on. Control Facilities, areas. Coming back now, this created a rough skin and a neat shoe. You see things like create control home. Like in some areas I'm just holding down Control and just and just creating that that variation on the skin. On the bottom, I have it on my face. Once idea. So one can now, if I just delete this texture, the texture respect to space, if I can grab the increase now, smooth brush fish is decreases. This winter bit overboard. And again, go back to my Christian life. If we decrease the brush size, then one can just come in and emphasize those around the nose. So that's creasing that basically there's this carves and then pinches all the polygons together. So I can get that on my actual know. I'm never going to reference at this stage, but I'm just creating this variance here it is. Saint also create deadline. And our perimeter of the cemetery. This case is called loser. Back on the symmetry is called pinch the inside. So these are skin, will go to the layout Exit sculpt mode. I think we need to save this before it crashes. So go to File Save. And we have our surface details. Very basic. But then as you know, everything will be visible. But this was very important for me as I showed you guys. For the eyes. I just, you take one alpha are probably too. I just use two of them. Is create a surface breakup. Or they could fix these nodes are close anymore, but this is fine. And in my case, just checking on mesh. If you left anyway, you see we left over here by the forelimbs. So a little bit, It's got mode. Again, same process. Go to your texture, stroke in texture. And Alpha-2 changes to view plane. Then the space to anchor. Sure, I can click and drag and I kinda got the out-of-control. Oh, that's very harsh. Undo that and our learning intensity. So we have a lot of geometry here. Says that we can probably even try staying, so decrease brush. Sorry about that guys. I'm going to so called octahedral. Great new. That's why it was always only pinching. Say cafeteria again. Again. If I click and drag, you see it should work fine now. And I can hold down control. Just coming in on the forelimbs. Bradley, we leave those out. Should we tracked properly? And then while I'm yeah, Again, also come in a pause. Name crane, their surface break up. Obviously this one will be visible in our renders. Showing that as the techniques Control and click and drag, that's stealing these, these hind limbs. The more uncontrolled. Shaking these ones, these guys. Later, Goodbye rights. And I'm using a texture to lay out some time again k. Now, if I press Control safe before we lose these, we have cavity. If we want to see those details, we will lift out the top of the front and that's it. So no, because I can see that took a turn off gravity. Go back to sculpting. I'm just being picky. Picky. So follow along with us. Again. Same process. Everything is so cilia fairly easy. Now just adding it on top to provide dog. Some of the places we live out. And it'll be up on the nasal. Probably ten of symmetry here. Hold on Control. And this surface breakup probably only tell because I can some of the details every day. But it's fine. I just hide this and press integrated tool. And we're going to lay out this is what we get down to calculate. And yeah, so we have our fine details applied. There's not a lot of resolutions, so we never resolution as I emphasized, we just gonna be focusing more on yourself. Save the file. And I'm probably saying start on the report. So I can be able to pay around more quicker. So again, ERD does for your time. And I'll see you guys in the next class. 43. Weight Paint Head: Again, welcome to this lecture. Last time to dive in and start planning out how we are going to be grooming Alpha model. Essentially what you're going to be using images open up reference. This brings something to your attention over here. To object mode. Let me see. We're just going to try fun like an image, high resolution image. Probably this guy run of all right. So basically what we have is it's not flowing in the same position. And what to notice? Some of them are very, very short. When a very long cell edema clumping, as you can see over here. Normally clumping happens when an animal has been in words or when issues are clamping of the year. And we haven't this flow this flow. And like these ones are visual like inside yeah. On the tail, you can see how long this is. So and then if you see the eyebrows because he probably yeah, it's like poking up small whiskers whiskers on these animals. Then what I want to bring to your attention is that it's going to be easy for us if we break these into parts. If you elect particles now, it will just grow on the entire mesh, which does not ideal. So if you've worked with for before, you just if I can do it just garber, six to eight. If you've worked with particles before, let me say my dog just died on my subdivisions. So division one onto this one is fine. Home daily for. So if we add particles over here now, this will just add, a particle is on the entire mesh, which does not what you want. You see we have here all over the body. So what do we want it to delete these particles? What will it do? You want to paint vertex vertex groups like weight paint, where we want it to grow. So basically just dividing this, like let's say the head, the ears, the neck, or the hind limbs, forelimbs detail on any toy. So like something like they're just dividing this and then probably the pores having their own vertex paint. To stop painting. We're going to go to the first vertex paint or would paint the wrong one. Received a dog first and then we'll go to white paint. You can see now we have yet. So you're getting this blue. And all his brushes over here, the blue average, etc. I'm going to be using this to paint wherever you want. Our hair to grow. As it's blue, there won't be any further I'm on. As I paint as you guys can see, I need to just needs to be read in order for it to let me just check my brush settings in order for it to a cemetery. Coming in. It's a bit laggy. Probably I can. Decrease. My vertices. Say about it. I'm not winning with this symmetry. I opened up my tools. Tools. To tools. We have our two settings here. And also here on top. I can know that basic kinda lost way. So what I'm going to annotation guys, you can now paint where you want your yield to grow. If I tell just done, I can remove. We have painted. So I just turned down the weight. Can remove his painting these vertices. Now there won't be any for growing on over here. And just go back to my object mode. I'm going to go to my settings. Just make sure that I have this one and see if I add the other one is perfect. Then I can go back to my wet paint. The vertex groups. So I have all these various groups here. So this is a braced I didn't do other than creating new one. New vertex group. Double-tap here, I can rename it. I can say head, head first and then everything is blue, so there's nothing. So my, my, my machine here has added some weight on their head. They again have symmetry now, oblivious to working. In this case where there's green, there's gonna be some hair growing. I'm going to keep it like that. Takes a bit of time. Yeah. Otherwise leg like this. Painting around. Can change your viewport. Alright. And again, as stated way, there's red. There's gonna be long hair growing on. So it's a transition from red to green. Red, yellow, green, light blue, and dark. So I'm just using the paintbrush. If you look at our reference is Sylvia. We do have going on. But in order around the eyes. So just be careful of that that you only painting. And around the nose over here. Just coming in this side. I'm just going to come in around the eyes. Paint those guys. You see how we already have those vertex paint. Vertex groups from our rig, from a wind pain from a rig. Just make sure that you don't overwrite them. You create a new one as I showed you guys. Basically, our mission here is to just paint around the head, like groomer the head separately and then just attack these in parts. Like all together. Can see, I'm just coming in. For this entire course. I have been using a mouse, no tablet or anything whatsoever. You can accomplish this with just using a mouse. Our next C is not pure red. Make sure that you have there in red. So around these eyes. You can come in and edit this at a later stage. So don't worry if everything is not proper. So what I'll do, going around, it's coming around the doors around the masseter and add that weight over the dog. Oh, really, That's because even low poly, it doesn't calculate as right. Zooming and coming around the nose. Make it green. Yes, you have those shorter. Here's our random method and we're just calling it around my painting. I was very sees skewing that transition. You can see that moving closer but feminine side. Seven, good or better yet. I can come in and just blew that once we Danielle. So don't be afraid. If you've ruined it does happen. I'm just coming in and bottom of the, we won't be worried about the, the naked self. Do that separately. Separating our groom. Show like not inside of the mat. Knees coming LSA, scalability transition here. That's just make it pure raid on these sides. Could come in as I feel like it's way nuts. Over Yeah. So far, it's creating that blur very nicely. So I can't complain. And we have that in our head. Nice File Save. Ever had it for, you could probably use a stay, yell that out, we need it. So just remember that. For just a smoother transition. Chimneys. Yeah. I know. Hey, come in and paint away. I may get read everything. I ran those ages. Okay. So we have that and I can add another book, this paint can assist. So I'm going to come in and add one for the eyelashes OSA. And 40 years, I mean, press the plus sign and essay is. And then make sure you have a paintbrush and your weight can decrease the brush size. Press F on your keyboard, and select this top painting on the ears. Make this everything you read. So Russia is very huge. I can just come in to everything. Yeah. So this will be a shorter, hey, the years, you can see the indices one just clumping around these eyebrows. So these whiskers over here. So we just need to add those. So we just planning everything. Before we start with a group. This will help us work a bit more faster and to get it a bit more precise and realistic group, I use this workflow around the ears. Yeah. Socialists, pure red. Carryover is n. You can convert the blood rush, receive middle mouse click and drag to diffuse depressors. And I can blow this up now. Yeah. We have that because the head is you can see this mirrored transition from your eyebrows or is add the fill, which is click the plus sign and own name it is. This is fairly easy. These are these ones here inside the ears. Same process. Make sure I turn this over to the paintbrush, the draw brush, and come in and paint there. Really doesn't want to now. Okay. Just give us some time. If it's giving you travel to paint, just make sure you move around the vertices. Coming in. Would want to study is what we're sharing my camera. Make sure we're facing and on the right side of the camera. Right. And I'm going to really leverage again. I'm just going to put everything scrolling around the baby blue part, around the edges. Similar transition. And C and I can come back with the pain. Withdrawal should make this pure rate. Now, we have E is Phil, Next Plus Plus sign. Name adds a eyebrows. Come in roughly around. Yeah. Let's paint those names in the grabbed my black brush. To create this mutualization, the neck. That's what rife with the eyebrows. I could come back and zoom in and show I have some of the partners. And then also go to o whiskers. Whiskers, very simple. It's just the spot. Yeah. I'm using symmetries. I don't need to worry about the other side. That's why we have imposed our, our animal is yet. Then obviously the blood rush out. So we have whiskers growing. Could come in again with the with the drawer and bringing, bringing back some of those who've read. And again, that's where the weight, body weight, the food will be growing or the whiskers in this case. We have that level, our wet paint, whiskers, eyebrows, ear feel, our ears and our head separately. It's going to be easy for us when we start grooming. So I think goes with time. It's just click this, Save this guy. They got more time and I'll see you guys in the next lecture. 44. Weight Paint Body: Welcome back to this lake. To this lecture. Let's continue with the weight painting, leftover marbles lectures. We were doing the whiskers. So I'm going to go to the plus sign to create a new vertex group, Rename and double-tap. And I'll call this one the body presents it to accept. And what we'll be doing, we just creating painting only this section of the body. So basically we gonna be doing the pores in a separate vertex group and also the tail. Crucial. I'm just hide these annotations. My pretty drawings. Go back to the row and I want to bring something to your attention as you see, is this a stroke option of a yarn top? Kylie we using space, the space method. So it shows like so for precision. And I normally use the airbrush, which pretty much works like this space, like in this case, I want to show you guys the line and the curve. So how this works, the line, if I draw a line over here, it's going to create a vertex paint in the land read through as a curve, curve. This one is a bit laggy. See so much just to draw a curve and any arrow, arrow just so in this case we're going to be using the line one. Sure I'm in my body. See, symmetry is going to be coming in. Let me make sure I'm not including the tail or the or the pores. This is fairly easy. This is the easiest way to. So do these ones that are kind of straight. Unlike the face itself is it's gonna be, it's gonna be very hard for me because we need more precision. So here's remove these yellow, orangey pots. Make sure everything is as you read. Pure red. You see me doing. So where the line starts, that's the way it will stop painting as you can see. Just coming in. The easiest way. I'm just hide the grid. Muscle. Come in here and just turn off the grid. On the floor. Just click and drag Layer, Mask, click and drag. Remembering also we have head for. So you see there's a bit overlapping line. So I'm going to be blurring this out of it. So on the forelimbs, click and drag until this part of remembering our paired here. So I'm going to go around it. So we have a diesel pair here, so I'm gonna come back and fix that. Right now. I'm just using this line to just come in and finish everything we see on the inside. Make sure everything is pure red that we do. And then I'm just going to come in. So yeah. And only inside. So when you repeat over a section arrow make it pure red. As you can see, it's coming in where seated is a very yellow going on. Making sure everything is just going to India. Come back again. Then on the inside. Agonist stroke line. Ever so slightly. The other 0 pot that I can come back and just remove this. So very quickly we were able to just come in and just use that line paint when our model so then you don't blow now, center space. Come in. Yeah. This this way, the meat. So yeah, on the digital pad I want to go to rush. Weight tends to 0 when I remove the line. And also on the nail. Clay. And then I'm going to change the stroke to a brush, away to one. It's going to come in, probably gets the burst size. So again, press F and just come in here, paint here. And then we add back, add some others. And then I can go back to the blur. Everything out around the nail, care and a tail. But he says minimize click to increase the process. In this way too big. And there's a blur on top. So I have that time or grade a plus sign. Trainer group and just name it tail. Tail for to be specific. I'm going to create 11, pause and add another one. I'm going to do that. Zoom in for more precision. Read, go inside and do the same process. Every day. He says change the angle. Should come inside here. And extract the weights. And if I remove that guy, probably interests away. Yeah, and ad and I'll read my blur. Just going to blow this out there. So if you notice the tail, I'm going to go to our reference. You see we have this somewhat not clear. Provost Arnold can see these larger. Then it becomes more layer. I can add two of these vertices, groups versus groups, just for us to compensate for that. The weight. And she drew and decreasing their size and come in and make them red. I want to let you read the tail. Fail also. Select for those lung is, and that's only gonna be at the bottom. Again, change my stroke to line. Just create a line. Fairly easy. Just come in. And also via the blood to this graph, the blue again. So right. There is gonna be the transaction. And last year's do I'll pause. Just say, pause. For presenter. I'm just throw and stroke, say to line, string that in chief. And all those, all those nails. We're almost finished screwing around with that line to click and drag. Fairly easy, especially, you know, going on until those nails. And again, I can come back and correct that going inwards. And I can just grab my Wait ten, remove this from the nails. Click and drag on the nails. Mesure is known. The nails are completely blue. There won't be any further and I can choose to wait again. The pattern. And those pores can SME ten out of the way. Completely blew, making sure those nails are completely clear. Shaders to ambush. Coming in. I was very close. Let's just grab the blur and there's this guy. So if I take the body, just make sure I put, this will be a smoother transition back to the stroke and change this to line. And do the four. The forelimb pause. Free, easy. Coming in and we're repeating the line where I want to increase those red. You can see I'm just repeating that line. Then it's an NS just emphasizing for me. Next. Coming around. Lastly tobacco. Apparently I can't see this. Then I will just turn up the weight. Just move this guy. I mean, the wage, turn it on and now button now. And then just return 0 to move it over here. And in need. And do that. Then has to learn that at the bottom of it, pause. The MO is standing. Still, wait a bit. Decrease it. Lastly, DNS, concerned about this part. B to yellow. So we have on our pause until fail hotel, body and whiskers, eyebrows. You fail. If an arrowhead we've painted over it is true. So it's gonna be very easy for us to, when we were going to be starting with the the grooming. As everything is in place, I could probably come in and is blue, this guy out there and him above it and it will leave here, that's one hour. So go to File, Save, to save up projects, and we'll continue in the next lecture again. Then you guys for your time. And I'll see you guys in the next class. 45. Grooming Head: Hey guys, Welcome to this lecture. I start grooming of the head actually somewhat parallel model and the Mongo topology, we need one subdivision. Sweet. So we created these vertex groups, remembering on our previous lectures, we just going to stop with the head for this group over here. Selected memorial. I'm going to go to the particles tab and click this plus sign over here to create new protocols. Just make sure you rename these double-tap before we start anything. So I'm just going to say my head. For a given product the same name as the Derivatives Group. Probability anymore, we also helps us to membrane within here for and press Enter. Right now, you can't see anything exchanges to here. And you'll get this bunch of ways going all over the place. So it's easy for us because we made these British troops, remembering from our previous lectures. So if you go down to six groups, density, click over here and choose, choose our head, head for. So these will start growing over here. And also on the lentils are probably just cheesy headfirst. So just to make sure. Lastly, public entry for them. Or in this case, let's just continue this. Right now. This length is very long, as you can see on our friends again have pre-reform open on the pattern. You guys about this, It's free, you can download for free. Just tap this name for your brief. So let's go back here. To the emission. We have a colony, the length is very long, valuable, one to 0.5 meters, 0.05. Some of this nature. Now we have growing. Yeah. You can see we don't have particles growing on the eyes actually. That's what we want. Now, what we need to do now, the lender is pretty much, we can adjust this a bit later. Again. Probably just say 0.03. Can check on the edge a bit too long. Now, we need to start manipulating these, these, these combing easy, so we go to Edit. And then I'm going to start grooming these guys. So I have my comb brush. Make sure that deflects amateurs is checked on this one collider on the mesh. Want to start grooming these. Remembering, look at our reference. Look how this is flowing upwards and then it just goes on. This other reference as I have. You see how these flow in this direction? Like that. I have another chromosome. Yeah, which explains it very well. You're going to see, is you're going to be replicating. And see if I have a symmetry to malcolm to have mirror turned on. Should we mirroring pangolin is not Service tab topology mirror is turned on. Make sure that Chris tell to exit. But apparently it doesn't mirror. Wonder why this isn't working very well. Furnished case and she's continuing grooming these agency, how they flow compressive to increase the batch size. The reasons logistic curve. In this combing, these few ones we have here. So then get like more control. Without worrying about more. It increases pressure. Can cause keys that are changing between my reference again. Every Size, Me king, sure, every frame of reference lie down and change the iteration. These ones, and I'm so glad doesn't, doesn't do a good job in patient is particles. So that's why sometimes you need to come in and use the Add political changes, probably two to one. Add new particles yourself, and then come back and call them them to these. Now, coming in, make sure our further back, straight wonky going on. Covid-2 is giving me problems. And it can increase the segments. You pour. Strange to render that for make sure you turn on B-spline for the final render. So segments are like subdivisions. Nowhere that can combine these in. You can close it our reference again, following the flow as like a split two parts over here on the region. So again, do I didn't go to Michigan and go to my children. Right now. There is no children's any parent. Interrelate, then nothing is showing up to object mode. See going on over here. Still need to fix this. So to fix this flow via to fix that, as changes the direction, just make sure that it's not like a sharp turn. Let me show that flow on the same direction of the first straight leg as you see, we're letting them let them. That's just a good flow. So much good. And you can increase this as you go along. Comparative. 20. See, these ones are way shorter than what we see here. What I'll do, I'll go to my back to portico edit this, this weight lean brush. So you can actually grow or shrink. You said probably 0.25 and then you can just come in, decrease the length of these. So how this works, if your annotations here go to object mode, earliest works, these ones over here, the bit shorter than these ones as you move away from the from the center line, from the center point, like the nasal part. So these further, we will remove the other way shorter as you can see on the reference. And then as you move away, you get all these larger ones over here. Just the debts of a particle is what I'm doing. So I can probably just use 0.5, the default. And just shrink that. Make these a bit smaller. Shrink them down. Above the nose. Can see I'm his working with a few would probably choose my increase my brush size. Namely, these ways, you're not too short. I'll come back with my brush. Just come back up. Again to go back to my object mode. Can see we're getting these shorter ones. Yeah. Yeah, that's that's the head. The flow of the mustn't be like a uniform me. See, I comb this. I can do from here, I can go to my render. So I can basically choose a material right now. Let's white deformed material. So we can create a new material for this. We are on our final render. I could play with my seed. Right now, it's set to 20. If I increase this more children, we can look at this. I would want to add more over year round eyes. See when we, it's not pulling the, I believe the vertex. 12 volts explains and just paint around. This is way too shallow. Again, just look at the flow of the how it twists and turns. That's checking my model. Hello to preview, render, crashes. Excuse some time to write is going to be showing the HDRI. We using for K of C in more detail. In Evie. Again, we can increase this as we go along. Click Save before it crashes. And then we can also on the dog and the modified member we choose to subdivision for increases, then you can start adding more. Getting those fine details, wrinkles, etc. This scene road. Let's try. Just test it out. To wait. Deck. Emitter. The handshape. One meter. That's free to take his, turn this down to 0.5. Is it going to be then I can give it a try now. Right? Thickness. See, just stay. We do an ever growing on this model. But as we go along, can add more of that. 46. Finishing Head: Go back to this mode and add. Some of the effect on top of my shape is blue. I can turn this down, but in this case, I just leave it this shelf and go to children. And now we can add those will fit. You have any problem with these growing? You can add plotting something they started clumping. It's nice to clumping every way. Too much. They're both 0.1 and add some compromise. Probably skewed. It will decrease the clumping. 0.05 or 0.02? Yes. Something like that. Roughness. Ponzo five. Wave a board. Excuse me, more segments with these. And try. Threshold controls are much from 0 to one. How much to fit? So probably just use net. Not, not all will be affected. When $0 to 0.8. Maybe. You see they will not like not have all the SM randomness to this. Could you say 0.5? Everything random can see overlay. You can see we, we don't have a lot of segments. We can increase that in the viewport tennis to four. Over in the render we will In this a five. So I couldn't go back to my children in a roughness. She just size this down. Some donors nature. Easier when doing. This just takes a bit of tweaking and preview this common to go back to my more political edit. These segments. Lagging, reducing these coming these guys. Sorry, my subdivision polygons, my subdivisions and just switch this back to subdivision to edit. And stop arming nice. Way more better than be careful of your subdivision. They come in these guys. Now remember we forgot to object mode. She will one more integral over here. So what I'll do, I'll go to wet paint. And I could grab my brush phase if I have symmetry. Line. Initially at least are growing. And they are interpolating. Motto is getting a bit closer to this one, the eyelid. Just be giving them to go too much. Then we'll just probably isn't that out. So in C, we are removing from the edges like that and could probably go to political editor. Then I will make these shorter. My lean brush. If either on the eyes a bit shorter, then come to the other side. Now this trend is a good one. Just to make this faster, click Tab. Again, I'm using a mask just tapping around, decreasing this lend on these ones, making them shorter. We'll go back to my brush. Fix some of these that are not flowing, right? I'm just going to fix the lessor. Makes sure that they all go in the same direction. No, back to object mode. Sleep it off. I have all these shorter ones. Yeah. Lastly, let's click add, add one, enter, and leave that. Make sure we have interpreted turned on. So it will keep the same direction with the ones on. Yeah. I'm just going to call this and shrink it. These guys change the direction as well. That's the mode and look it up. That's about it. We have an actual dog. Yeah. And if you look at it, see everything moving. Very nice. Flow. Press File, Save to save that. And strlen low-res, just checking with the cycle. You still need me to add more thickness. So again, change this shape, which is 011, is a bit smaller. Or 005. Excuse me, I'm trying to calculate is more see the lint the thickness. I mean. So there's some routes controls where this dog going from the root and then from the tip. So it kinda gives a dead taper. It kinda gives a dead taper to it. You can just come back and groomed this. In this case, we'll leave this here for now. Mode is off on the head AND gates with time. And I'll see you guys in the next class. 47. Whiskers Eye Brows: Hey guys, welcome back. Let's add on the Sunday on the eyebrows and the whiskers. Few of those live lectures. Pretty basic. I could come in and we don't have any particles growing. So we can come back and add one. Actually tap. Once. To add those protocols here. Show interpolator is turned on so it will follow the surrounding particles a direction and the size. One-by-one. Very important like that. So symmetry works. Sometimes it doesn't. Negatives colonies. And I can shrink. These guys are way smaller than this. So these ones merge. Be getting this, this shorter ones in time for the die roll to your vertex group. Select eyebrows. Angle your particles. So we have our head for a creative plus sign to add a new political system. Double-tap an unnamed, this eyebrow. Eyebrows. Presenter. Could copy this name. Okay. Control C or Command C on your keyboard. And h, This guy, Command V, press Enter. Apparently doesn't link. I don't know why. And could hide this if you want to. Now I can't see anything growing. So changes to v. And again it grows all over the same process decrease. These guys are probably give it now a 0.5. Oh, my word. Way too vague. 0.05. Yes, only like this. And the segment five, B-spline is turnover. Key to sell five gives us a tool for shape. We used to get ten. And the vertex group, the important codon insulate our vertex group. Eyebrows. Also the lenders. Make sure we have eyebrows selected. If I go to my reference, you see these eyebrows, which is coconut, decreases. Fine. Now, if I go to my particle, edit, can call me is my symmetry. And just coming this direction, ketamine just decrease my particles fiber. When you say two and back to particle, it could come with the word dishing brush or go to my wet paint. Can see why it is going over there. And I'll go to my brush, decrease the weight to remove. And I'm just glad just to blend everything together and go to my particle edit. Going back-and-forth. Can cut these guys by the eyes. These ones or vice-versa. Now I can call meter sounds. They might just not lying flat. Just picking them up randomly. These ones, these ones up. Using the chrome comb, brush slightly and again come back and cut the lesions shapes and then t is one. And probably just call me isn't that something of this nature? These are the ones OB could do like isolation. These control commands are spin up a bit. Yeah, sure. B-spline selected here. Looks about right. This actually decrease the brush size. I'm going to grab one of these records. Go back to object mode and see. You can add to them to times it by two. Now if I open the heroes, see these eyebrows grow and over here, you can see these eyebrows. Really realistic. It doesn't have to be uniform and you can see some are facing that way, some are facing that way. And I think I'm more clamping and Oswego, but in this case I don't need it. Done everything by hand. Or you can go to your children and play with the roughness. See references, randomly, changing randomly as you can see. But just to consider different, I'm just going to board a little bit of that random roughness to it and oversee increase the charge for, let me use a silicone or to eight or more, increase it like not all of them will be affected. So like if a supervisor, half of them will be effectively the randomness. So let's say 0.25 and a quarter, a quarter of the enthalpy affected. As you can see over there. I select my pro give you the same settings as B15 was. Yeah. That was right. I used clamping. Three. Close by. Cool. Now you see we have our eyebrows growing. Then lastly, there's two whiskers now. Go to File save that, and go back to our particles. Please press the plus sign to create a political system that would tap to rename it. Was whiskers. Could copy this Control C or Command C. Whatever type of yarn is changing per sensor. Again, I didn't show us unless you press here and it will go crazy and grow review. I'm going to hide my seed. I used like 200 or that 1.50.05. Yeah. That's something that needs to be short. Whiskers aware of as far as you can see, it's like flower here is randomly growing or over there. So once we have that, let's go to the density right down and choose whiskers so it will only grow and nowhere else. And also on the land. Whiskers per user and eclampsia. So, but in this case this is fine. Like how many we have here. Between decreases, say, a 150 nature. And I can go into my particle edit now, political editor to start grooming these, as you can see, the flyways. So they increase the brush size. They don't need to spend a lot. She isn't it? Together a lot of density, my Edit, Object Mode, turn these guys time. So only six or something. A random number. Yeah. B-spline, review boards and increased litter for these guys. Now. Going to move some of them. Again. Just picking some of them and some of them can be straight. Just grabbing these down and decrease my brush size. And I'm just going to grab this guy, the one growing from the top-left, but just make sure that the moving in that direction and it runs from the bottom lip, give them that direction. Okay. And just choosing one of them. Just moving one of them is front, one's dead randomness to it. Via means changes, changes direction. These under the bed. So he's made sure that the no folding up as you see over there, they are having the uniform straight. You're just stretching them rather than from the stretching them out. Let's now we can add our children. But this direction, just plotting them. So there's always cozy. And if I go to my Object Mode, fewer can add a few children. Now. Risk group children, none, interpellate, muscle. It too much. Let's about rights. And children that again go to randomness of a threshold of them will be afflicted. Yeah. Go to File Save. So we have our whiskers also. A good coach. She is turn that on. I can see that growing and I can increase the children probably just say times two times three. We just add 70 times three and stuff and increase it. So that's how it works. A lot. Keep it at times to just too subtle details. Could probably come in here with the head and go to wet paint. It's not growing properly over their head for that guy. Wait and increase the weight. If T is a bus and I can just add some of these bottom-left, top. She gets out of those, those for grow normally. Once I have that, I can go back to object mode. Go Edit, click the plus sign. Some political, too much. That particle z, round. We assume. And I can call them these guys just to make things to eat. So changing direction, fixing some of these guys that are going to go back to my object mode again and just look at the flow. She have some of these fingering over that. Now, what we're looking for. So go to File, Save the substrate to get it. Just a preview of this. Looks fine. And again, File Save, and that's it for this lecture. And I'll see you guys in the next one. 48. Grooming Body: Hey again, so let's proceed with this to some of the summary of the body. Now we'll reduce them process we will need when we using our body for and go to the particles tab and click on the plus sign. Double-tap. To rename the particle system. This is double-tap. It doesn't work well with me. And say body control, fighters and copy and also area center. Changes to here. Same process as a writer. In this case, change the length to 015, right? So for delivery as a bit longer than 0.6. So the body has like those lung or six that are real overboard but still tweak that. These brands are known for the render to smooth out everything turned into 45 and keep this there are four steps. So these are the segments, the subdivisions. And lastly go to your vertex groups. The density score right down and use the body for. And also we have done the perfect Coming to Dinner, start to come easy. Following the direction. For the pathogenic. I'm going to go to my particles idiot. When the most are combing these guys. Press Save to increase the brush size and I'm probably hide my so forth. Store cribbing leisure's, these zones. It pretty much a good test. You see the go this I only need ten. So these ones pretty much going upwards. These aren't following the direction. He's only go down. Decrease the brush size, then start affecting. So this is flow that goes over year. Change of direction. That essentially what I'm trying to replicate here, change. Gonna pick these ones up and write those down. Again, this is curvature going on here. If increase the brush size is Chrome. These guys, again, just going to play around with these leg. They about to turn the just going to take those ones die as you see, Moving goes down. So much here, doesn't work properly. So do the same process. So I think when you get to the principal, so this is a slow and then slow. It's just looking at our reference and standing waves if flowing and how is it flowing. Make sure that, you know, combine them in the same direction. You can see I keep on changing the direction where again, following our reference. So over here, these on the beekeepers shorter then grab your shrink, brush. Decrease these guys. The land. When they meet the pause. She is decreasing this on the, on the limbs. So the hind limb and the forelimb inside, just moving in decreased. This is lightly speaking, these waste molar short-term mean with side. Yeah. So yeah. So then carry on in. This guy. And grow the language. Just shrink. These are way too long. Yeah, I can increase the land. Grow. Again. Go to object mode and go to refer to see more VSCO to Children. Interpolates. The children will follow that. To increase my children stay times 20 spaces where flowing well, mostly children and some clumping. To just say 0121 is fine. And add some roughness. Randomness. Oh Lord. Threshold. For now I can go back to protocol and just come in on comping. Is these particles just making sure that they fled? Bending itself. Like in my code, these guides, creating the neck. Sylvia is ever like problems with soul. These just make sure that you need to add more particles. Here. We are on top. Go into spaces, storyline, the spaces over here. And it can grow my brush on the nick. Rush. And this will just interpellate what we currently have. Anymore. Please. Call me again, never go back to object mode. To fix this. 49. Refining Groom: So as I'm competing noise, more segments to get it afloat. Too much. Let's try some of the kink. Kink. Try Kearney. Clearly. Just close everything like that. So subtle detail. Is everyone cool? Go back to part of a pain. And at some point spoken kid a bit transition on the lower limb more distally. But I'm too like on those spaces, those gaps in those particles. Just calm them down. Just commonly done. These guys should make sure that you didn't have the following. She seems to be covered. Looks much better than the previous week, bit shorter. So some of them here and you put a particle it It's not growing. Spaces. Yeah. I heard about these spaces here. These guys are drawing these one-by-one where we have those gaps just interpellate for us. This, making sure that we're getting old. Now. Com, these guys, remember the inside and go back to object mode to see everything. You know, getting those groaning. Let me add more children receive a 100 meters softer. You can see over there is none like what I'm doing. So I'm about to go edit. Just Columbus done. So can get it. Believe me. Calm them to be more flatter. Or emergencies. Probably turn down the clumping. Shading, if you have some of these other positions in other places, I mean. So I'm going to add the brush. Controls save just to save some time. And is over here. If you see on our end more for so if you look at his basis that are opened over here, this way, you would want to add Jen drove one to n. In this case, a prefers to add these protocols more uniformly. Just going to come in. The lower limb, we're having some problems and they need to be more hair. And do this neat. My name's Nick. Okay. Lastly on the inside here, she'd give it a look, go to object mode. It looks like it's in column D is now set to political editor. I'm going to shrink these guys. Okay, I'm actually grow and shrink, turned on. Just moving around. This is a much smaller grabbed my brush. Putin of symmetry, things, destroying everything. Because these, these particles distribution and less symmetrical, just change this down. Shuffling the duration. These guys a lot inside yeah. Object. I'm getting smashed. Getting previously. I can display the flow actually. Yeah, that's right. And I'm going to increase the length of these ones over here for grad with the brush and just make this really long and then go back to object mode. Now, those particles, if I go to my head now and turn this on, this should be blending together. Perfect. Show ever growing like that. We add a courageous come in with the particles. Whereas you can have lint brush and do that and just come these ones, they're not behaving. And also these ones here make it flat. And go back to object mode. And she'd be word, right? As you can see, show these fled. Only this one on this other side now, changing the flow and go back to object mode. Yeah. Okay guys, I'm autophagy. Whatever changes direction. Lie flat leg at some point. You just do a quick preview of add more later as we go along. Two keys, the land. As you go along. Yeah. So leave this here for now and we'll continue. Skeletal quick render, preview render. Because with EV you cannot see that hopefully decrease the size, the shape. You can leave this here for now. And you guys, and I'll see you guys in the next lecture. 50. Finishing Refining: Whereas all this finish off the body. So we left off on our previous lecture. Again, just looking at the flow of these come in a previous UCA. Conclude these to be two particle edit. And it's coming now. Turn off my symmetry. Come in and just fix these guys over here. Changing the flow of the spec. And then underneath the belly, make sure that she doesn't have the painted like squashed up. Everything must be almost straight or curved. Have like a very pelvic curvature to it. Be careful of that. See over here I need to fix these guys. Inside here. Could probably change my view. Okay, given to these systems a bit laggy. Because I have exports by just going through these one by one man, confirming our flow. So waiver, move this brush. This is the way it's going to be affected. And just changing the direction of these just probably movie is done. Change these ones. Almost facing downwards. Yeah. As you see, we need to add more particles. As they Td, she didn't have all these spaces of their increase the brush size. To increase the radius. We are placed them inside the circle. Just make sure you don't move your cursor bigger. Once it says done updating on top of your mesh, could turn on symmetry for this. It doesn't add over here. I don't know why. That side. Sweet. And ends idea. Decrease my brush as I'm just coming in. I'm getting those in-between them. We're still using the same settings. So what I'll do, I can come in, the brush. My interpolation, they don't work well. You can go home these guys. And direction we desire. Again, just falling our reference plane of symmetry. In this case. We just need to see my somebody's question. Let us change the iteration of these guys and have some of them just creating a variation to it, like it's plotting a dissenter. He's done. Yeah. Also be a matter of not just tweaking these guys. As I call them, like the HJ, we call these guide. So these parent particles where the children or follow a reference here. Just going around your model and see which one is squashed up like you Sylvia. He's an shouldn't be laying down like this. And also on the tail on top. And just check my pre-COVID very squashed up. Changes direction. Like that. Change direction as you see. Same process going around your model and just looking at where you need to correct the groom and those points, those lines particles, I mean, Sylvia hazard may see clumping and doesn't have like a specific duration is, it's going to be careful of these types of thing. I'm just going to create that curved line. These up here. Just controlling a few of these makes our lives easier. So if I go to object mode just to check these out, I'm getting a little progress. Yeah. Yes, No growing while the overall He has very messy need to fix this. We're always growing good. Ot Michigan source protocol faces and 50,800 Different change the distribution. Mnemonic seed just changes how it goes. So we need a protocol again. So I noticed that there's a bit of loves question. Let's change this direction or no. Yeah. I'm just going to change this. Changes direction. Charge. I think Georgia see underneath is a bit messy, so I just need to fix this. By the they need those lower limbs straight and then come back and just add those. And do this a lot in one place. To add two of these. In some places where you need to add ease and then go to my calm. Another like if he experiencing problems is here. The integral or you need to check your paint. There has to be a 100% red. And not like any orangey or anyone. See L1 is pure red. Stuff is just be capable as it's not colored orangey. I'm going to go to object mode. Getting the curvature is still the year and then could decrease this land. To my political edit. Ease. Any shape. London, maybe. Surely the children. A shorter way better. My name is too long. These guys. As n more underneath, relax the muscles, get those spaces. So it is very crucial. Be careful though that yes, they sometimes it doesn't grow way. You wanted. Can I just choose this way? Again? Problems. She's Control S to save symmetry. Save this guy before something goes wrong. 51. Finishing Body Groom: Kind of froze for a second. Go back to object mode, just lipid these lead to lend these ones. Yeah. Second column, these what I could probably add a few over here. Plus sign. Pick these ones are. And just go to my object, object merge view this. Just move around to see where those mistakes. Kindly everything looks fine. It over here for the body and it fixes these ones. Kinda confused duration to take. So that's why these these ones here fix these cause the children will be following. These particles are if they are messy when the entire children will be following. And not so precise direction. Questionnaires inside. From the top. Nice EY I've been getting those flyways. Fixed fees. These guys here. Undecided. You see these flyaway speaking fled down a bit. Yeah. Flat, silhouette. Just coming in. And so idea. Screaming everything. Making flat down, Lie down. Usually create this section. In this case, it makes sense to turn on symmetry. As these particles are not symmetrical. Some of them grew over the opposite side and not the same vertex place. That makes sense. Please make sure you turn off symmetry. Sometimes a similar symmetry does work. So now I'm gonna go to object mode history views. But I'll do a could paint here. Cover for the space. Now let the flow go to say, random until it looks by Titian. See this. The texture. We can go to weight paint can add more. Paint. Weight is nine. This will grow. So this will basically extend my crew. Change direction like this. Like others, landmarks can increase, that. Can come in with the blur. Now, just to blend these guys together can see a much smoother transition. On this side, I can see everything is blending. And I'm going to live up to my object Mona. That's it for our body they may see is just check. Before we move on. To fix this. The important just to check your entire mesh smooth around your model. As you can see, these were not straight. These protocols question Benzer actually. And so this one yeah. Like it. Even one of these, if they are not straight, they can cause artifacts caused. These children will be following that duration and interpolating. I'm trying to conform to that direction and paint. Make sure that everything flows where you see me. A lot with these. See me spinner of time and they just come in and just add way. We need to make more here container. So actually when you add these, save decrease the brush size. Should have bought it, should be avoided. Suite called object mode to preview this. Just to get a flow. Color must be white or gray. Here is some problems. At the bottom that we need more particles to compensate. Check her again. She was that the children you can see. Oh, yeah. Lastly on these aren't coming through these now. These guys, each columns. So CI, make sure that the ones you added, you call them, just make them straight. So you wouldn't have any problems. So these are the ten of cramping. See now there's a spread. Spreading apart. We need one year. Come to sleep better. See the flow. Has to be a problem. Yeah, So lastly, you see how it, I'll suggest just clicking around your model and just checking if those particles of following. And then I'll go back to object mode. And let's give it a quick preview. It looks about right. We could add a little bit of roughness to this. Randomness. Probably just give it a deeper knowledge of these words will be affected. See, if I say, one can see almost, almost all of them are affected. Is way too much. 0.50.5. So we have that, the go to File, Save As and I'll see you guys in the next lecture. 52. Grooming Ears: Hey guys, Welcome to this lecture. So let's do some of the room on our ears over here. Essentially is closer to the protocols on top of yarn. Click the plus sign. To add. These particles are probably just hide the body. Double-tap to rename this to enter changes to 0.5, the lint 705, I believe you can make these way shorter than that. Remembering to liberty and see how short these ones are. If I go down to my vertex groups and just say link to my voltage group. And we hadn't been painted to ear for changes. T is for can rename this just to match, is presented to rename that basically we have these growing over here only. Could also decrease the lint. They're buying. 15. Yep. We can start sculpting these. What I do, I'm going to go down to my B-spline. And so for viewport, render to five, we're going to come back and just treat these at the latest stage right now, let's go start sculpting these particles over here. Very basic, amounting to large brush. It's just adding my comb selected and press F to decrease the brush size. And I'm just going to call these guys symmetry. Symmetry with this. Take them upwards and also on the inside. I see there some of them were transnational, so these ones out, drag them upwards. These guys show everything is straight again. And turn off my son. She in this case, just redefining these via there's gonna be a change of direction. Following one, we're friends that shows the back of the ears. Can quickly show you, if I have a dog and drag this guy. You see how it's moving this direction. Amanda clump going on here. That's why you see me do that. Then the rest will just flow and the duration be like they're coming out. These ones. Splitting, moving these ones, I said making them straight from the inside. Same process. These guys, like some of them were on the edit direction and on the other side, I can decrease the brush size. Get more control. And these ones inside here, you here. Then if I go to my object C, nothing. Children interpolates. Increase this bad boy. Again, see now, getting that on our ears. Like candies look 40 on these arms. Just fixed it over here. Like on the inside. So go to particles. These bad boys take them out. They shouldn't be facing the same direction. Go back to object mode. Could decrease in my lid and my children had a bit of roughness to these threshold point, some something of this nature. And the lint power decreases to 0.50 into Sway overboard. Like this. These shorter. So we have E is now I remember him. We also added the fill. So it's Control. Save my pure. If these guys over here, let me see which one is visible here. Let's take this guy. Just adding these fill over here. So I'm gonna create another particle. Current easier. Yeah. Hey Tiffany, don't know which direction to take. Let's try. It's kinda confusing my children. My children particles. Let's see. Coating where Kenya. And again, just make sure these are straight because otherwise you're going to be battling with you have only these ones. Cool. Change the duration here and change this direction. Now, if I go back to see now, everything is fine. So what I'll do, I'm going to create another particle, double tap to rename and say Fill. So this is going to fill in these pods. Changes to ear. Same process, go to the vertex groups and go right down. Look for years. Phil. Also look for on the link for you. Here also is thousand. Bad ones will be 0. Really? Say 0 or one. Let me hide my ears for a second so I can just see this link. Go to File Save. I would want to go to my wet paint. I see it's growing on why this weekend. Good luck takes group, but it is Phil, Yeah. 12 deltas done. So the weights and history will move some reasons in some way. But I'd like to object mode. Instead of sculpting. These ones are growing. Yeah, I can just use the cut to cut these orange ones. I'm tough question. Just make sure that the only one on the inside, these ones again, just cut them. On top buzzer. Oh, yeah. These ones. And grandma comb brush. You can just call me roughly. Doing that. Curvature. Again, I would want to. Well, the particles and render a B-spline changes to five and only viewport shading form. You see I'm battling. Make it a bit neater. Now I can get more more control and she would inside now. And these ones just tucking them inside. A reference. And I can shrink these. I'm sure. This room suite. Good children fled to object mode now. And kind of see this going on. If I go down, I'm cramping three particles settings and let f be a map. So has anybody had the line down on the surface that go ahead and merge it, preview that S M, roughness, randomness. And all of them. Just use travel. Changing form like this. And I'll go to my political decrease, this India shrink, shrink, and go back to object mode. Companies. Let's change the shape. I'm doing this, right? And just say, Save. If I go on top to turn on our ears. Can see that we have is and then these would so again, thank you guys for time and I'll see you guys in the next one. 53. Grooming Tale: What are our last lecture? Let's look one detail. So we would have fulfill my previous lectures. Let's start with this section over here. Same process called the particles. And down click the plus sign, create new political system. Delta tab, and I'll name this tail highlighted copy center. Then we named Maria also presenter. The first part. And I'll put it here and go down to wait a second. This go to Vertex groups. Down to offer the density and also the link. And then I compare R&D is now 0.0100 plane zeros. Let's say the ratio for change and emission is your render. B-spline. This guy. For boards, for rendering, I can turn into five. So these are subdivisions. Again. Everything going fairly well. The easier than do. Again. Grab. You see what I'm missing here. Change it to political edit. You see you have these growing also over here. Again. Work on my vertex weights or just use these cuts to cut brush. I mean, cut piece. Where I don't want like the media like that. Grandma com. Start controlling these underside as Philly going to be data. So take time and go to object mode to add some children over here. Then on interpolates. That explains, I mean, shaking whatsoever. Yeah, so problems just looks this way. And we'll go back to my object mode for on our tail codeine as we go down to children. And I could decrease this land probably say 0.810 on the random roughness. Just affect all of it off of it. Because of my particles. And I can also grow these guys FDIC user by size, space and other audit mode. Nice time to treat this fovea. So I don't do, I'm going to go to. My particles and click the plus sign. Double-tap on the political system to rename and they make tail fill in endocytosed into that. Hey, he works his groups and change this to tail. And also on land, this changes to tail. Feel. Can change, go up yet emission and changes to 0.1 or point. Always a second to this all work. Just look at this length. Scale, this one a try. Then go to particles edit. I would want to go to my viewport and just increase this to form my steps segment or subdivision where you want to call it the piece band for my render. Now this dog grooming, these guys grew to change here. Clumped together, smoothing these from the army, them in on the side here. These ones. So I could put 0s, 1s, should've been going over here to my com. And we'll go to object mode. And what I'll do, I'll go to children interpellate, something like this. We need to fix this. Two particles. He's done and decide. And at the end, just make it a bit pointy. So entirely up to you. Go back to object. Yeah. And now I can play around with the clamping and so forth. Tend to shift to one clumping to view all of the shapes with 0.5. Okay? And clump noise sometimes doesn't work well with me. Going three. And S m randomness to this. So there have been changes to 0.9 or 17. Almost a quarter of it. Deeper into this fun data under clumping. That's about right. Until the British control S. To save the image you can see now. Again therefore, changes to render. Skewered a quick render. We see we can add more heat and reduce the thickness on the final render. So this length, this is not me, just close this. Perfect. So it's OVR the shape. One can maybe just 0.5, like half the diameter. Again, you'll see it's going to be way smaller. It looks fine. We just need to add more. Or he's open to see updating real-time. Zupan to looks like about this, I can go to my children. Roughness and publishes the effect of quarter bit of roughness to this. So for the handshape I used up until now, if I turn on the buddy system, please save your time and I'll see you guys in the next lecture. 54. Grooming Paws: Hey guys, Welcome to this lecture. Let's add the first on the depose over here. So I'm just going to add a little disturbing and just go to the particles and hide the rest. The tail, et cetera. Because I said probably go to the body for an increase, their children do it yourself. So I can just see, see that it's on. Because we're going to be painting this together. What I'll do is click the plus sign to create a new particle system. Plus sign and double tap on particle system to rename that. And only mid pause and press Enter and rename the cytosol. Just do a copy of this so we can navigate it a bit easier. And then same process, I would change this to here. Getting this, we're going to use 0 to the length, shorter. You can see the very short. And then we're gonna be using let me see. Okay, that's fine. Then this is just a basic setup, is blind to five. The viewport, which is crank this up to four. If I go to my vertex groups, is just delete code down at the bottom, just select these pores for OT screws. And as for my Lindow, So same process again as previously you see now it's only showing over here. What I'll do. Let me keep on saving this file, save before it crashes. And I have that nice time to come these a bit more like how it's growing. So here's go to Object and particle Edit Style, grooming on these particles. So I have my brush, probably increase the size a tad bit laggy or just close this now is high. This is going to show these series flows like going on this direction. I'm trying to maintain that. And on the side, stream is 0.5. Probably interested. I don't know why it was a desert one file. Just common. These guys. Follow my reference very carefully. And it will flow this direction. Hi these guys. Yeah. And then also get back symmetry. That's why it's a bit laggy. So he's been capable of symmetry because these particles where they go, they're not symmetrical. Spirit to turn this off. Shoot down on the other side is coming from the side. Coming in. Just creating the setosa. Making sure my my particles are straight. Flowing in it occurred. This is about it. These ones straddling that also leaves on and do the same over here. Let's go to the back and gloom these ones. Same process that I pay going backwards. Then there's a straight direction change going on there. So just going downwards then these ones there was a tobacco. Sure that I'm describing this one side. And just grab this downwards exa. I'm just confirming on this side. So if I go to my object mode, oh, just only sees the parent particles go down to show ran. I can find it now. Children interpolates skewed a moon. Those see where I went? Inside, yeah. Yes, fine. So go back to Political Editor. As a matter of just tweaking one by one. These ones are just not sure where to go. It's going to expect in that because we just grew and everything. Same duration. And obviously this is low poly. So as you increase more subdivisions diesel flow, easier. Because now the surface is a bit blocky. So don't worry, like once we sub-divide even more, this will make sense. Could now it's coming. Add those guys. So I'm just calling the riser and honest. Go to the other side and just go in-between these just perfectly downwards. Yeah. Just going in-between the individual toes. Redirecting that. When I add the interpolator on those, you can brush the same as I've done for the the hind limbs. Just coming in. At the center of everything. Just finishing that and look at these. And you see, again, as stated, is too low poly might be. They might be not flowing very perfectly. But I'll show you the final render. Once we add or subdivisions, you'll see my god of object mode. What I'm looking for. So if I, let me show you how this change, you see the distribution as you add subdivisions. The distribution changes. So that's what I was talking about. So as we add more subdivisions, this will change. So don't worry about these ones. Just checking all the sides. Initially, the mother poking out, changing the yeah, it's called flat on the surface. Move this up to show you create this nice cartoon there. Go to object mode. Go ahead with this. Just go to my particles. Just hire these guys. I select my dog and then scouting. And just create this brush. Is proportion, not straight symmetry. Now, turn on symmetry for this. Okay. Save before it crashes. Nice. Increase the brush size and you can just fix these into overboard. Yeah. It is realigning the abortions, children from all angles. And again, we can come back and just fix these anytime cause we have the low res mesh. So we don't need to worry about that. Suppressors. Just going to fish. Oppressive, decrease the brush size so I can increase the side. Too skinny. Can either inflate pressure, undecided. It's a bit of messier than TikTok grabbed brush and just fix everything. Just press Shift to just tapping. In describing this shouldn't affect this guy. Inside here. Skew it a bit more mess. Make sense. No. Crystals can see. Now we have a little bit more masculine. She told he couldn't go. I can just smooth this out. Go back to my layout tab and go to File, Save, click Save, and turn on and off. Let's open up our body first. See if it's surely not. Have a few. Click the Pause and decrease the children. 20. Yeah. Give them a go to my body. My dad's sculpting this object. Go Edit. And then just ten of symmetry. And the Ingest, we grew these guys straight down from the inside. So let's give it a try. Go to the hind limb and come in. Fixing these guys. Write down was just one stoke. Okay, and then go back to the object mode to see cook previously known as I'll turn off the body for increasing children. Turn off the air. Has a lot of clumping noise. Was turned on anyway, the roughness. So just play around with this 11002 and e to be affected. I'm gonna go T-shape plus sign. Go to lend some overly. This looks this. Then we have everything sorted. Particle edit. And then just fix these guys, which I just poke them out. And also just just looking for these these particles that I just pulled out this year, we're not ideal For finished result. Tucking them in memory we in 3D. So you need to check in all animals. But it is commonly done. It looks about right under side, front side as her this is a bit wonky. So these are not straight. So he's coming back in and fixing these, dragging them down to get the silhouette around. It looks about right now. This looks about right. So if I go back to my object mode preview, so we getting this fairly decent distribution, I can just go to my weight paint because I see over here on this, this dome pad. Okay, let me go to my vertex to body for just do a quick paint. You wonder why it's not quite over yet? Because a fine, just add more weight and my stroke to line. Perfect. I'm just adding this for this to be covered in fur. This tray, this line, Let's see. Now, we're getting that those foods is growing over the water, is coming on the inside those smooth around and bring it back on the side. That's about right. And I can go back to my political edit. Lee. We want some, some particles, yeah. So add a plus sign. Just growing these like this. And kind of undecided was just going to put some of these over here. Remember, turned off symmetry. So let's go to the other side again. And I'm just going to happen. Just adding those is that he gave her that doesn't matter anyway, but then toughs to keep everything consistent. And then comedies inwards, then undecided or so. And get out of edit mode and go to this first. A cave of these guys pulled out just to get an O n as the underside. Again, rechecking my niche. Sweet color mode. This should look a lot, right? Yes, nice covering over here. So what I wanted we have let's just go around and check on your mesh. Yeah, so we can go to our pose for this first, save this guy before we lose this. So there's a pause and go to children. Some roughness here. Other Impossible receiver body. You have poor selected and go down and add some randomness into the same as the body reserve 101. And then it says 0.8. Variation. Can also make this shorter. By going to particle, grab my paintbrush, shrink that guy. Then I can shrink these guys. Again, I can turn on symmetry. These are much better. Go back to object mode to previous. Yep. Bit smaller now. So yeah, that's about it for boards and I'll see you guys in the next lecture. 55. Posing Animal: Hey guys, it's overcome this lecture now it's time to pose are darker. And it's really far from our previous lectures. And I'll just close hide these particles are for. So we won't have any problems save that. So previously when we do a weekend, we only merged combined in a wig wetter talk and we forgot our eyes. I'll show you quickly how to combine everything once you've done. So you basically add any path to the rig. Don't want to say, I'm going to select my dog. And I'm just going to see in subdivision level one. And let me see over this. And let me go to my lowest subdivision. Turn on the rig, fabric colorway, the time to pause this, go away, you start my Monday again. So basically what we want is to merge the cornea and the iris and more and talk with the rig. Fairly basic to another control, save all what you wanna do. You want to say? The urgency is just open these like my dog controller command. Let me just see if my chronic skin cost keys. Send them on. He said The dog, hold on, Control or Command on your keyboard. Select the lacrimal or the iris and the cornea, and select the rig. Bind these together. So what I'll do, I'll press Control or Command P on your keyboard and select Automatic weight. We just combine everything and just merge as you see it, as it moved over here and edit these guys over at the cornea lacrimal. You see highlighted over there. The EMEA. Time to be let pose. So to do your pose, need to select your rig. And I'm assuming there were just a side view and object mode and go to pose mode. This is where we're going to be posing so sudden and which one to choose, but I'm just going to be choosing any. So what I'll do, She's a basic one. What I do could probably so if you select these guys, are and why to rotate, you see I can rotate my dog escape r and x. I can rotate, pick up the head whatsoever. So I want to press R, z, make them look the side of it. And then grab these legs. Z, press G, knot z, sorry. Z and x escaped. See from the top view. So total the header, but these ones because g smooth the leg forward and move the sun backwards a bit like it's moving forward. And obviously also for the legs. Same process. So it's just the basic pose. This CO2, yeah. These guys sectors, especially GI. I have a basic pose or my dog, like a tool came very, very basic. Remember memory that we can do this with automatic rigging. See now how the topology is very crucial here. And this is too low poly. So let me see if I subdivide test. Make sure there's no pinching online. Go to object mode. Select my dog. Increase the subdivisions. Me see it. There's no pinching amount of moves this way to prefer cover. My rig to pose mode this and just move this a bit. This guy. See that? This one and move this back, butt. This one backwards. Just break this symmetry of it. Then we will control save. If you want to do like a smooth transition you get, you can go to you. Is it good to object mode? Select the dark color to white paint. And you can go to your texts groups. Sylvia, you have all these spines. Can paint these to make them work very well for you. So this one, we can use the blur tool to blow this out. Let everything can be smooth. Strokes and quick word painting. Nothing fancy. Just remove that. Some of the pinching letters going on. Basic pose for dog, very simple guys. And everything is following the mesh. As you saw. You can do any pose you like at this stage with this rig. And just if you experience any problems, we just use those weight painting just to get those smooth, smooth transitions. In this case, I will leave this here for now. And I'll see you guys next lecture. We're going to finalizing everything. They asked for time and cheers. 56. Groom Modifiers: Welcome to this lecture. I have my image open over here. But the first of the word dog, as you can see, this is a roughness going on and how long this foot is and this clumping going on over here. She's just refine those. Lastly, before we start with our render, this will have to offer mobility lecture without pose. She literally jumping tourists hematoxylin. Which particles? I'm going to start with my head. Head for probably increase. You can see everything is still uniform. Uniform over yet. So I'm going to go down to children, will give us a 70 or something. Then get more particles. And let me first go to protocol and grab my brush and just check every is flowing in the right direction. Some of them. Chris, n to symmetry. Just turn that off. Add shift my weight pain. Where do I start? Scope at the screen, political edit. Screen, these protocols that we have. No side. Rechecking, revisiting these guys changed the flow of so if decrease the brush size and having to points mode these points. I'm just going to move these back and just drag these down. Go back to my object. Having to this. So we need a bit of reporting. Reporting. It is a basically like a separation of Separation of differ from one side to the other side. So perpendicular. In this case, we don't have one. And campaign. Just keep on adding and see which one works fine. As a value of z, this is going to turn this one off. Keep on increasing this zipping six. Least, it's clumping. Crystal leaned to one decreases. A TED is a lender of the actual for the aid. That my account is 0.50 working fine. And see I'm getting those variations. And inevitable roughness. Can I say increase the scale? Roughness? We say 0.3. Way too much. Play around with scale. And let's just control the amount of roughness will this have on how much offer it shows the threshold will control how much buffer will be affected by roughness. Probably just tell Diana scale this. Let's see, this threshold is too big. The size 1.5. We'll just say one. Going back and forth to see that if I add more segments, probably is going to look very nice. So we have this surface breakout on the leg. If you increase the resolution of your model to the top and add a few subdivisions. You see how the flow of these to change the viewport steps. As you can see, it's much smoother. Then earlier. Notice here this is fine. This is it for the head. Again, I'll go back to my particles and add. The elbows are fine. The whiskers, we can add more of these whiskers. Go to the. Add to three. Yeah, I think it looks fine. Or add more of these terms and add some over the roughness as threshold. So let me just see this inches height of the head. Segments. Shuffle forward to go back up and add are these guys just add the, the, and the body. But as I to is the most crucial one. You see we need to add a bit of noise on these guys. So make sure if my body first elected. And roughness of the ceiling. 050105 yeah. Behind my reg. Disturbing. And I could add more of this by Sx and campaign. So the first way lungs are in Contiki. I'm talking a bit of a company. As you can see, I can increase my scale it up and Brianna camping. I increase my skill, but as it went seven or nine Is it wouldn't matter of going back and forth and trying all these numbers. Depends with how it looks with you. You'll mesh. Let's put it for consistency Cuba 0 from the profile that the rest supervisor. And you can also increase the scale if you weren't in my mind. So I have that on my 30. Could come in here and just check my go to File Save. And a good command just checked my particles are so you see now as we decrease the degrees of the subdivisions locally pose to the character. Now, I don't want to know that two is the love that you see these particles as question. Just giving them that direction. Be turning. So when it was movement on the head, just making sure that lines up together. The same process as I showed you guys. These must just be straight. Just wobbly as you see them. August you in low-res. Things might they might not be making any sense. We're just doing those minor tweaks. There was movement. Ensure. There's no squishing. These pointed straight up. What seems fine. Go back to object mode. Managed to pick this up then over we experiencing problems. To this last one is give them some direction. I can tweak on these forever. So grooming takes a lot of time and patients don't be afraid to spend your time in this group. I would like if I have like many hours, I would just spend time just studying each and every flow on these animals and try to replicate that like you do in likeness. And that will teach you a lot to it and how it flows in real life. But just for the sake of this course, we'll just leave this here. Just making sure that it's flowing. You can see it perfect. And that's it. For the tail. The tail seems fine to me. You just spoke when it till for food and pause. Openly history. If anything changed, was just verify our particles in it. Again, it's just crashed. We hide the ones we finished with. Okay. Let me just open the whole time. I'm just going to go to Edit. And it's strange. I have the body selected. Make sure I have the pause particle selected and go to particle ate it. They just fix these. Can change the direction if that seems fine. On this side. Yeah. And then also on the side. Because Chico so the hind limbs may see conflicts. These are just coming in and just call me nose. Again. Go to object. Just give it the same settings. So for the go back to the airplane, what I said, table three and turn on clumping. Give it a 0.27 to the clumping. That so if I say it's turned on these eyebrows and fill them in detail. So we have this shadow catcher. I have a dog with a roughly just using those modifiers in settings. As I showed you guys. This is for this lecture and I'll see you guys in the next class. We are finalizing everything. Cheers. 57. Grooming Mane: Welcome to this lecture. Now sculpting or grooming the main, if I may say. So. Actually the main is part of the the fill on the animal, like puffs up. It has this long and lean than the overall for it kinda gives a debt dipped. We are around the neck. We also have that on on lions and stuff on male lions. And if I could just sugar as a reference, you can see these bottles. So let's start with that. Let me just open one reference. Let me see if I open this guy. How we do this. We're going to be using the same process, just painting the wind pain. First. I'm going to go to my dog model on the Epsilon height map body for what we want to do when you go to click on this tab over here and just move this guy up. But then we'll just click on this plus sign to add another new vertice. Paint over it. Just group. We're just going to call it main. Press Enter. Then having a selected, we'll go to object and then change it to vertex paint. And then we'll stop painting, remembering when we add. Okay, let's just go to paint. So we know that we wouldn't have this around around the neck actually, and around the ears. I have my line pains. Remember we using this cemetery for work. We can just do this, increase the radius of the brush or so. Just to get this move quicker. You can see on this side as there is a bit too much here. And do that. Then it's going to come down over the store line. So this is just the quickest way to get dy is just a bit too much over here. Now we're going to have that full grown over the canvas went overboard. And do that in land over here. And then we can grab the blur, just blend those edges. I'm going to press my f if and drag to decrease the brush size. That's waiver board. Couldn't blow this up. So we can can see this grows and the need that is reference. So we can add a small line that comes up over there. Something of this nature. Then we're going to grab my blob brush again. Just going to blow this out over here. If you have any problems, we can come back and just finish this year is not pronounced. So I'm just gonna I'm just gonna play everything. Just give it that orange color. So once we have this, we have our vertex painted. Time to go to your particles tab. And then let's create that for. Go to the plus sign and add a new political system. He went overboard. Close my eyes, go to object mode. And I'm going to click Leah, what am I doing? Double-tap to rename our political system. If I can rename your delta, okay. Give it the same name to say name main first going to add and copy into Screen class keys are about that. Can I can see my shortcuts? Holly using initial plans within your NaN, just paste that presenter. Will have that gene has to go right down to vertex groups. And let's choose the o write down is choose the main for vertex group that we just painted. So it will only grow in that selection over there, around those vertices or phases. Yeah, the splint is way too much. What I'll do absolutes, you go to emission, decrease. The length is 0.50.1. This is not the right size. Okay, What about doing point where we can increase, increase or decrease these later. So it's fine. We have been working with these. Just checking if it's going in the right direction. How I'm viewing this, we should add some yellow to your work to paint your wet paint. Sorry, can't talk anymore. This is true. This we're around the cheeks and only masseter muscle, chewing muscles. So it also grows over the side. It also has that just exaggerating that TED Talk on that line. Remember we have symmetry, so wherever that, and I can grab my blue and you can just play with them. And you can basically see it updating live all these particles. As you see the painting. And go back to object mode. Now we have, these particles are going this side, which thus what we desire. Funny, how I look at this land is very long, so I'll just say, go back to 0.1. Again. Am I change it again? But from the front view looks about right. So we're gonna go to political editor to start editing or particles. And click on this option and change to political editor. Now, we can edit this particles. Same process. We're going to use the brush. If I increase the brush size and start to calm this down. These ones, we just undo that. I can cut these ones on top. So we can use this brush here to trim you for all your particles around equals z, but shorter than these ones here. And I'll come back with my tool and just lay these guys down. Given that duration to it. Again, just looking at our reference. It's doing a finished these first two is lay them down. Make sure you don't have any symmetry turned on. And give you problems. Turned it off. Because now our model is not symmetrical. Pose. So I'll remove these guys here. Wait, wait, wait to paint. And just pull this guy out and grab the brush. Strain is fine, decrease the weight. So we, we don't know at anyways, his choice line. Say this one. Now grab the two. Is blurry. Not too much around those edges. That's about right center. I'll go back to my particle editor to start aging again. Coming down here, believe the converse. Skewered date duration. I'm going to come from this side. Cut these ones. These are the underlay. Be cutting these ones that are not growing in the correct position. Easily remove those particles. Once we have these guys roughly calmed down here from the give them that you could just increase those steps. Once we have that, this brush which we've been using and just the sheer scope design sprint them in here. I'll probably cut these ones. Yeah, again, not ideal. I'm just gonna give it back. Clamping just by hand. Side. Take those arms out, bring them in. Just question them as you see over here. Like the washed up on the ear. Let's cut that out. And also other side. Top parser. To view these, you need to go to your children and then one in tablet, the same process. We have these guys throw around two or you can just go over here and options and say children. You can view these live. In C, we have children. And I can see the land and everything. Shoulder could now just dragging them up, changing the direction. And also underside like on the front, you lay them down and just pick them up. See, I'm running them on the other side. As final fix that. You can do that for the entire technique. This is cool brush. You can use code path. Basically what it does, it picks up those flatten out, is just puffs enough. Like as the name suggests, it just switches those. You can see when I move around stretching out everything. Yeah. Just make it straight. You can use a clamp brushes. You can see it updated live. So what I like about this, what I can do with these. Now, again, add morally indifferent. Hi, This viewpoint. Because you are mood and you see of our main, you can do them play around with the length. As you can see, we can get a better run. On the side. Let's go to File Save, to save our file before we lose. Then go back to particle edit. Let's carry on clumping these guys. I'm just going to be take puff. Puff. Everything is just like stream, straightens out the particles and just pass them out. It's a great tool to use once you've done with the companion star. Me just coming in now, that's the puff to those particles. And the other side is coming in. Then my grandma Arlene brush to smooth brush and brush here and just shrink. I'm just going to shrink these ones that make these lines a bit shorter. Remember that the torque that we can decrease this land, we're decreasing these ones. And rather than my changes to grow, to increase the land, B's wanted to center. Just going overboard, the shrink that down. It's Aetna. And these ones in the middle. It's going here. Let's cut this general by e. The forelimb. Then if I go to my options is you can view these live. Now, can just give it a comb is creating that. The clumsiness. And C must be uniform. Changing these ones, these in all animals. And then again, if I increase the display amount and I say that ten, just want to display it. We're just testing for t mode, C over here. So one over two pi over tau this off and come to push these inside now. And also the side from the cheek. And we have to look at your reference very close. Okay. Undo that wind is pushing him back. If I show my children. Now, it's set to two. If you increase this, Dave's either accept divisions, can see you can get that curvature back. This case, I'll leave it at three. And then you can add that puffiness. Stretching these ones. Yeah. See now main. So just just takes a lot of going back and forth, finishing everything. Going just to hide these children running seem okay. Good dyslexia. Like most of the details, will be added when we add those modifiers like clumping and so forth. And the roughness. This is just us. Let's go back to object mode, just as just laying out the foundation for for AAC, these are flowing in a uniform direction. So once we add that, the clamp and etc, you'll see. So I'm going to show my children again. We need to convert this to take these and that and then change your reference. See how mesas gates. So don't be afraid to go overboard and I will just puff visa and pick those guys up. And you can just see it update. The pump pressure is a very powerful tool. You can just come back and pick up those a very, very softly. See we are restrained as like halfway. They notice this has a very, very nice you can come in. And she looks like so we have you can just come in here if you want. It decreased the overall length. We just come in here and they say put a 0.9, then this will just decrease this overall length of the main path. This is updated. Now, let's just see how it works and how it looks. So I can grab my brush Lastly, coming in and give it that silhouette. Breaking some of those guy is decreasing their way overboard. Yeah, I think we need a puff. Went awol. Your thing. That you guys get the basic idea and we have those, the foundation for main. So as you guys in the next lecture where we're going to be just adding those modifies. Your time and I'll see you guys in the next one. 58. Refining Mane: Hey guys and welcome to this lecture. Let's add some of those modifiers that come and blender isn't a puff the cells living at this now, puffiness, breathing goes up ever so slightly, going on top. And the bad. Live and just look at this, you know, animals. So one of the most important part about NMR is that these animals don't convey a message that says, you need to have that in mind when you're doing this. What we're gonna be doing via the modifier, the image is just creating the breakup of this, create the realism. Radio my go to object mode, which is a very uniform. Now, what we will do, we will go to the, now we have our tolerance or undertone, then I can just paint. This is not right. First things, these clumping. So basically clump or clumping, clamping down as we went through this just comes. This showed us the clamps. Like normally when 3M has been in water. Let me see if I turn this to time. You see you see how clumps like that. If you increase the value of one, increase, clumping on the, on the chips, give a negative value stored under your belt the other way around. So that roughness. You can add a bit of a kink. Jewish try waiver. Obviously you went overboard. So play around with the amplitude, give it a lower value. 0 or 10. Yeah. Then the frequency, if we increase this to clamp around like the crumbling Sylvia, we're going to add. You can just give us a lower value, 0.5. Clamping. You can lose your reference counted endpoint that I can print these out, but not too much. So I say 0.02. This is about right, gives us that revenues or 0 sum over the reference to it, but then not too much. You can choose which two. So the thresh hold, I told you guys, you can choose which to affect 1.5 of the C. Now we have our main, I could decrease this too much. They're going to clamp and E. E is play around with these and see which sitting works. This case is clumping too much. So I normally just increases or just come in here and just decrease the computer forensics. As far. Chicken all animals. We see also you can come back and just sculpt this, decreases like this. The roughness or so. Just undo that. And also you still have control it and come back and do the particles. Can grab these puff, puff, some of these, snake them straight. You want it just smooths them out. Controls everything. Come to the center of the, I guess. You can grow the brush. Move those particles. Different duration insulin is high. These officials an acetal particles only in the sector children. You're missing this as supposed to be there. So go to File and Save before we lose our work object known as C. This can also view this in the renderer. So if you click over here, EV release particles in the render. Update the color and see how everything. I would fix these on top. And this space over here. I see that there's a way to reference. Let's just give that a similar transaction transition. So go back to the silent mode. Edit, edit those particles to view these will work. So we did a converse problem. These are the path to navigate. Back to our roughness. Low, very low values. Sometimes it just doesn't update until you click on the history Kiva there sometimes. Just puffing these and we have an aerospace here. She's a converse. High tunnel. Like this. Men are also helps using is asymmetrical. So can have that. We listen to these guys. I can remove these guys here on top because we basically don't need them for the body for if I turn this on. And so she's messed up. Yeah. For that, we'll need to fix object mode. And you can see the periphery and you see we have the periphery. So what I'm going to make these ones, the Amazon can, but then it's fine because they failing or even visible. So once we do the combo, anybody for we can be able to emerge creating a quick preview. Just hide it for now. And the shape, the account. And I said one. So once you make it, what I mean is 0.1 cycles. See actual size, the scale it up quicker in there. Some time to calculate that. And I remove the noise. See the length is almost the same as the final render which is play around with the color. Can see the size is good and tastes don't worry about the low-res model. We're moving on. In Siena. We gained two over here and go to edit and use a brush skew that duration. Lesions that person. Probably on this side. This flows, it's very crucial. And scope to object mode. Here's our main credit. Look on this, on this side. Okay, sorry. And you can just tweet. So pick them up. So via these overlap like that view my children see now I'm getting that name or some this. Then I can increase my clumping again. Let's each row rank. One is Sheena not updating. Friendly. Update. Go back and read this. We're ready to give some of them. Break up. So you can probably just increase the roughness. The endpoint. To see those update, there were 04, May 9. See these ones are the ears, again removing or error message but to match whatever and they're sailor. Something like this. Still see the clamp? Some of them. There was a six. Yep. And go back to portable edge of my children. I said that apparently they don't show these ones. Funny. Change the mesh. Metal playing with clumping that I use. Kinky goes crazy. Kind of can see this if you don't have more, more step. So subdivisions. And when I say perfect, I'm just going to come back and finish. Where can the lind lynn brush just shrink the size and make them shorter? Probability around the small idea. These guys a bit shorter there. Object mode preview that can see just coming in O n or just around these mesh. Mentioned. Mixing them. Just changed iteration. These individually. Motorist do a quick, easy, very basic. A final render. Go to our render settings. Excuse them to anticoagulate. Can see the length is over almost, almost right. Again, gives it that she could play around with these, take forever. Just to leave a big gap and see make sure that she couldn't let me just closing those gaps now. Major NameNode. And there's our main pretty much simple, simple technique. Just using those weight paint and just looking closer reference can be able to achieve such thing as a result of these. And again, it takes a lot of times just going around tweaking everything is given. Just give some love and just coming in. Using the techniques that I've showed you guys. Again also just playing around with these portable modifiers and other children or campaign. And the kink and the roughness. Like in other ones I used a randomized does just randomizes everything. Random randomly. So you can basically pick on the threshold which to 21 to be random. Here. Now it's half of them cause it's set to 0.5. Can see these are just flying at that frequency is way too high. You're going to see now those flyways flower. If we increase the steps, you can see those more property if I show you a bit more now, if you go to the display ten, this t3 can see now how I'm getting that. Kelly, Kelly is over the noise that way. Everyone is fine. Line. So half of them will fly away. I could probably just like almost half of them. You see those hairs is flying like that. So again, go to File, Save before we lose work. Again, it goes with time and I'll see you guys in the next one. 59. Refining Head Groom: Okay, so let's refine the head for groom lecture from a previous lectures. Just jump into this. Go round to map particles I have and I'm just going to show my head aid for children who remain aware. They know. My head. For the selected to display more of these organs that are zeros. Children of z is way too short. This back to one. Clumping. Cramping works. The particles and it can still refine these. See the iteration has not done well. And as Linde is not that perfect, L1 then just come in now because it's flow, how it goes up and coming. That is just tried to replicate that using a screening that just fall in that direction. Again, according to hide the main exam times some lag. Just me just coming in that direction. That changes direction. I can look at our reference. Lightweight, turned, can increase. Finished colon. We use this refined as my movie when you interview with us and we got these working out, just me is coming in and make sure and have surgery turned on. Remember Mario is not symmetric or are highly invisible and visible. So I'm gonna go to my brush and I'm going to give it a grow. Grow these ones that are on the cheek. These ones, Yeah. The side is. So these are almost the same reference. Yan top stuttered. Can show our children to see how this window this, but it's fine. That can come in back here to the puff toughness. So we'll just pick up those strands from, from the surface, up those guys up. And if I open my Object knowledge just to view this and open my main shape, blend well together. You still need to add some clamping. These guys. Miss fix this flow. Edit options and high particles, high. The main, this flow we're searching that is going to give it that creating our clamp. I had just gotten all groundless grew minute before we even add those modifiers. Geometry that we're receiving, just trust him turning these, changing the direction. And I go back to object mode to view. These guys. Tend to find that again and go to clumping, move this thing, see how clumping works? Like how cancer? Well, yeah, but and I got to the top. Reduce that goods and lower value. And my roughness and 0.08 seconds they're reaching spine too much. Give it a low value. Supportable edge. Texture paint by mistake. Political edit. This braid that these ions are flowing around direction. That's why it's confusing. She just check that. Onus take these scissors next. Object mode. Yeah. This side, just creating my own terms would just grabbing these particles are single particles and merging them together. Open up articles on the side. I mean, not only display your chicken us and over here you can see now it's way too much. Heidi. These are the size of these particles. Over here. Just bring some of those in overboard. Cares about Rights. Restoration. Use directions that we're rarely see. These ones are laying flat. The ulna. Hi, get that. Second. Controlling their direction again. These arms down and then go to lean brush and in return, you can see on there. Okay, I'm just shrinking. These are for what t is. Make sure you have grown or shrunk. Wondering why. We gave it. The cytosol just changed it. So under the eyelid, give them land. 12 year. Grandma brush companies guys down. Second side. Same process. See that? Object mode to do a quick preview. This is going to be the main for adding on top. Yeah. Before we lose our work into my shading made, slip this in that there's an EV below the texture. See we getting that now. So why do we add the CCU in this lane? Puff this up top. You guys can see that these guys are really there for now. And go to our roughness and those fire away there. We do have those you see on the head. Now we can turn on the whiskers and the eyebrows. Good day. The reference is too much. So the eyebrows say things and degrees, this frequency, something of this nature. Increase the campaign. See those eyebrows aware. Added. Once you go down. Let's look at this overall. Jackie, because we never add a lot of steps. That's why it's like that doesn't grow much. Can see these bivalves. Something like this. Or seven. Yeah. Those are the whiskers. These guys. Look about, right? We could add the lender that one finds in his file. Fun mode. Select my head now and just do some final touches. So there's flow. Just change. It. Looks like when we say, we want to pop these up to the political elite. The puff too much. This is a way to manage. Like at the end of these are additive. Just keep these ideas. Come over to object mode. Let's just say this bad boy. Say to celebrate far less, that's for less time. Quick preview on this. And go to my main the main for noise. Reduce this one. Go overboard. Yep. Anxious. Yeah. Dated everyone 13. And now we can go to the header. The same land. What does it mean as the the main one? Is? She's confirm that the amateur level nanometers on the restricted domain for hillshade on one, yeah. Same check the eyebrows. His closest cherubs, 03011 gives us same same length. Diameter. Mean. Changing was because as a shape for the head, It's confirm that changed. Okay, cool. Doesn't seem like it's the same. It looks about right? Eyebrows or whiskers and Maine and I head for the head. The head part. For the head part. And I'll see you guys in the next lecture. 60. Refining Ear Groom: Hey guys, Welcome to this lecture. Let's do some environments on the ears. They leave a woman religious, and let's continue with this. Save this file before anything. And I'm going to go, I have my African dog or your files. Copy and cool. Let's go back to this. Now it's time for, is. If that app needs a pair of path interior, fairly easy, we're going to be using the path to. I'm gonna hide the rest for now while we work on the ears selector and give the same settings. Shape one. And the children. 100 square root of 50. Sweet N Low. To reference. That is one random kink, nothing perfect. Sweet is selected. Particle edit. We'll be using the pot to bring these guys are probably change this. You see, you see these straight lines on the, these particles may show that the E-flat and they are straits come to for now. Just verifying these animals. She's pushing these out. I want to come back and take my pot to start plotting these bigger brush press F. These are the insiders. Click. Pick those up. The back of the ears maybe. Mode to preview that you can see you getting all those changes direction, political calm. And just fix this. Can view the children while we finish this. Gc, everything updates in real time. C and d Omega uniform length over here and just probably around this on the side. Too much. Probably drive the pressure pickup, these guys. And now you are a financial one. But again, the n 0.5, we don't need clamping. Yeah. Endpoint can add some clumping to this. An update go to object mode AC that we gave her that companies too much today. Now let's take n coin membranes to have to remember that. This looks fine. Probably do some plotting where they pick up those here as you can see. On this side. Yeah. Bradley come brush skewness. Here. These are programmed inside. Control the flow again. Use the plotting Bush to grow these. The parsing, we perform them up. We're going to just preview this quickly. Looks about right. So remember we have the EFL. These hazily. Look at them. Just give it some length. Children Lynch's at one go edit. And the second is the product of these guys all straight up and turn off my children. These are one missing. I'll put here first things first, I'll play around with the length of this first column, these inwards, excuse me, the direction inside this side. Same process. Now come back and use my paintbrush to grow and still growing seasons. And hello to my particle. See the Land of these are ones you can add some clumping. It is clumping noise that she's a clamping the food reaches the noise. One more noise. Instead. If I turn both of these, Let's have a uniform over here. Right? So can probably just go to political calm. Break this up to object mode. Well, it looks like this from the inside. As you can see over here. I like this section is try it out. So I'm just moving these on the exam. I'm pushing them inwards. Electric object mode. Go to my texture and see these in action. While you are on the final render, we'll add more for a uniform interface that shares the two-sided. Fix each gas. If Jennifer effort going to particle, Let's turn on our children. See these in the fly. Pushing outward. Let's bring those luxury object mode. Still quickly. Breaking that uniform, they're solid there. Is that no two show the shape is at 011. And I can still call me breaking this up. Too much. Moving. So the back codifies say, before we lose. You see, I'm just using that train, that randomness exists all by hand. This brain, these are the direction and also slag. So these protocols, straight breaking up that surface, just randomizing them. As you can see, the save our progress. Save. Go back to our or. You can play around with D. Looks about right. We see a TCO is not uniform over there. She came to us, fly away is awesome. We do this on top. Testing these around to make them uniform. Created noisy. Loudness is changing the direction. Formula is called the long now is just in the direction where I can we changing the iteration. Take the massing be like a complete uniform line? Just me speaking those up and regenerative. And just say that right knee. Overall. Plot these ones up now. Look a bit flat to solid and it goes puff, no ISA part. The reason the, pick them up into that to that same movement or just one subdivision up. Nice. And even the distribution changes. So as we add a subdivision, divisions changes. So just be aware of that interesting question. Chain. Why is it? Uh, yeah, we can put it. There. That divergent mode, chicken or on an indoor spaces. And S only occurred grabbed my yeah. My object mode. Go back to particles, EFL In one fill, go to wet paint. So just to add the scrolls way up, way, to add some orange over here. Make sure I have my vertex groups selected. And hazard. For now. Just my brush is uses line to make sure our weight is one. Okay. Do that. He's doing to the National Mall. Reality corners. Overboard. More increase. You could just come in. Now the blur tool, this out. Go overboard. In yellow on the edges. If the arrows on the edges. Sure that there's no rate coming in red, green, or yellow, or orange. And go back to object mode. Now have our ear for, so that's it for this lecture. Then the guy's free time. Save this. And I'll see you guys in the next one. 61. Refining Paws Groom: Welcome to this lecture, this December. Finding one, the pause. Check this one out. Yeah, go to portable. They did hide the children. So there's a little play now I see that too, albeit word. And I can go to this guy and go to my pause for and I can come in and refine those ones. Have them selected. Go to particle edit. Editing, then there are reference again. These ones are lying, lying flat. Almost. See how the twisting, where they meet up like at the center. Not in a uniform direction. Just make sure that the lying flat on the surface, me is coming in, pushing them up where I need to find the other side. To the other side. He's done internally children just to preview everything working out. Now it looks about wives controlling this direction over here. Canada, Justin turning. Really. Just pick these ones are partly because it looks about right variation. The settings would look right. Campaign and the roughness, the shape. You could just change it to. One. It looks that looks about right. Heidi children go back to object mode. And I can just press Save to the body. Now until around the body. And see if Lean's together. We see that there's a lot of air and a few other body. One to visualize. Less of it bidder go to children on the body and just changes to 40 body. We just need to add a lot of them. It was his C. Looks shorter and Sonya, seductive body. To get back to. This is fine. You can tell but refer to political edit. You can just play around with the link. Looks at war. These groaning made him a bit shorter. Just increasing the land. And then turn on my toes. See how it looks like before I will board. Blending of birds. The land. Looks about right? Go back to object mode. Go to my modifiers, turn on the subdivisions. Smooth it out to better see. The distribution of the particles is not bad. In areas like these ones here. Buddy. There is no perfect. Just checking and see where you need to fix silver back to the body. This guy down to subdivision level one, antibiotic was a bit north of those children. Can't see anything changing. So to create some variation, I can see all these ones that are facing up and then just choose some of them laid down a bit to create that inconsistent groom. Doing some of them. These issues are if I add, it doesn't add any, we're going do is pick up these ones, will give it more land. To the land. These are the more land and groom them a bit and puff them up. Person. Degraded by these enzymes. But your children, while we do this, sorted them up again. Now we have covered S basically say this guy, this for all the spaces that you can see. Now everything is covered up here. And go to this guy and linear. Learner. Small puff brush is perfect. Perfect. I'm just bringing this up from the surface here. Same for references. Match C in terms of children for now. And these guys grabbed the lint brush. Brush, turned on the Children's. I can visualize this even better. Shave a problem here. She easy fix, turn off the children. And just completely out because we have a problem. We make sure when you're pumping these unit actually also runing the mesh. Tonight. I'm guessing it was off. Change the direction here. These ones very super low poly. So the direction is not consistent. Me ensure that I'm making them straight here. Coming in this slide. And I'll probably just do a quick preview now. Minor tweaks here and there. She was wrong. So I try to add one here. Doesn't apply. Brush decrease the brush size, change the land that is facing the empty space. So we can try feel that doesn't work. We'll use used a brush. And he turned off 100 children. She has covered That's basically could make these ones lie down. Gradually come brush. Let's kinda went to overboard. There was a bit too much. Just checking the silhouette. Yeah. Right. I believe. Looks about right. And just checking if everything is laying out perfectly. Before we proceed with the rest. Without the final render, I'm going to go to object mode. Yeah, hello, right, they are fine. And everything looks fine. I turn on my main in C. Better visualize this dog. Let's go to File Save and thank you. And I'll see you guys in the next lecture. 62. Refining Body Groom: Hey, hey guys, literally study some refining one, the body. I'm just going to go to my protocol section tab and just detail for now and then turn on the body. That's where we left off on a nice time to just refine this over here. What I'm concerned about more as the overall length and let me just see how it's lying flat on a surface like that. So what I'll do, we're going to be using a puff and just correcting everything the way that like that. Thanks. Go to the children. Are clumping and Zerocoin. Bad. Randomness. Okay, this room, this and see was a portico edit. I'm probably just hide my children for now. Auctions. See these, these wonky over there. Grab the brush. Give them the direction, just make sure that I'm correct. Them remembering they must be just lying flat on the surface like you see me doing, just dragging them down. Press Enter check if our memory is off. Yes. Just confirming coming in this side. Just keeping a consistent flow on these guys. Cyrus and he's come in, Noether's is pushed these n. You see reasons I just moving out. So be careful. We're changing the direction is coming in. This is lightly. Can kinda see this flow that I'm trying to replicate. Infused the brush, press down, hold on. That sequence element, the inside part query. We wouldn't have our main covering that section. And do that. Decrease the brush size and just come over the ACO curves. So I'm just going to make sure that I have curvatures. Moving on the inside of the model. Also strutting, making everything straight here on the inside. You're just checking it in all animals. You can see he's moving around changing that was on the side. Now, Let's turn these guys. Smoothing done via give it this direction. Just coming on the marine mammals, we don't have symmetry turned on. So be careful that you do. The idea is that maybe the top ones just meshed, merge with detail. And is come in here. And if I turn on my two and kind of see the flow just go back to object mode. We can play around with the modifiers. Takes, if I turn this to 0, let me see. Hey, shape. First things first is F11. Lend one. Campaign is a 0. Let's see. Everything is just calm down. No modifiers applied whatsoever. You can see we're not much clumping. Clumping going on. Can see, so I'll just put it at 0.5 is going overboard. One. But just some of it. And then I'm going to just go back to my particle edit. Turn off my children for now. Just fix these. Fixed a direction or the leg. Next. Then go back to object mode. Can be just scrambling. I don't need a lot of campaign. Probably can increase their land. This link looks about, right, actually. Let me see if I add my main particles and just see if add our main for. How does it blend together. Go to your render settings, render preview in EV. Go fix this. I'm trying to calculate. My man is a bit too rough. So I can go on to children. Reduce the roughness. So we just playing around, make sure that it's blending with the body for asic meet. You see over here. It just continues. This is a bit to clear out my roughness. Shake that out back and forth at this point, trying to give it a roughness, but then not too much. Just go three. She can decide as a render view and go go to my body. Just checking if our lenders, what we need to hire this guy for now, go back to portico, edit. The length. Looks about right. Nice time to puff up every day. But it's tough brush. You can probably turn on our children. To better visualize that. Using the soft brush. Just to pick up some of those from the surface. Yeah. I'm not drawing it in random model. Name in there. Perfect skew in that direction. Now on the bottom part of the legs, these guys, She's checking that decrease my brush size. Is some of the ears poking out. So you see what is controlling them. N1. Remember that the temperature is too low, so you might just need to add more subdivisions to better visualize this chicken around a top view. Just puffing this other person. The top view upwards. Come back again. Clicking. I'm going to go back to my main, main, send it on. Go to object mode main, and I'm going to go edit. Turn-off children for now. In this with a small string, 0.3, this year has been probably smoothies and match, making them a pretty straight. Why is that? I just question together. On this side, meaning name, but probably show our children to see them in action. Updating live. So this may push it straight, straighten, zoom out. Much natural way. Making sure that it kinda planes now with the overall body. Can see now that the same can go back to my body. So in this main off, puff it up once more. Those up. A very natural way. Like the silhouette of these in from the side. You see some of those. We see this what I'm trying to create a puff. Except those to be more straight. That would have been doing so far. Go to Object Mode, Object Mode. But again, do also create a copy of these particles. Grab this guy, copy, and then just create those. In this case. Just copy that object. Selected. Given an oxygen. Yeah, that's fine. Just checking everyday. Now, we can go to two, we edited print campaign and we can play around with the end point O. So as we done with the main, this is insane. This 0 is 01. It didn't get much of a difference. Oh, you should use the random one. Just use all of them. Are very mobile, flying out for those ages. And just show you from 0.5, you get some of them just flying out. Just to see the frequency, how to make them a bit strange, increase the size as it went. Something like this. That's why we're getting some of them. Is poking out of it. Safe for lasted for body. And thank you guys for your time and I'll see you guys in the next lecture. 63. Refining Tale Groom: Hey guys, we're constantly carries quickly refine this further tail part over here. I have my start with the first self. Currently checking everything is going well. Some weight painting. Go to Vertex groups and tell for, I don't really care. Audit mode, an edit form, these flex this over here. I just cut these ones over here. I should have grabbed my brush. To eliminate an undesirable. I can set the flex flex my flow now. Probably with the brush. You can just leave. Let's pick them up. Where recombination can I went overboard. And we're going to go to our particles tab and go to tail fail. This will just fill up the support. We add object mode for it to update. The tail fill. Presentation painting, particle edit is high detail. For now, let's just want to see what's not going well. So there's one yellowness to cut. Grandma Come brush and I'm just going to hi The children. Now. Show the children somewhere else. Just says yes, just as strain. Then you can grow the land rush to grow and add more. Dum, dum, the roughness and clumping is fine. Random. Say one. Kevin particle edit. That's why it's not updating. So at that guys, go back to object mode. Trial when this again, the random walk. Chicken or, you know, animals or 725 threshold, like how many will be affected. So they're going to do that, almost all of them. Then it will turn on the tail for highest. Tell me just fix this. Problem in a gene is particles updating current controller lesions? Again. Cut them. No particles. Yeah. Let's check our wet paint called the screws. I have frozen forsaken the way down to 0 too. Okay? As the tail, the tail for click on Add or Edit this up. And obviously over yeah. Com these guys, excuse me, show it here, but uniform. They look about right now over to object mode and turn on the tail. Feel scared. A quick render. These. More than look at the shape, shape. Urban one chain is to fulfill shape. They'll get the correct diameters. Mode. Edit. My children. Yeah. We're back to object mode. Go to File, Save, Progress. And we're going to open our tail. This is biking, I'd like to tell fill and add. Gold particle is another one here. Another particle, decide. Now it's big data. Just on the tail only. Mode. Yes. Suppose by mistake assets. So just a quick preview on these. C. C we're going to change going to be six groups. She could just go here and just increase the weight. Sure, that more of these coming from this. I have my tail all done. So that's it for this lecture again, you guys for time. She's give it a quick save. Save. Those are amino. See you guys in the next one. 64. Stray Fur: So to, ideally if you want to make your eyes look more realistic, you would want to add some flower is randomly around the body, which can be show you on the reference. What I'm talking about. If I just zoom in over here, you see this oldest, less groom, their group mean and then all of these like stray, hey, not stray per se, but then these flyaway is over. Yeah. They just create that randomness and realism to the animal. So that's what we want to add in this lecture. We just hired this guy. And let's quickly jump into. So we will start from the top to the bottom. So go right on top ecosystem and it's just hide the rest of these particles. And probably high D. Let's hide everything, even the body for, and go up at the top and select your head for it, groom, hey, protocol, whatever you call it. Ideally, you want to create a copy of this. So we already have the settings, older roughness and clumping. So we'll just do a duplicate of that. So if you want to do that, just go down to the arrow over here and select Duplicate particles. Have acidic to just check. Sorry about that. And if I scroll right down, I will see my copy of AI is going to say head for the other one. To be cared version, you can rename it, but in 3D with this, as is. Now, we have this copy. So whatever you do over here, it's going to affect the room of a day. That's not what we want. So what do we want to do now? We want to disconnect us from basically disconnect the copy from the original. So whatever editing we do, it doesn't affect that. So let's basically simple, just DEs, the edit. Everything was pops up and then make sure you click to sign where this will disconnect it from. Like unlink it with this one on top. I'm going to go back to my children, were going to turn stamper five or so in a random probability to, to see history is that would also come to my roughness. See me get 0.55 of them are the endpoints that roughness is going on. You can control the length of it. Over year or mission. Mops do have control. And the segments. You could also come and come these, which I think would, then it's not necessary for these guys. Can probably just decrease land. So if we go down and children can go to this label is 0.70.5. Sheila, h sum over the liver and five and then the threshold console control how much of a firm will inherit it as leaned over here. So if I can say 0.5, so half of the table, we have this lyndon of the a, we have the long length like R one. So just create that randomness to see getting those. Now something of this nature. And if you want to, if you just come over here and just calm them a few, if needs be. This k is not that necessary, I can probably decrease the strain. Does that go around this? Nothing to adding too much. Just randomness to this. Okay. And then just come and puff. Some of those those ones that we come down bring your mother. But because they must be actually poking out, not lying down completely. So I'm just going to add that. Adding that. Then getting those again. Go back to object mode. Coming in like that can increase this particular you see regularly makes your, now it's like we have two layers of these, mixing them up. Then it's better just to control these on the render it and see which one works for you guys. My case. So in this case it's just leave it at 55 and a render. So these are the settings right through to the eyebrows. We don't need to carry a copy cause they already just splitting out. So I'm going to hide the sea and just confirm if it's looks fine. Yeah. It's clumping over. It mustn't be uniform. So that's the main thing then the body which is most important. And the body for and open that. Put this in place. And I'm going to grab my same process, come via, copy, duplicate the political system. Go down or bottom. I just delete. And deleting brings. Sure. You press too. And disconnect. Know of 500. Yeah. These are a number of guys we have. And I can go political system, the clone brush. We can just calm that down. Again. Pick that up. Just creating that duration to it doesn't have to be too precise. Again, is following the duration that we had on our underlining for base. So the bottom one. And then also on the side because we don't have symmetry. Calmness die. You can basically see that updating live over here. Then come back and just puff up. Pick up those subtle. You can just see that updating live. Pick that up. Trained as a, say, 0.7. Too much. You can see now around the edges, I'm getting the fluffiness, which does the desired effect. So we're bringing that back up again. Just be careful here on the, from the lower limbs that move this tree you can see it's not a lot of those coming up. And you're going to essentially just see like some skin inside there. You see there's not a lot of flowers on top. So just be careful of that. That's why I'm just pressing the brush on top. More than anything else. This person. Pick them up, look around and see. Okay, we have over here, and we'll go back to object mode. And also you can play around with the seed and change the way they grow, probably give it a five. And because the body is quite vague. And again, play around with the Lind discovered, reserve ornate, and change in threshold. Half of them, say 717. When to step up. And they're gonna go back yesterday particle system and decrease the length changes to shrink by the lower limb. Giving you that something of this nature. And afford to puff these ones the Enter button. So good, good. Movie that particle edit. And just change it to puff. Picked these ones at the bottom. And everybody, bailey. Yeah. We add the butter. So we have the randomness as you can see. Nice to see diesel engines idea. If it changes direction and just see updating live like that. K. So we have that for everybody. Very basic. Again, this will go along. You'll see in the final render. As you can see over here. For elucidating, go to File Save. What else. For the ears. Okay. Copy. Now you guys know the process. Flying these. Now we have a cookie, they see a very nice one. And you can play around with clumping. Change the wrong one. Showing a change in the wrong one. That's really changing the EF. So select Copy. And five on the campaign. Ten of those who are sick and undo that. We accidentally deleted the user to toggle. Andy rice. We accidentally deleted at two. We as unlinked this one over here, duplicate and down. Click this one, and then press Delete. Go back to object mode. During this two-year switch. Now can go to the children and 1010. And we can have a random length. Random land on these guys. Can see OVA file, you can see that gives that, that variation to it. So again, probably increase it to 20. If we want to change the length. Seven again. For you can probably just come these on the brush. If amine, sorry. Lay them down and the puff brush can kind of see how kinda pick those up. Now again. And the same process over here. Gravity can brush, pick them up this column. And they don't need to be that precise over there. Because this have these just needs to be random. I can probably come in and change the way it changes the way. She looks fine. We have additional continuing in the next lecture with the West. 65. Finishing Stray Fur: Okay, So let's, let's continue with this. Welcome to this lecture. And they start with us. We left off. Here. It looks about right randomness. And you can also just play with the campaigns and whatnot exit purpose system. So you can see that it's clumping and some roughness to the end point. Something of this nature. Seasons. Go to File, Save this bad boy. You see them roughness on the edges. Let's celebrate. Less the ideal Look we're looking for. Key achieve, can achieve and realism. Probably add more G-score. G 20 is just a dictionary. And next we go to EFL. Now, these guys, E field. So this is just to fill up over here. Probably just leave as soon as this is to accomplish. You feel duplicate. Make sure I have my duplicates selected. Delete, edit. Everything is going through the same process. For this one, I'll probably go to edit to a large here. I will just cut these at the back. It's got this one right over here on the side. She didn't the current brush probably got these ones and the age is also via what I like about this. You can see this updating live. So the gut, these ones on the edges, make sure that this is just going on the inside. And also via the other side and just shake. You have no particles grow and now it's time to reduce the children. So the amount is too much. You can go to object mode. And I can play around with length, say five. Second updated. Just clear, I would delete. And hopefully you see for Jaime's guys, see that different. See, right now, there's a lot of them. Probably children is 20. See if Jane t is fine. Just give them the roughness. And 0.05. And we can add few of these, say 1020 or just say for ten. We'll see in the EFL on the original scene. Product the same amount and z are changing TO cool. Attended mistake again, linked them. Basically linked. Now we're going to do, you can unlink them. Click this one, so can delete the edit. But in this case there is no mean. So we can have the same the same amount of these guys. I feel like it lends a lot. Like in this case. Over here, I see these ones coming in like that. If I open the years, as you can see, kinda just blend in together. Just want to keep that. We downloaded here. Next, we have the tail yard is very important. Still copy. The tail is not C. Not necessarily of one. Say for this one, we're going to use a tail for, not to tell for this part. Just because we can do a copy, duplicate that guy. The tail fill. This bad boy. Delete, edit. Chris to two. D link. Probably too fluffy. Cut to speak evil that make sure you have the chick on this side. Okay? Hello that to puff. Puff. These can see at the credit risk that randomness go back to object mode. Go to children, change the seed, probably six to five, and change the amount. And either 1010 is fine. Let's open it. The tail fill the original. See the different You see. I was able to add. Yeah. So can grab the copy and particle edit. This, calm down. Go to puff brush. Pick that up again. What I like about this, you can just see it update. Let's go back to object mode. And you can play around with the roughness. Go to the roughness. And the end point. I can say 70. You can see that roughness we getting what we want. So that's what we have for our tail. So that's the last part of the main, that's the last one. Sorry for the pause. We don't need them. Remember I showed you guys on the reference how egg from this, from this section downwards in the lower limb. Contracted together high that you can play around with the clamping and give it like a different value. Children with cramping. Then change this C, it creates variation. It's different. Cool. Okay, and lastly it has got a high. We're going to move up, move faster, go to the main, open it to duplicate the copy and delete edit link. And we have our main aware. So probably we have two of them. This is the original one. This is the first one. If I hide this and you can see this on alone, looks like. So we just need to calm down a bit. Go to o particle edits and grab the brush. And I'm just going to look at these ones going over there. I'm just going to do this. Just for a fleet company. These guys doesn't have to be perfect. So then grab the brush. Again, just picked up this guy. And then just pick them. Can see it's updating live. If I open the main domain and see how it blends together. So I can change the seed again, 20 something and share around camp. So usually happens here 2021 to find a render. If I hide, this can see that variation. Getting the changes as family. That. So it just fills that in together and just cuffs covers those spaces. We can park or edits. Just cut. The puff on the ES. Particles on the ears should have been going on over here. So I'll go to object mode. I'm just going to check and I check to see that different. We can add a few of these children per ten. Just fills in those spaces over there. Look at that in the front V C program. My main, main, main kinda went overboard. Credit column brush. Let's just bugging me. That's fine now. And go back to object mode. And that's it for main lesson lasagna. Looks like. So we've added those flyaway hairs, whatever you wanna call it, that, that creates that randomness to the now everything is offsets. So thank you guys for your time. And I'll see you guys in the next lecture. 66. Lookdev: You guys are going to lecture on lump-sum. Look they've on this model and do the final scene setter for rendering k. So what I'm gonna do when you go to start with the eye, the eye. So I'm going to hide my dog. So go down to Reagan, ions are dark. Lacrimal also. Just going to focus on this guy. Go to Shading and remote we had with the bump map changes to EV. Just a quick preview. Some time to calculate for the HDRI at k component turns off for now. While we work on us. So we have the texture, the color texture. Now we want to want to do, we want to create a transparent glass effect on this part over here so that we can show our iris and a need. Just a quick setup which you need, you need another texture. So in like an alpha, a black and white texture. So I'm just going to click Control Command, Shift, Control, Shift D amine. So you just turn on my skin cost. It's getting close case. I that you can use that as you can see over here. Or we could just right-click and duplicate the shortcut Shift. I'm just going to delete this. And I'm going to go to, you know, create a new texture for this cornea Alpha. So I'm going to make black color set to black press. Okay. So black hides and white reveals, so we want to own it aside and not do anything on the outer layer. So if I click on my color amalgam iconic alpha, go to texture, paint. Smooth as inwards. Now concede anything. Let me just open my uvea. Click over here to open display your texture paint UV shells. Now, I want to make this complete white so it rises to the top, come over here and the one 001. So your hips will be if if if, if I sent them is going to come in here remembering this was our iris parts. So what I'm gonna do, I'm gonna press F on my keyboard and middle mouse click and drag to decrease the brush size. Then select. Then I have that. I'm going to start painting on this. Just increase my strength. Just make sure I'm at the center. I'm going to start painting on it. We can come back and finish this one tweet and see something else, something of this nature. Then I'm going to go back to my shading tab. And I'm just going to drag this guy output will be going to be adding a few of these glass shape a. I'm going to add my shader, shader, go to mix shader. But over here, Shift D to duplicate that guy. Put him over there. Everything is dark or audio. Drag my Alpha-2 factor node in any of this C3 going on. Then I'm going to do this mix shader again. Let's just drag it over. Yeah, and the shader. Now we want to add, I can just drag the color also to the vector alpha. Now what do you want to do? We want a class effect, so I don't want it to. I'm going to add two nodes. Firstly, it's gonna be the shader, grab the gloss, because you want it to be a gloss. And I'm going to drag this to the shader. Excuse I'm trying to calculate. Here we can get classified only on here and not on the outer layer. Makes sense. And I'm going to Shift, Shift a, go to shade again and add a transparent or Mauer that just replace that. So if you press Shift ASU, you replace shift a inertia, please go shader and minor transplant. Drag this BSD of to the shader shader setup. And lastly, to control the shadows inside, we're going to add one node, go to Input and add the light part. And along the light bar just drag the shadow, shadow ray under the factor like this. Excuse them to have to calculate. And I can just click on my image here. Just because we can change this. Say you have this and this works well with cycles. Lives in EV know you even you need to turn on your screen, your screen space, reflections and refractions and also on the material. So for them, because I'm trying to calculate, we're going to be using these in cycles. So I'm just sorry you guys. So this works out of a box. We see now we have our, we have this iris. Now we can see our iris and the need. And then we can just come here on our cornea material. We have a specular Azerbaijan five. You can crank this down now roughness to 0.1 to make this a bit glossy like this. That's about it for the eye shader and go to File Save. Let's make sure that I have automatic packed one. Now if I turn on my with the I can control the iris. Let me delete this guy. The brightness so I can add color node, add a curves adjustment, just drag it over here at the center. And I can crank this up. If I wanted to make it more lighter. As you can see today. Or you can drag and then just drag the color, brightness. Just drag the Soviets or the base color. Or I can add the Gamma one to, to increase the gamma. Most cases. So they kind of correction that we can do. Omega softer. So it depends on what you're looking for actually. Just last D also you can add the same time. You can add the enemy. He's also the issue and saturation. So this just controls the hue, color. The saturation. You can increase the saturation, but bring it to give it more color and the value of year. You can see the difference. I'm probably on the hue, the saturation. I mean, you can see we remove the colors and so forth. And you can play around with the hue C, giving them green eyes. The slider to see which colors look good. Do this case in early with a default. And I'm just going to drag this guy, the base color territory to this. Sweet. And I'm going to turn on my door and see how everything is looking. Okay. So we have that. And if we go to File Save, you go to cycles should work also. As expected. She's a glossary of it. Less as for now, I'm going to go to my lacrimal, turn that on and let's go to the subdivisions. Increase these guys. What I'm looking at, the paint, isn't that the same year? You can see it's not blending over there. So I can select my lacrimal n go to my texture, texture painting this guy. And what I'll do here, I will select one color. Click on this white thing, and then click this drop a box. Remember we've done this texture painting before. So I've selected a scalar and I just decrease the brush size. If minimum was click and drag, click and drag. It's just good to preview. And see while we paint here. This training is that one. Isn't texture. Just come in and paint as you can see. That just painting the dark texture with one color. Then on this side. And chicken this side. Yeah, I'm just using the same color. Come in with the brown rice size. So I'll just make that a bit darker and go to my shading. My go-to material should be good to remove this and see the ligament as I say material. So I can create and just fresh new image texture, texture, image texture to the color. And press. We're going call this guy the lacrimal. Lacrimal enter on K is fine. And we're back to texture painting. My UVC, very tiny skew the brown shading. Now this can go to town. Ten of the roughness. Then we're back to my dog. I can probably increase this a TEDx. So you can see this For can see your eye lacrimal with a dog. They have that the same color as is everything. Going to be easy now, see better preview. You can see it has a watery, watery, which is effectively we're looking for. And then you can increase the specularity if you want to. Crank it up. For me, Just give it a 0, skew it a watery effect. What you're looking for. Something of this nature where you see just makes sure that increase and reduce the roughness. Like so. We have that shadow catcher. Now let's turn on the, let's check our C. Let's save quickly. Guy. You're gonna go to layout and set up our scene. 67. Render Setup: K and alpha scene setup of the render setup, I mean, open everything. So you have these two options is the poets and the render. You would want to make sure that you have all these set for render, for rendering. And we need to check all of these just to confirm, I start from the top to the bottom. Checkout most important settings and high this and k. So first things first go to Render, made sure imposed selected material and peace blindness. Probably take this two for the more steps. Or should I say subdivisions you add. The more smooth curve will be. Say if you just doesn't want to buy, I don't know why. You get the points. I don't know why doesn't this off let me see. Yep. So let's say you have 1234566 deaths. So this steps need like subdivisions like these points. So as you have 123 steps, you will have this command I'm mindful is a very bad right now. 123 steps, you only have this shape over here is gonna be Jackie. But if you had six of them in a row, just be like a curve flowing like that. The most steps or more points you add, osha, say subdivision. Help you understand that. And I believe we went through that, so but it's fine to children. So the display was at 20. When a double it up, I want to set all of them to a 100. And t. We, we done that. Then the hair shape, everything is all set to 0.1. Just check that the diameter rooted at 0.1. Seat and the eyebrows render B-spline. I like Guy Patricia available now and just checking and verifying. And the children to choose fine. Because the handshape Z11 and then 44 is fine. And the render respond is that for checking everything ourselves into actually fine. It's just come in and just verifying if everything is okay. Make sure it's at a 100. Fsi belong for the party, for it has to be at a 100. Just be careful that what else went through that. The important one, this plan, perfect renderer B-spline to equal the very short. It's very short here. And Hatshepsut upon one children. Otherwise at 4000, K is fill 20. Remember linked to that. So probably add something and handshape. Sure, it's at 0.10.3, just doesn't verify that gives us a four course. There's a lot of curvature going on. Tale for renderer is plan for fine. Children. May show the render amount is around 0.1. Perfect. Fill, just checking again, piece band 542 or five, get that smooth transition. Oh, increase. Just check the render. 0.01. Perfect. The poll. When these plans are the polar very short three. And the children pose m to be 100 because it has to match with the body. Body everything. Main, 100 keV. Fine. When did I make sure B-spline is checked? Keep it up for, can live much longer. Or just go down and check if the cache plus urban one children. And you can play around with the length of the eye. Remember we said 0.9. So you can just say, is it a quarter or say like, oh, no, VMO have this land and the rest we have the normal length. Then go back up the head for B-spline. These ones are the copies so we can keep them. 23. They won't be right. Yeah. The body for these Blankfein of TF FT and FF 2020. So we've done those settings just checking the shape of the body shape. 11, perfect shape. Fine. Yes. Fell, B-spline, T, and one tail fill these plans for 10011. Lastly, the main actually obese been turned on and increase it for 2020, change the threshold to 0.2 and the shape that is open one. So we have roughly that those are settings for the particle system. And moving around to a camera, stuff on the top, the camera, the camera, as we're used to, render a picture of your camera phone if you want to understand it that way. So we just choose random pose. So if you want to view this in the camera, right now, we viewing it in user perspective. And there's our cameras. So there's a few ways you can go to View and go to cameras and say Set active object as camera. Then you have, now you see that box over here. This is our camera. So we look at this through the camera and then we can just set up our pose. Right now we can see this event changed the camera's perspective, not user perspective. You can toggle on and off over here, pressing Z on your numpad. So if you don't have a numpad, you can go to view cameras and active palmar. Same as pressing the numpad 0 and only camera settings. You can play around with 38 or 50 on the local focal length. Lean and leave the rest as default. And then that movie I have eyes. So just make sure it's turned on in the renderer. Che, moving, write down dow, just chicken division render and make sure it's at five. Right now. We only seen that low poly. So when the final render is going to use less subdivision level five, show those details and only glaucoma. Five, like that. So you went to Settings AA, natural using cycles and support. Now, when we look at a few options here, if you're using the default Blender, I'm just revert back to preview final TreeSet. Using the default plenary. You might see this. The, the maximum samples at about 496 legs. Let me just click over here to show. To show, these are the default Blender settings. If you haven't changed as such, we'll see. So the noise threshold, this controls how far will the blender calculate them, like remove the noise on your window image. On the viewport. We just leave this does not important right now. Then the samples, this is way too high. But then depends. I normally say 32 and the viewport. And on the renderer, our set this way to Ohio. So probably, we'll probably use a 100 samples. You can mess around with this as fine. But because we have d noise, the noise nowadays works very, very nice. So this will help us. So we don't need like 444 thousand samples because we already have the noise. Right, and move right down and bonds ie fault. The second option we want to look at is the light part. And then the maximum bounces. So if you have D4 again, let me just click Reset to default. This has been a default settings. Again, this sometimes like this is not necessarily in my point of view. You don't need a lot of these samples. And light. For example, of a diffuse channel like these bounces a lot. And the total anomaly to just, just a bit of trial and error. So you need to pair on this and just give it a try. How you understand is, is just look at your material, like your material, which material slot T is the mode. The most like if there's no transmission going on. So you don't sample vectors. In this case I have this for the eye and the eye also diffuse leave one is not that important. And the transparency also that important. This is probably this ad for is fine. Like in total. We've reduced a lot. Most of them are not necessary. Film if you want to render your image and transparent background. In this case, we want to see the HDRI performance and leave these as default. We'll write down this resolution like the size of your final image. We live in one entity AT fine. And you can probably just play around with this also. You say 50 per cent, so there's gonna be a half of this. And also in Blender, I don't know if you guys know this trick. Pretty per can per cent. You're gonna do the multiplication. So you can say times two, you're going to have twice the size of that divide, tract, etc. So you can easily get to match. And thus also be output way you want your output folder. You can select it over here. This K is wild dog and just say, except the extensions you can choose. I chose jpeg, PNG, wherever there's a 100 per cent. So say post-production. Make sure f composite in sequence at to end on. These are the default again is default Blender. Go to materials. Let's see what else am I leaving out? K Again, we have our HDRI to strangers at one bond to that one K. You can increase this to get more on the output, but then oblique one case, fine. Now, let's go to shading. So we have our setting, those set now. Freezing. Just give some time to calculate problems. This changes is good to. Second, Omar, I believe is best we name these materials now, if click on a lacrimal, My name is chromo. Enter and go to V cornea. The cornea and the sclera cornea Alpha setup we went through. Then the iris also rename it to iris and dog. Dog. And this will also update on the particles were to render and see now we have dog all set. Now we'll only do we know what we wanna do. We have on the dog. So we want to blend the principle be SDF shader with the shader. Because HLS to price. So if we mix those two together, will get very nice details. Where O2 will use a mix shader. For a simple shift a and the shader and Alice works. You can basically mixed two shaders together and they control the intensity. Over here on the factor. Like, let's say if I increase, this is about VHDL. Let me just drag this and industrial gas. If I try this to the top like this, say 0.65. The principle, the SDF or have streamed and the shadow up Javier. Shift a, go to shader and add a Principal, Hey shader. And drag this to shader. Drag the shader to surface. Now for the color, we're going to use the same color. Leave these as default. You some time to update. So if we have this like this, the principal who have power over the shader, which is something you would want. So if you leave it at 0.5, they'll have the equal amount. Because the shader as a little brightness to it. And you can just use the color, just give the principal DF some more power. So the factor of 0.7. And leave that like that. And you can just test it out. So that's our settings. If I go to the cornea, set up just for a second, change that to go to File. Save, and save our progress so far. Again, if you want to you, we, you can play around with the eye over there. To the iris. In this way. Can add maybe the hue color. So these are the options that you can use. You can play around with the hue and saturation. And just look for color very slowly. Also, remember I showed you guys this. Or you can just use the enemy, use the RGB curves. So delta color to color and this color cheap base color. So here now you can have a lot of control. Can add more color to this color. The reds and the blues. You can get the color you desire. Just a few tweaks again, decreases. So it just takes a lot of back-and-forth. And if you want to replace this shift is RGB. You can mix this and just select the color. Yellow factor right now is at one. So one. And change the blend mode to color. Changes back to one. Blends together. See now how that yellow arrow over there to that. I can change this to add also. So you can just play around with those blend nodes. You can publish currently the intensity or so. Or we just use all these overlay or so forth. Blend nodes. Some time to calculate C. In my case, I know we just go to add and just blend this with this factor 0 and change this. Now I can just choose policy. There. Wouldn't be nice one. Open to that. Now you have like some yellow eyes. That's fairly easy. So you can basically change the color of your eyes anytime. Just using that technique to File Save. Go back to our layout. We can select this, I can select when you go to view. And now we have our final render. So good selected region, render region. Let's say we cheese like this section over here to render this section of air region. Clear that out. And there's a shortcut, Control V again. And say he just wanted to enter this section over there. You can do that. To render an image. We'll just calculate that only and disregard the other section. As you're just gonna do a quick preview of the actual how everything is going to decrease this window darker if you want to. But in my case, just leave this as an excuse, some time to render while we materials settings. Go back. And then that's gonna be our render. So it's going to take a couple of minutes to finish this out. So I'll just pause the video and I'll see you guys later. 68. Color Correction: Hey guys, So it's time for the final stage. Have Photoshop open over here. So lets just grab our our render from blender to open. Wherever this guy is opened. Again, this was our final render from blender. And what should we wanna do? Want to do some color correction over here, as you can see, there's not a lot of color coming in and all the details I just flushed out. So this is just a role render from Blender. I'm gonna do, I'm gonna click this lack of idea to unlock my layer. Then once I have this layer, I'm going to right-click and convert it to smart object. So a smaller object, you can basically add filters and then it actually doesn't apply it to the actual layer. So that's the best way to work non-destructively. So this is just a raster layer. You will be actually applying those effect on top of the layer. So just make sure we have a Smart Object. Then after that, we're going to go straight to filters and Camera Raw Filter. I'm going to be using this a lot for the entire thing. Once you have this, I can zoom in with my left mouse click career in C and start. So we start from the top. The exposure seems fine. Let's controls the light. So if, if I, if I drag this and I began to see increased like basically the light intensity like the sun five and then the contrast. And see. Then just add those shadows chain and then the highlight. This only affect the highlights the way this brightness, not the shadows. You can play around with the highlights and shadows. I can drag the slider UE only affecting the shadows. A bit darker. You can increase shadows and bring them up. Good. Crank them up. So you see like these darker areas, they get that lighter. So basically see why play around. And white as the name suggest, all that color that is closest to white warbler feted in Dallas done that. If you want to crank it up, you can just see which one works for you and then vice versa. The blacks. I can tell them down like that. And these are my 32 sliders, the tissue. So this will just bring those details. Blackout. Region C increases the sharpness of the tissue. See it. If I decrease the texture, everything is a bit blurred out. But then if I add texture, now everything has that. If I increase the contrast, so now I can be able to get the crispiness to the middle mouse to pan while you click and see if we play around with the contrast, etc. So often you have this is the crank this up. We can then come back now with the blacks and just increase that. If it is too dark and shadows and bringing some light to this scene. And then also the vibrance of this control is this basically works like we saturation. So the amount of color for that is done is going to be completely black and white. And there's just spinning the colors. You can just bring the color that can go crazy with this is not ideal. Probably some over here. I normally use a vibrance instead of a saturation, just pulling them together. So if you want to see now we have a lot of color coming in. Dog. We have that. And the basic me also add a curves adjustment. We know to me playing around with this for now and see split toning. That's fine. This would be one of six. This what do we do? We only be using the vignette. The vignette just create like a darker or lighter color like white or black on the edges of the model. And just show you if I drag this down, you see we have a dark ages. If I drag it up, whoever white. So it depends which one you choose. In my case, I normally use a black. So I tried to write down and there's a little distortion if you want to distort your image. Basically like changing the focal length. But in this case we're not going to be using C can go crazy with the VAT. Back to 0. I'm just looking at good wines. It doesn't look nice when it's white. But in this case, C. See which one works best. This one, this one here. And then the rest. We can also have been eating over here. Geometry doesn't just grows almost all around. You can see gives everything. And then you can also add green to the image. Can we not too much grain for controlling smooth? And then this is just a bit of grain. This is just like adding noise back to the image. And what I like about this, you can see the default and you can tell up between, you can see that this is the whole render and this is what we are getting with just the camera roll. And you can put these on the side before and you can see the difference that we have. After we have this, we can click Okay to accept. And you see the camera raw filter has been applied as like a sub layer on top of the layer. So we can basically turn this on and off. If we want to do now. Hi, this fella. Credit, a new copy. So I'm going to Alt or Option, click upward. Or you can just drag this layer to this new layer over here, and it will create a copy or you can just right-click duplicate layer. So the standard way to do a copy, this case we want to add a blur. So what I'll do approaches right-click and make an arrest or to apply the rule. And then I can make it a Smart Objects again. Go up to filters and go to blur and Gaussian blur. And can control how Zoom in. How I want it to blur. I want to play with. And again, you can come back and just increase this one's a five way overboard to something you can see. You can see, we can, because we working with smart object, we can do that. Now see we've blurred everything which allows the central peak, which error is we want to reveal. So I'm going to create a mask. But I do have the layer selected. Click on this box over here with the dots. Then this creates a new white layer. Let's go to mosque. Basically what you can do, you can paint on a mask, do not affect the layer. So white reveals. I can see it's completely wise. I can see everything. And if I add black, if I press X to switch between these, press over here, if I add black, I can remove some of the areas, then this will show the bottom layer on the bottom. So a plus B. And I'm going to select the brush tool and right-click, make sure hardness it at 0. The size, which is control. If you hold down Alt or Option on your keyboard and right mouse click and drag, you can increase the brush size. If we drag sideways and you drag up and you can increase and decrease the hardness, you can see that percentage over here. So we want to make this completely soft to make sure that 0 and decrease the brush size and Excel. So if I press once over here, you see I'm able to reveal that. If I press twice. So you see the outer layers or should I say, the outer layers are blurred? You see this is what our blur, blur. And obviously you can control the mask if you click over here, the density. So how paints you want it to be or the fader? So let's just place the edges of the mosque. In my case, I can just increase this. You can see now it is completely everything out. Look over here, I see this displayed. And you can completely go crazy with this. If I go to Gaussian Blur and prayer father again, we see say ten. It's completely insane. You can see how I was able to live within. It just works like a depth of field. Can control where you want to leave chain is a bit too much, bit of overkill. Around seven x. Then we have our model. Again, if you're not happy with it, even ENT can go up over here and change this optics. Now if you just turn this on and off, if you want to, you can just change this to black. Let me watch I use instead of white. And go to effect. And I can decrease the grain public chain. And we need 20. You can see the darkness. Image doesn't have to be too much. Also, I can create a copy. Let me say I hide this. What I want to show you, I can drag this Moscow via, drag it to this layer. Also an option to create a copy. Now I've most this and I can also try it does affect and alter an option. Click and drag it over here. And this just applied a fatal flaw to this layer. So you can work around that also if you want to. Now, this is the image. And also if you want him to eat this guy. And so we can name this and C. And let's save this guy. So Control S or Command safety computer and wild dog. Save to PSD, pressure k. Also, you can add photos on top of these layers. If I go up to this adjustment layer over here, and I can add color lookup. The standard of, of, of filters you can add on top. These alike because they are just adjustment layers. They not affecting the layer. As I can turn this off, you can just add a photo. Click here. Go to this choose four. Roll your mouse and choose between. We can see the photos and we can get just roll around. C is giving us. This looks nice for colors. Brings back that. Looking for a nice gel-like there. Then you have that she needed like that. Select this guy and you can control the intensity. Cool. So this is a final setup and again to you guys for your time. And I'll see you guys in the next one. 69. Conclusion: Unfortunately, will reach the end of this course and also wanna be available to assist you guys are working at AC anatomy outcome. I strongly urge you guys to go through the entire step process that we went through, not skipping any lecture. And again, a bit of anatomy knowledge is quite crucial to be able to follow along. Again. Thank you guys again for your time and don't forget to check out our other courses.