REALISTIC NIKE RETRO SNEAKERS

1. SNEAKER PROMO: Hi, I'm Clay he John, a TD character and prop artist with over five years of experience in the VFX and gaming industry. In this class, you learn how to create a realistic view of Nike sneakers from start to finish. Using industry standard tools, we begin in Zbrush where you sculpt the hue with accurate proportions and fine surface details such as laces, stitching and leather folds. And we move into sbtanT D painter to build lifelike textures, apply materials, and introduce color variations. Finally, we render the sneaker a Momosettbg using lighting and shading to achieve a polish portfolio ready presentation, what you learn. You learn how to sculpt footwear forms and details in zebrush, how to create realistic leather, fabric and stitching in subtanTPainter. To set up lighting materials and rendering a MomosetTbg a complete workflow for three D product visualization and prop design. Who is this class for? The D artists interested in footwear design, dtascopors looking to expand into product modeling, game artists and pro creators who want to improve realism in their work. Intermediate layers familiar with basics of zebush subtansPnter, and rendering software. This class is packed with professional tips, practical workflows, and creative guidance to help you build a portfolio piece that stands out. Without further ado, let's get started. 2. 01 Nike Base Form In Zbrush: Welcome by guys. So in this lesson, we're going to be working on creating this retro Nike Dlo retro, or the retro Nike is niacin here, so I'm going to win this entirely inside of entirely inside of Zbrush. Then I'll do a I'll do texture inside of sbtnpina and then most likely final rendering in MomosetTbg. Okay? So let's jump right in. So I'm going to open up Zbrush and I'll go to my light box. So I need the base to start with, like a human foot base to start with. So I'm going to be using default in here. Let's start with this male default. Click No. Then we should have this in here now. Okay. This is the base mash we are going to be using both. We need to work on the feats. I think we have some subdivision level in here. There's use a good layout for this. I'm usually using the default layer. I prefer working with the default default layer inside of default workspace inside of Zbrush. I don't have any specific or distinctive customized workspace for Zbrush. I like working with the default. So let's carry on. I see that this should have some subdivision level in there. So I would like to remove that. Let's take this down to the lowest subdivision level. The lowest subdivision level should be fine for this. So I'm just going to do Daily tires. I need to remove this floor. I need to remove this floor. Let's work with this. Let's see if we have some UVs in here. There no UVs in there. Yeah, no UV is in there, but don't matter that mode because I only need to kind of cot out the part I need, which is the left foot. I only need to work with the left foot in here. Let me do duplicate of this first. Then I'll use let's just see the normal regular Mx AsO for this. Control W for that. That'll give that a separate poly group, Control Shift click. Let's do Delete Eden. So delete ding here, let's go down to modified topology, delete Eden. Yeah, I used to work just fine. You can see who's in between that because we need to turn on Dub side for this. Let's turn on Du side. Set up our camera also too. I think, let's just use 85 millimeter focal length for this. That's fine. This we can work with. Then let's do a two group for this as well. I think I can delete the top pattern and the top part, let's delete this top base. Okay. Then I'm going to duplicate this let me put some more space in here. I think we have a few cares was just see something small. All right, then I'm going to have done a duplicate for this already? Yes, I have IDs duplicate. Let's work with this. There's an auto group. To symmetry, I'm just going to select this. Control W, give us a semi poly group, control shift click. Let's do delete Eden again, delete Eden. All right. I think this should be fine or do duplicate of this again. And I'll save my file. Let me save my file. I'll just rename this to retro Nike Snickers. All right. That is fine. Moving on. It's not that we have a backup, I would like to slice this up to begin with, but I would like to get some more resolution to this, so let's subdivide this to begin with. Okay, that should be fine. And the next now I'd like to do would be to delete Lowell. And then let's do close hole. Let's close hole. Close the hole we have in there. That is fine. Ship let's say the poly group for this. Let's just visualize this, how we extend it some more, get up close. That is fine. Put some more space in here, which is this way. I think I extend it out way too much. Let me squash this down some more. That should be fine in between, so it should be fine. I still want to see the number of polygons we have in there. Another thing we need to do will be pull this up control down control shift. Oh, I need to move this up outside again. I'd like to use the trim cove. Okay? So I need to kind of trim the parts we need for this. So let me start by trimming this somewhere around. Let's see, somewhere around here. Okay. Then I'll trim this somewhere around here as well. And do that. Let's see if we can use from the top. Okay, something like so should be fine. This will work just fine. I just need a base to work with. Then let's go in and turn on the previous one we had before. So we need to start making adjustment to this. So I would like to extend it out some more. Let's use the move brush and extend this out the way we need it to be. Okay? Extend out here as well. S F CtW you give the entire t one single polygroup? Yeah, they should be fine. Then we can start making some more corrections to this who is up. In this part, I'd like to get the general proportion of the sneakers in there. So let me max out the lower parts, see if I can max out the lower parts in here. Okay, maybe a little bit a little bit more. Let's grab some of these parts. All right. Blow this one. I need to grab the back part also, some of the back parts. Blow this out. Ship. So now I can pull this out the way I want without having been without being too conscious of kind of pulling out the lower part of the soil also, too. So let's just keep moving this sale kind of capture the shape I'm going for the smooth smote as well. So I'll just keep pulling things up. So for right now, I'm not really using I'm not really using the reference inside of Zbrush. Mainly just doing this by mainly just eyeballing this. I'm kind of eyeballing it just to figure out the right height for this. Take down this most intensity. Okay. So I'm just going to use this kind of capture the height I'm going for and do that. Okay. I need to get the right amount, and then we should be good. So we're going to we're just going to keep modifying this until we get the right result for it. I think I can go to my Clay Brush. Let me see if I can add some more clay in here. Okay. Reduce the intensity of the clay brush. All right. Okay, this is slightly way too intense, though. Smooth the top parts out, smooth this out. So this out. Let's look at our reference from the top view. Let's get this on the same. This is the left side. Something pretty much like so. So we need to do some rotation. Obviously, you need to do some rotation now. So I would like to undo that. Clear the max, rotate it this way. Let's get something straight on to work with. Let me see some corrections we need to make now. Back to the more brush. Extend this out out some more. I kind of tape out the back, so let me reduce the brush size. Okay? That should be fine. All of this going to modify later on though. Let's just get the shape we need in here first. Okay. Increase the bro size. Move this in. All right. Look at this from the top again just to be sure when you write this. Okay, we're getting something. I'm going to smooth this part down. Smooth this part down. Alright. I'll need to fill up these parts, smooth this down. I'm thinking to flatten the lower part down, though. Let's just get something that looks somewhat like that for now. We need to make some modifications for the bag. So let's go to the bag view. Okay. So this one this fit is still looking more like a natural fit, but once you kind of move any feature that makes it look like a natural fit and not features that makes it look like a sneaker instead. So you still have some modifications to do in there. Stand this out. Okay. I use the clay brush to fill up these parts. Smooth. Okay. And I need to I think at this point, I might need to sub I'm need to kind of use some dynamic brush for this or dynam do some dynamics for this instead. So let me make sure this part is flattened out. Flatten this part down. Okay. You still have some issues around this part, so we need to use the move brush. Move this down, this flat down. Okay? Look for another view. Let's get this is a good view. That's fine. Okay. Let's find the same similar view for this. So in this view, I know definitely that it's supposed to be something around here. It's supposed to be something around here. I think we might we need now to add dynamite to this. Let's first get this sharp angle in here first smooth this down.'s mom this down. Okay. So let's do dynamis for this. Let's do dynamte for this and then we'll carry on. So I'll go over to geometry, I believe, Dynamsh. Let's use the folds there. Deford is there is not looking too good. Flex need to make some modifications to this with move brush, move this slightly higher. This replace, we need to move higher some more. Okay. I have some more. It looks more like a boot, you need to fix that. Extend this out. Extend this out. Get a good shape in her. Yeah, I think, so it should be fine. This part sea feels like it's not completely dear yet. We use the broad size, extend this out some more. I do be too much. I think I'll need to fill this part up some more smooth that down. Fish a bit crooked. I don't want it to look crooked, so let's go in. Shouldn't look too crooked. We the move brush. Move in place some more. Okay. Yeah, that's that's more like it. Smooth this down. Okay, then let's do a dyna match. I'm going to increase the values for this. Let's do something around 500. Oh yeah, totally forgot. The value is supposed to be smaller. So let's go smaller. At 40 now. Da Something doesn't feel right. Something doesn't feel right. Increase this. Okay, yes, we're getting something now. Let's do a value of 1,000 instead. Let's smooth the mash litu. Smooth the mash lit to then dyna mash. Why do we keep having this return back to the default? Okay? Increase a bit more. Smooth dyna mesh. Okay, we have this at polygons, 40 k polygons, nothing that should be fine. Then we can keep making modifications to this sSpi please do that. Let's look for another angle to this. So just a matter of switching between various angles until you kind of get what you're looking for. I pull this in. I pull this out some more. Okay. That should work. So just top parts now, okay? That is fine. Let's smooth this down. Increase myth intensity. Let's do some more smooth across this. Okay. Smooth this out. Smooth this out. Smooth the lower parts down also. Okay. So we're kind of working on the silhouette of this. Let's get in close. So I'm looking at this silhouette now. I'd like to extend this out some more. Extend this out some more. So good to look at the silhouette of this and kind of merge this with our main reference just to see if we're on the right track. Okay, top part looks tilted up a little bit more. I think we can tip that up as well. But just look at the general silhouette and just make sure we are doing this accurately enough. Okay? That's fine. I'm going to use the Max lasso now. Max asu. Max this front part, invite the max, blow this out some more. Okay. And I'm just going to lift this up this way. Play the max. Let's max these parts, invite the max, blow this out some more. Okay. Orient this to the center and then sew this up a bit more. Okay? Play the mark, go in and then do some more smooth. All right. Use a trim dynamic. Polish this. Just get something a bit flatter out of it. All right. I'll smooth that down. Okay. Coming to the front, smooth this out as well. Once we capture the silhuett properly, then we cannot begin to do some separation codes in there. For now, let's get the shape as loosely as we possibly can. Move these down some more to the opposite side, move this and get them somewhat the same. Okay. Yeah, that should be fine. Sm that down. Let's check the silhouette again. Let's check the silhuette from the top view. Let's check out the silhouette looks from the top view. Then we can compare this with our main reference also. Okay. I see some corrections we need to make. For example, we need to rotate this a little bit more this way. Let's zoom out. Okay. I think since this is coming along quite nicely, I think we need to make some adjustments in here as well. To start with, I'm going to use the move brush bring this in increase the bro size, get this well. Okay, put this out out some more. Okay. That should be fine. Now let's look at this silhuette on the front. Let's see how we can make this better, can push this out some more. We can stand this out some more. General proportion is looking fine. Then this part here, we need to push in, to get that curve in there because that cove needs to be in there. So let's do this from the bottom view instead. Push this in. Okay. I believe we should be there. You should be there and now smooth this down. Okay. I think we're in a good place. Just checking again. The silhouette needs to look good because from the silhouette, we're going to start cutting out the shapes we need. So let's make sure we can let's try perfect the silhouette. This is a soil. It's a good one. Okay. It's not the foots we need though. It's the left fits, but this is the right fit. So but we can still use this though. Wet regardless, we can still use this. I was going to push this in some more. I'll push this in some more as well. All right. It's fine. You should work just fine. Bend this this way, also. So I see we can do is to add more fleshiness in here. Make this pull this out. So more smooth brush, smooth this out. Okay? Some more smooth this down. Let's check this again. Hess in a good list. All right. Continue that also in reference. Like, so undo that, undo that. That's not properly done. Think something like so should be fine. Okay, I need to get this angle in here, very important. This angles to be a planar change needs to be in there. Let's look for okay, it should work. It's a very subtle planar change in there. Subtle bot very much in there. Okay. And I'll smooth, use the brush size, smooth this out. Smooth out as well. Smooth, as well. Yeah, swell. The back also. Okay. Smooth the top part also. Blend them down. Awesome. I think this is fine. So let's use our silhouette again and just check. We need something for the front though. We have, let's let's see how this should be. Let's look at this from the top view again. There's some unevenness around here. Let that up some more. Let's look at this from the top view. Let's get the same angle to it. Smooth this down, and then we check again, get closed. Let's see. Try to make sure if my silhouette is good enough to work with. Basically, just checking this just to be sure. More brush moved slightly out a bit more. Okay. Check this out again. I think I can use let's use the DM standard brush, kind of mark out where the soil should be. Trying to just add some definition to it. Let make sure I'm doing this accurately enough. Okay. Do rough, but that's fine. We just need something that highlights that. So definitely just know where it is. Okay. Move brush. All right. You should be fine. Smooth them out. Okay. We still need to flatten this part out, though. But for now, let's just make sure the overall proportion is spot on. And I think this should be fine. You doesn't need to make any other corrections to this, we can. But I think for the most part, this should be fine. Move to the side. We have already tilted the lower parts. Get in close. Okay, I think we need to bend this down some more down some more. Okay, that should be fine. We need to move the back piece. We need to leave this up some more, like so. Let me do a quick save. I think this should be fine. I think at this point now we can start. We can start cutting this apart and then figure out how to get most of these panels out, right? So let me just save this save this. So in the next lesson, we're going to carry on and then start cutting the parts we need for this, and we'll move along from there. So I'll see you guys in next lesson, bye for now. 3. 02 Refining Base Form In Zbrush: Talk about guys. So now, in the previous lesson, we created a base mesh. So I'm going to continue from there and then keep working on a mesh and try to get this to look good. Alright, so let's continue that. I think I like to make some corrections in here by just pulling this out some more. Okay? That should be fine. It's not looking straight enough, though. Looks rather odd. So we need to let's get this at a good angle first, and then I believe we can fix that from there. Okay, they're not completely straight. That will fix in a bit. But let's make sure we have this where it needs to be. Let's do a smooth. Let's try and get them on the same level. He something like so it should be fine. Then we go to Shift F. Let's see the ply frame for this. Then we need to kind of cut out the saw. We need to cut out the saw for this. So let's make sure we are using the reference properly for this. But I think I will still need to kind of tip to the front a little bit more. Well, let me max the front part a bit more. Blow this out. Blow it out some more, blow out some more. Make sure this is centered. Tilt this up a little bit. Yeah, I think that should be fine. Let's say a few discrepancies in here, but we can just try and find a common ground to them. Okay. So now I can do to get this a bit more accurately, we need to paint this by hand, so I'm going to use the pen to less paints out the soil. Okay. So I'm just going to go around this this way. So in this partlar part, precision is key. You want to be as precise as you possibly can for this. This is going to serve as a base for the soul. So make sure you are as precise as you possibly can for it. All right? Don't do that I cannot be bleed it out way too much. Okay. This should be fine. As well get close. I want to make sure this is not bleeding out too much. Even though it bleeds out, it's not supposed to bleed out way too much, so let's just flood fill the inward parts. Make sure increase the blow side a little bit more. All right. I believe this should be fine. Okay, let's grab a few more in front. All right. Awesome. Yeah, that should be fine. Let's make sure we have a duplicate of this base. Let's do duplicates. Okay? That's fine. Then Shift F, Control W to get a separate poly group. Control Shift click on that. Okay. Let's make sure. Let's I defeat for now. High dots, Mark this inverting max. We need to We don't need to mark this shift F. These are a separate poly groups so we'll just do a polish instead. Let's do a polish instead. Let's go in and we do polish for this. Let's do a polish. Let's go in and do tone of these dots. Let's do polish by group. A few times should be fine. Okay? I think at this point, now we need here probably just fine. We need to separate this out. So country should click on that. Let's do delete Eden. Let's turn off isolate. Let's turn off Isolate. Let's make sure the previous plan is visible. Something like that should be fine. Okay. Will this sold out, I'm going to polige little bit more just to clean some of the sharp edges for this. So deformation, make sure you don't torn off. Let's poli little bit more. Let's get something quite good out of this. Okay. Polige some more. Alright. Now let's do delete ding. So let's go over to modified topology, delete ding. Okay. You should be fine. Let's bring everything back out. Let's see where it's hidden in there. I'm trying to see if I need to extend this out a little bit more. Let's extend it out a little bit more center orients. Let's give this out some more. Yeah, that should be fine. So low these out. Okay. I think it should be fine. Deletes Eden. Why do we have a duplicate We have two parts, but only need one part. I think I accidentally did mirror and weld, so let's grab the other piece and then delete that. Different poly group. Conclusi click. Okay, the delete Eden. Here that's fine. So now let's do a Z match for this. But first, I will need to make a duplicate of this. Let's make a duplicate. Let's work with the duplicate instead. So let's do zero masher. I like to turn off adaptive. D down the adaptive size down. Let's do detected keep groups. Okay, that is fine. Then let's take this down. Let's do a value of two instead. Then I'm going to o out I do zero, take down the smooth. Let's do a zero mash. Okay. This is fine. I'm just going to check if there's any issue on the edges. So to check that, we need to go back to the deformation and let's just do a polish, a tiny polish and then we check the edge. This is good. A good in here. Go to the lower part. Let's see where we get. Okay. Yeah, this should be fine. This we can work with in here. By surf for one issue though, Sef for one issue, that might be a problem. The lower part is not completely flat. This part is supposed to be completely completely flat. But at the same time, it might not be a major issue. So let's see if we can flatten that out first. So age polish. Yes, Sod try to flatten this lower part down. Okay. Get some flat surface in there. Yes, I think that should be fine. Let's polish for this, polish some more. Okay, I should work. Now, get something somewhat flat now. But we still need to do some Z remsh for this. So let's see Z match this again. Let's go off Z mash. So we have this at 900 polygons, which is fine. Take down should work just fine for this. So now we need to extrude this. So let's go out of isolate. Make some modifications to this first. Let's use the move brush. Put this front part out some more. Put the backside out some more as well. Okay. Then I would need to create a thickness for this. Let me get close. Let's create thickness for it. I like to isolate this. Let's use the reference just to give us a good idea as to how thick we want this to be. We'll just go to dynamic sub div, turn that on. Take down the smooth, increase the thickness, which is way too thick. Take this down. We're getting something now, take this down some more. I think this looks like a favorable place to have this. This seems favorable. But we kind of check just to be sure. Now, let's add some segment to this. I would like to add two segments to this. Let's go out to isolate. Let's see what we have, Shift F. Okay? Now, that's something that doesn't look good enough in here, so we need to make corrections to that. Because you can see this front part is a bit slimmer than the back side, so we need to make some adjustments to that. To do that, we're not going to use Control. Let's apply this on first. Make sure it's applied first in there. Okay. If you do smooth for this, you should be getting something somewhat like so we should be fine. Except we need to make some corrections to it. Okay, so Control shift click on this max this inverting max, bring everything back out. Then I will need to make some adjustments to this. Let's blow this some more. Center. This should be up this way. Bend this down. I should be a bit flatter, bring this down some more. So you just kind of eyeball how high this should be. I think it'll be slightly higher as well. Okay. I think I might need to scale it out also. Undo that. Supposed to scale this in. I can say I kind of folds in. So I need to string this in instead. Undo that. Oh, no, redo. Redoley the marks, mark this out again. Blow the marks once and string this in. I should kind of fold in this way a little bit. Okay. I think we're in a good place now. So if we should subdivide this, we should be getting something somewhat like SO, we should work just fine. So let's bring everything back out. So, what I want to be is that anything of any block, we kind we need to kind of start pushing things in. For one, we select this. Let make a duplicate of this duplicates, how that duplicates and I can start pushing things back in. So it should be where they need to be. I think we have something is kind of poking out. Oh, undo that. You still have the marks in there, so you need to remove a new mark, lay the mark that's in there. Then start pushing things in place. Okay. Push this in place. Get those in in as well. Now, the front part might be tricky because you need to do that right. And I think I folded in way too much. So let's get in and then make some more corrections to it. Two Control Shift click. Bing everything back out in via the max. Blow. Let's give this out some more. Okay? That should be fine. Bring everything back out. I think I can just use the select H police to just polish this in. Just polish this in it should be fine. Maybe undo the entire out sin actually. Let's get this back to the way it was before. Then we'll just use the polish instead. And if we're putting this in on your front, we need to do this it's a bit more accuracy. So let's get this click okay. Do this a bit more some accuracy in mind. Or undo that. A maxing we have in there. This one is quite tricky. We need to make sure we're doing this correctly. Okay? Like, so Trim dynamic, trim this. Trim this as well. Here, as well. Okay. Trim this as well. Trim this. Rduce a bros size. Trim here as well. Less smooth. Smooth this in. Smooth also as well. We still going to use the move brush and then push some things in also. But I think we're kind of getting there. We're getting there slowly, slowly, but definitely getting there with the move brush. Undo that. Use the move brush now, and move some things in. Okay, I see the back partner is actually way too high. We need to fix that. Let's just get this in first. Y. Okay. Okay, as well. So this I'm not completely satisfied with T yet. I just still make some corrections to it. Doesn't look quite there yet. Front part looks rounded. There's something to keep notes. The top part not toot not to rounded, then the light for it to stings can get some good variation in there also. So it looks as close enough as possible. So let's go back in there. The Ws can flatten this down. So let me slow this out first. Make sure. Let's see. Let's grab. Okay. Let's see. So it's just a matter of just eyeballing it and then trying to figure out where you need to fix. I need to push this down first. Okay this on the floor here as well. Get this on the floor. Okay? That is fine. Then the general thickness for this still trying to capture this as best as I can. I think we need to go back in here, blow the max, scale this back, undo that. Do we have subdution levels in here? Take this down take down the subdution level. Okay. Rotate, center this. Undo that, blow this out one more time. Get this back in the center, scale this out some more. Okay. It's a bit more. I think this angle should be fine. I'll bring this down some more. I think somewhere around here, bring this down, rotate, rotate this way. Trying to get a very good balance for this. Rotates. Okay. I think somewhere around here, we push this up a little bit more. Not too extreme, though. I think something somewhere around there should be fine. Something somewhere around there should be fine. Okay, let's go back to this. Let's try and march that. Let's try make sure we march that. All right. Take down the bro size, bring this in front. So more. Yes, I think I know where we need to fix now. Let's extend this out. Push this in. Get this down. Okay, I know where I need to fix now. So better just get this down first and push them where it needs to be. Okay. Put this front part forward. So more, push this in. Okay. I need to do a very aggressive smooth in here. So smooth this want to smooth this front part some more here as well, smooth this down. Keep smoothing. Okay. Keep smoothing this down. Push this forward. Bend this down. Bend this down as well. I think I move the back part way out way too much. In let's see if we have this properly in the front. Let's push this forward. Okay. Then we get this down. Let's push them down. Try and fill up most of this gap, just a little int of gap in between. Who is out, who is down. Okay? So when we see a bit foul of the robots, getting somewhere, we just need to make quite a lot of manual adjustments. So this since I know it's not actual reference to the blockout instead of Zbrush. Basically just doing this by high. So the idea just show you guys the process. You can use whichever method that works best for you. I need to reduce Zbrush size. Smooth this down. Okay, I think this should work. This will work just fine. Then we can grab another piece out of this also. But let's just make sure we silhouette, we have the silloutte where it needs to be. So I'm checking the silhuett now from this black and white view in there just to be sure if everything's working correctly. I think for the most part, we have something good enough. Except for the bag that still looks quite old. So let's go to the back view. Try as much as possible to capture the essence of this h bit more. Okay, I see where I need to pull in now. I'll just use the brush size, polish this in some more, smooth this down. Okay. Something somewhat, so it should be fine. Let's check this full back view. Let's see. With the move brush, center this. Okay. Yeah, not bad. Not bad for a bees. Not bad for bees. Still some courage. Still a lot of work to do in here, dougo. It we are coming along quite nicely. Yeah, this is looking good. So let's see which other apiece need to grab out of this. But before we do, before we move on, I would like to see where the edge is. So let's go into this, delete our the duplicate of this. I kind of capture the essence of this a little bit more. Okay, clay the max, select this. Invert the max. Blow some more. I'm going to max out and do that. Let's use the Mx las Max lasso. I'm going to max out these parts. Blow the mark some more. Okay. Max out these top parts. A bit more. Blow the mark some more. Do that blow. I need to make sure I capture all of this. Blow just once. Okay, on this part now we need to do polish into the polish for that. So let's go to our deformation sub. There's the polish. Undo that. I want to mark this but I don't want to polish this part, so let's mark that part out. Polish. Because I want this part to be a bit rounded. Undo that. Polish a little bit more. Okay, clear this out. I think this should work now. Do we need to do the same for the back? I think not Okay. I'm going to max out these bits. Blow the marks. Let's do polish by, that's way too extreme. The dots. Just a little bit more, and we should be fine. Bring everything back out. Yeah, I think that should be fine. So now we need to cat out another piece. We need to cot out another piece for this. So I'm going to go back in here. I'm going to separate it out. There's the duplicate for this. Let's see which other piece we need to get separated out. Yeah, a few number of pieces in here, so we need to kind of make sure we're cutting out the right one. But I would like to quote a major one in here to begin with. Let me find the D view. You need to eyeball this part. I can't really see anything in here, though, so I'm not entirely sure. No entirely sure what should be in there, but there's something we can at lead you to actually I would like to get this as a separate piece entirely. So I'm just looking I'm looking at the white parts now. I'm basically just looking at the white piece. I'm trying to figure out which bits I need to cut off. Okay? Okay, I see it now, all of this, all of this as well. Okay? Yeah, I think I know what we need to cut out now. I know what we need to cut out now, so the issue I have is just on the top parts. This part doesn't look. Okay, I see something now. Oh, it's just threading across. I just treading across. Now this exactly covering my view of where I feel I need to cut out. 4. 03 Sole Form Extract In Zbrush: Covering my view, so I'm not entirely sure now. I think I know what to do. We're just going to quote out a good portion of that, and then we should be good. So basically, what I'm going to do here now will be go in. Let's isolate this. Let's make sure this is back on. Then I need to use the slice cove. Let's use the slice cove for this. F slice Cove. Okay. All right. Let's go in and visualize what we have. I think this bit is good. Control Shift click to remove that. Okay, that is fine. Then for the top parts, we need to make some corrections to this. I'll need to grab the parts I need. Let me go in and then check again. Okay? I'm trying to figure out where it ends. All right, so I'm going to use the MACS pen. Let's use the MAX sin for this. Increase the brow size. So let's do something somewhat around here. Okay. I undo that. Reduce the bros size. Now grab the inward parts. But we need to do make this a bit cleaner. So let's grab all of this. N to make this cleaner, grab all of this as well. Fill up the inward parts. The tricky part is this part, actually. This is where the tricky part is. So let's grab something small. Okay. Check this. Let's see if you're doing this correctly. More of this. It's going to figure out if this is in the right place or not. So let's go to the top view and let's visualize this from the top view. Let's view it from the same angle. Let's do it from a similar angle just to make sure I'm doing this correctly. Okay? I think I'm going to clear this part out. There's a straight line around that bits. All right. Isolate this. Yeah, I think we're in a good place. I believe we're in a good place. So I'm trying as much as possible not to make this look like a boot. It's isn't supposed to look like a boots. But we need to lower subdivision level to actually make some modifications to it, but I think for the most part, we are getting something good in here. Okay, I think I will need to use the move brush. Move this out slightly, move this out slightly. Okay, that should be fine. Same here as well. Move this part slightly. So Shift F, Control W for that, control shift. Let's bring everything back out, clear the marks. This is just the bit I need. This is the bit I need for this. So let's do deletes Eden. Let's do geometry delete ding. Modified topology, deletes ding is the side to one for this? Do side is to one for this. Okay? So what we need to do now will be to polish this. But I would like to make sure on both trying to push this down on the other end. W move brush, get close, move these down, so we merge them completely on both side. Okay? That's fine. So now we need to polish this. We need to polish. Let's polish this. Shift F. I feel like I should make some more modifications to this, move this out some more. Move this out some more. Okay. Yeah, I think we can work with this. Let's check the back. Let's check the back view. Let's see how this folds in. Push this a bit tighter this way. Smoother down. Now, let's do polish for this. Let's do polish by group, polish the edge. Alright. Here, this is looking good. This is clean enough. Then we're going to we're going to let me get enclose a bit more. Yeah, that's fine. So now we need to make a duplicate out of this again. Let's duplicates. Then let's z mach this. Et's Zoe's see what the topologies Z give us for this. Ship F. I think the front bits, we need to push this down some more. Okay? That is fine. We done as well. Get this down straight. Let's get something straight out of it. Okay. Let's do a polish by group again for it. Polish by group. All right, undo that. I need to mark this top part. I don't want to pull it by a group affecting these top parts. Blow the mark. I want you to affect the lower parts. Clear this out. Now let's do Z match for this. Let's get Z mash on here. Checking it just to see I think it creates another layer on top of that, okay? So let's remash if F. Let's see if Zimash will do a very good job for us before we start dising this up into separate poly groups actually get good topology out of this. Let's go back to geometry. Z mash, take down adaptive, drag this down, detect HK groups, take down smooth, su a value of two, unless you mash Okay. Right off the bat, we get something interesting enough to work with. So let's do half. Let's go halfway. Get something a bit smaller. Yeah, this is fine. Yeah, this is actually quite fine. We can definitely work with this. What do you march this again? Yeah, this is fine. This is fine. I'm kind of questioning how far out we need to have Let me go through the top view. Trying to figure out how far down this needs to be. I think it's in the right spots, it's in the right spots. Still use the move brush. Use the move brush. Move this in some more right. Yeah, this should be just fine. So we're in to add sickness for this. I'll make some modifications to it as well. So let's go out of isolates, heat F. So we need to start moving things in place also for this before adding sickness. So let's go back to our main reference. I see some elevation in here. Okay? I think to begin with, let's go back. Let me go back to the sole. I think. Let me you from the sole. The front part is way too feel like it's way too point test. Let's extend this out some more. Let's get something a bit rounded in there to begin with. Then we come back to this, we compensate for it by just extending that out as well. Okay. So with this now, we can move this a lot better why because we have loop topology to worry about in here so we can move things a bit more accurately in here. All right. It's fine. Move this back, pull it very tightly on the edge, tightly on the edge as well. The opposite side, use the bro size, move this in in as well, compensate for it here on the opposite side as well. Okay? Yeah, I think we're in a good place. I think I went overboard, let's push this in some more. Okay. So in here now, we have a lower topologist to work with, so we can do some more precise work in there. So let's use standard brushoO I'll just dig in. Dig in here a bit more. Okay? That is fine. Take down this son's intensity, do genesis moons in there. Alright. So creates a nice silhouettes in smooth this out some more. Okay. Let's look for another reference on the side. Same standard brush, we can elevate this front part a bit more, make this a bit more ungod Make it a bit more angle, just a little smooth this down. With more brush, move this back in place. Oops, do that. Smooth this down. Okay, I think I need to move this down as well, squash this down a little bit more. Can just smooth out the top parts. We should be good. Yes. Awesome. I think this isn't a good place. Smooth this down. So there's any correction we need to make, we can just keep doing this from this. So I'm just trying to make sure the silhouette looks good before adding sickness to it. Okay? I think I'm thinking of moving this closer. Let me see if I need to get this up some more. Let's see. I think the shape share for the most part is actually in there. **** for the most part is actually Okay, I I can see something now, so the move brush, we can I think we need to let's increase this smooth intense. T smooth this down some more. Do that. I think generally, we need to move things down some more, and push this in. Smooth this down. Okay. So looking at the silhouette now, and I see a huge gap around there that I need to push the pull down. So with the move brush, we can just squash this down a bit more. Go to the opposite side, squath it down a little bit more as well. Okay. Let's go underneath this. I think I feel like I need to do something in here. Let me see. Let me squash this down to begin with, then bring this out. Okay. Yeah, that feels a lot better now, except you need to make some modifications to it and do that. Okay. Nope. I think I need to use the move brush for this. I'll move this up. Up, clear that out. Let's blow the mark some more shift F. Okay. Drastic move bots I needed to make sure that part looks good. I think we went a little overboard. Might need to smooth some things out here. Let's lay this out, let's isolate this again. Since some smoothing are in order, Md smooth this one again, but let's just do a polish Okay, select this. Do that. Okay, bring everything back out. All right. I think this is the part we need to polish as well. We need to just do it smooth, undo that. Undo that, take down your brush size. Let's let that beat again. I think clear this out. Let's use the max lasso instead. Okay. Blood undo that. Blood is just once. Let's do it polish. That was way too extreme. Maybe I should use my let's do polish instead. An polish should be quite better blow this out some more. Do polish instead. So we have some control over it. But there's a hole lo part around here. I want to fill that up. So let's use the clay brush. See if we can fill that up. Smooth this down. Okay. Bring everything back out. Let's see. Okay, I think we're in a good place now. I think we're in a good place now, this should work. You use the brush instead and put this down more brush. Put this down some more. Okay. Yeah, I think they should be fine. Let's go back in leave this up some more. So don't mind, I'm trying to make sure this is as perfect as it should be. Trying to make this as perfect as it should be. I still need to go into the soul. Oh, great. Great. We have an issue in here now. I need to undo that. That's where the light from. So get that fixed. Control Shift click. Blow this out just once. Okay. We set this up a bit more. Okay, up some more. A little higher. I think this should be fine. It the max. Get this down a little bit more. Yeah, I think this is fine. This is fine. This is fine. Let's go back to this now and then compensate for it on the edge and do that. Produce the bro size. Okay. Get in close. Compensate for it around here as well. Let's use this blink material instead. I think this is a whole lot better. Come in, pull this out some more out some more. Yeah, I think this is fine. I think we kinetic ness to this now. Kineticness to this but let's just do a duplicate of this. So sub two, let's the duplicate. Let's they duplicate. So let's go and duplicate this. I will duplicate this. I need to figure out how thick we need to get this. Let's look for a good angle for it. I think a good enough thickness would be something fresh should be just fine. Move this down. Mod this down as well. That is fine. Then a lesser thickness. I'm going to go over to geometry, dynamic sub div dynamic sub div then we do dynamic take down the smooth sub div. Trying to see if I need to add an edge loop across this. I don't think I will need to. I don't think I don't think I will need to. I think I probably we have a g loop here already, so we have something close enough. Le let us add one there, so BZ. Let's add an loop across here, something tight there should be fine. Not too tight. Let's gray some more gap. Maybe some more gap in between. So it should be fine. So let's do some thickness for this. Add some thickness, not thick enough, increase this. Way too much. Maybe a little bit more should be fine. Just a little bit more. Let's increase the value. Let's go in and adjust the values in there. Let's do four. This might just be way too thick, maybe. Maybe. Let's go back. Let's do two instead. Two is just way too slim. Let's do three instead. Let's do three instead. This should be fine. I would add one segment. Two segment, let's do two instead. Then click on Apply. Let's subdivide this. Let's see what we gets. Yeah, this will definitely work. This will work just fine. Let's bring everything back out. Yeah, this is fine. The only issue we're having here is that it's extruding outward instead. Extruding outward instead. Let's put negative value in front. Let's see if this is going to extrude inward instead. Nope, it's not extruding inward, unfortunately, so we need to let's apply this again. So we need to move things back in some more or we can do extrude with Z modular instead. So we can do extrae with Z modular instead. I kind of like the way this is though. Let's start by pushing things in if we can't get this right. If it be too much of an so what else going to do it somewhere else instead. It's not really too much of an so though, we can just gently move things in place, and we should be good. Get a good angle on this. Okay? In some more in some more in some more here as well. Okay. Go to the opposite side. Let's find a good camera angle for this so we don't mess things up. Okay. Move this in in a sell here as well. All right, that should be fine. So if we should subdivide and do that. We have this here apply. Let's get that applied. If we subdivide this, should be getting something like so. Which is good enough to work with. Okay. Awesome. So we already building this piece by piece, we're going to build this already have something interesting enough to carry on with. So if we need to make any adjustments to this, we can still do that. Let me go to the top, see if there's something else you need to adjust in. Okay, reduce the subdivision level. Create the bros size. I think I will need to mark this part out to begin with, load the marks, go from the top you Okay. Let's see. I think I can let me get some space in. Let's bring this closer closer, slightly closer as well. All right, I think that should be fine. I don't need to go extreme. This is fine. So next lesson I going to carry on and then cut out some. What are the deep Net piece you need to cut out would be what's this event called? Forgive my my lack of knowledge of this should we call it go for something?potla piece that's supposed to be in here. So I'm going to blog that in so we get this space filled up so that space doesn't look too empty. Okay, so let's carry on the next lesson. Bye for now. But 5. 04 Foot Front Extract In Zbrush: Come about guys. So in previous lesson, we were extracting and then making sure all the pieces all of these pieces come in together. So let's carry on from where we left off. So I would like to create a piece that goes into the center of this hole. It tirely sure what it's called, though, but I'm sure you guys kind of understand what I mean, so to do that, I would use let's use a plane or a cube. I think a cube should make better sense, so create a cube. I need to I think I need to increase the space in here, close it out a little bit more. Wout too much gap in there. All right, that's fine. So let's go to insert mesh. I'm going to using the Q cube instead. We have subdution level here, estier. This should be fine. We can definitely work with this. So I'm going to go over and then do under splits. Let's do split on Mark point. Let's go back to move. Select. I would like to extend this out first and get this roughly where it needs to be. Let's get this way it needs to be. Definitely extend this out some more. Okay. That's be too much. I think roughly around there should be fine. Let's cash this down some more. Okay. Yeah, I think this will work just fine. Let's just duplicate of it, so we have a backup. Then I need to subdivide this a bit more. Before I do that, let me get in max. Let's use the MAX last instead. So max these parts, inverts. I'm going to squash this part down some more. Like so it should be fine. Okay, then I'll subdivide this. Let's bring the other piece back out, subdivide. I need to extend this out some more. Okay. You should be fine. I need to select this half. Also select this half. Let me subdivide this again? Let me select this half and this half as well. The blow, invert the max and I'll push this down. Yeah, this should be fine. Get this down some more. Maybe that's way too much. Blow this out one more time. Get this down. Okay? Now, that should be fine. Without the marks, extend this out some more. We can clear the marks now. Let's bring this closer. Is the bro size. This needs to be in the right last, so I need to move this up some more up some more route to the opposite side. Get this up some more. Out some more here as well. Okay. I think that should be roughly fine. Okay. Yeah, that should be fine. Just trying to see the length for this. I need to kind of check the length for this to be sure if the length for this is all good. So let's use this instead. Okay. Okay. I think it's a good angle for it. I would max out these bits. If I max, blow the mark, get it centered, rotate this up some more. Pull this back down, rotate out some more. Okay, that should be fine. So now we have something here now. I think it also has the right amount of thickness that we can work with too. You just need to pull this down down a bit on your opposite side. Yeah, that should be fine. And let's move on to something else. We're still going to circle back to this and then create some more detail for it. But for now, I think this should be fine. Let's check the to view. Let's see. I think I might need to extend we do that I need to extend the wings, extend the wings out a little bit more. That's fine. Okay. Here, that should be fine. Play this out and select this pict F. Let's do duplicate of this. I need to extract. I need to extract something else. Get enclosed. Let me see. Okay, yes, I need to extract this black piece that comes across this way. So I need a duplicate of this so let's duplicate. All right, isolates. So I only need this clay max only need this front. I only need this polly frame or this ply group rather. So I'm going to do a delete ding. Okay. Before I do that, I need to subdivide this some more so I have enough resolution to work with. So let me divide this 31 k. Let's do delete lower. Okay. Let's do one more, delete lower, it should be fine now. Then I can shift F, select this poly group, and then do delete dent. Here's a delete Eden. This will be fine now. Now we can just quite easily grab the portion we need now for this. So I'm going to be using the Let me go over the slice use. I think the slice curve should be a good one. Slice curve should be really good one for this slice curve. So we need to do this with a lot of precision in mind. Okay? This needs to be as accurate as possible. So let's make sure we do this accurately enough. I'll start from somewhere around there to begin with, around the. So I'll click Out, click out again. All the should be fine. Nope, that is in the wrong place now. That isn't the wrong place. I think I need to maybe I need to push this down some more. I think I might need to get this down some more. Let's go back to the original Bing everything back out. I would hide this Okay, I'm thinking I need to bring this down some more. Let's see. Yes, definitely needs to come down some more, so I'll come back in with more bro selected, increase the bros size. Just the brussed a little bit more. Pull the down some more. Yeah, there will be some issues around there, so we need to compensate for it. Brian bringing some things down. Okay. This down enough. Undo that smooth. Oh, Mo this down. Take down the smooth intensity, and then just smooth this down, push it down some more. All right. I think somewhere around there should be fine. They increase the blood size and generally push this down. Okay, let's bring everything back out to go out of so low mold. Select this. This we need to bring down some more. Okay. That should be fine. That should be fine. Leave this up. Leave this up as well on the opposite side. Get us with too much. Undo, undo, reduce the blow size. Okay. This up. Not too much, though because we're going to have some strap in between them. Is supposed to be in between them, so that should be fine for now. So I'll need to delete this. This copy that's wrong one selected this one instead. Not this. Not this. Yeah, this is the one this is one I need. I need to delete this we use the new one. Let's use the new one. This we need to hide, select this piece, duplicates, isolate, then subdivide Okay. Delete while. Get back in delete Eden. Yeah, that's fine. So now we can slice this up the way we need to now. Make sure I'm doing this right. Don't do that. Let's do this again. N to make sure I'm doing this correctly. Nope. Undo that. Let's even use the Max lasso. Undo that. And I think the co brush should be better. So I just need to get these rights. Nope, wrong, please, wrong please, let's move up a bit higher. Undo that's not correct enough. Okay. I think this should be in the right spots. Let's see. Yeah, I think this should be fine. You should be fine where it is. All right, so now let's move on. Let's see what we can grab out of this also. You should be fine. So now let's separate this part out now. Let's make another coat from this. So who go over this week. Isn't the same curve brush also. I think this should be fine. We still need to make some corrections in here, though, but I think this should be fine. This one looks good enough to me. So undo that. Let's exclude that. Then we need to grab that out. We need to do a slice for this. Undo that's looking a bit odd. But I think I just using the max No. Let's do this instead. I need to get this precisely. That's just the maintenance to get this as precisely as I should. No, bring everything back out. Let's see. No, so far out. Let's bring everything back out. I think we exclude this. This is the bits we need. I'm just going to slice here. Undo that. That starts from yes, let's start from here instead. This should be fine. Okay. Yeah, something like so it should be fine. Yeah, it should work this. Let's be everything back house. So the only piece I need is only piece I believe I need is this piece. Alright. Yes. This is all the piece I need. So let's do a delete ding. No, not delete ding. So I'm going to do a duplicate of this actually. If I do deleted let's do a duplicate. Let's hide the duplicates. Then now we can do a delete eden. So delete ding That's right. That's fine. So now let's add some let's visualize this first. Okay. Yeah, that is looking good. Let's check in this again just to be sure everything's working correctly. Yeah, that seems fine. Everything seems to be working correctly. Let's go back in here. Okay? Oh. Now, I see a mistake now. I see a mistake now. I think this one needs to be a bit higher. This needs to be a bit higher, so undo, undo. Can we bring everything back out? Yes, we can. Undo Oh, we can't undo that. So I think I would leave I need to redo this. Let's grab this grab this. I need to invert the marks. I need to invert the marks. I need to go back to my selection selection. Come on. Selection su. So these past news kind of go back and forth, just trying to make sure you're doing it correctly. Okay. I need to group all of this as one single piece now. I repeat this again, but good thing we already have the mark. We already have the mark, where we need to kind of code this out. So we undo that. Let's go back to slice Cove. Let's go back to our slice cove, slice Cove. It's reptive process just to get this to look as accurately as you possibly can. So I want to do this again. So I see where I'm having issues. No, not looking good enough. Okay. I think we're in a good place now, I believe. Let's bring everything back out. Let's see the difference we have compared to the previous one, I think. I think this is in a better place, I believe. Let's check from a different view. Yeah I think most certainly in a good place now. So let's go back in there. Hide this. We still have a strip in here that we need to erase. Okay. So this is everything that we need. Then we can do delete ding. So let's do a slight polish for this. Let's do slight polish polish by group. Polish a little bit more as well. That should be fine. Now let's zer marge this. Let's do Z match for this. So before we do Z match for this, let's create another duplicate. All right. I should be fine. So let's do a duplicate. I don't want to duplicate it right now so let's do zero mash for this. So geometry is mash adaptive. Turn this off. Keep group detects edge, take down smooth. Okay, let's think fine. Let's say this to two. Zero mash. Okay. We have this at two, but we need something lower than this. Let's go Alpha zero mash. So we have this at 900. I think now hundred should work just fine for what you needed for. So I'm going to keep 900 for this. Bring everything back out. Then I'm going to do an extrude. So this time around, I will do. I'm going to extrude this out instead. By default, we're extruding out. So let's just go back to dynamic subdiv dynamic. Maybe way too thick. Way too thick. You need to reduce the thickness for this shift F. I think it should be thicker than it is right now. But before we do that, let's make adjustments in here and move this in some more. So we're doing this in real time, so there are no issues in here because we're doing this in real time. Is going to very much update this in Okay. I might need to bring some things up a little bit more, though. I think should be fine. They should be fine. Yeah, there should be fine, as well. Yes. Oh a bit higher. Hop bit higher. So let's add some more thickness to this. Slight thickness should be fine. Okay. I think I can live with this. Yes, we can work with this. So shipped F, let's go in. We already have to segment in there already, which is fine. So we can keep this shipped F. Yeah, this we can definitely keep. So if I subdivide this, it should hold up. I should hold up quite nicely without any major issue. Apply before I apply this, let me move this in some more. Take down the subdivision level. Move this in some more. That should be fine. Let's go on the opposite side as well. Since already pulling out with toomch let's make sure we get that in and down in as well. Okay. I a little bit more. That's fine. This we can work with. Let's get in close. Let's see, I think, I think, yeah, this is fine. This work just fine. Let save my file. Yeah, I think we're in a good place. Let's see something else we can. Let's look for something else we can create. Okay, I see. I need to extend this out a little bit more because the mark so marks this part out. Invite the masblow the mark some more with more brush. Gonna extend this out some more. Pull this up some more as well. Okay? That's fine. Extend this out as well. Put this out some more. Okay. I think that should be up a little bit more. Pull it out. Yeah, I think this is a good place. I think that should be fine. All right. We need to get this flatten out a little bit more. Shouldn't be poking out that much. Okay, that's fine. Next, I would like to create this piece on top, where the shoelace who should be going in. I'd like to create that next. Let's look at this from the top view. Okay. Interesting. Let's see. We know that weather ends already so let's just grab that out. So I will just go back in, before I go back in there, this piece that we're creating now, the piece we need, let's shoot them down. So go down sheep, shoot this down. Select, shoot this down, select, shoot this down. Let this so shoot this down as well. Yeah, awesome. That's fine. Let's go back up to I think this is the one, that's not the one I need. This is the one I need. I believe, no. Yeah, it is the one I think that's the one we need. Or, this is the one we need. This is the one we need. So everybody give this the same poly group. I'm just going to I think the pattern for what we had before actually helps to know where things are. So this will be fine? So let's get that strap out. Let's see. Let me do a cut here first. Try to figure out as much as I think as much as two should be fine. Do that. Actually, let's do it duplicates. Let's do duplicates because we're going to need a duplicate for this to cut out some model part. So let's slice this somewhere around here like this to begin with. Okay. Hide this. Now for the top parts, get some space in here. Let's see where we need to grab this out from. I think we can do something somewhere around here should be fine. Yeah, I think somewhere around there should be fine. If we need to kind of move things, we can easily move things around. Okay, select this, go to the top view. This should be sliced this way. This also sliced. Let's get something straight on this way as well. Grab this, grab this, inGreate some more space. Let's go and invert the selection. With this, let's do delete ding now. So go over geometry. Let's do delete ding, modified topology, delete Eden. Okay. I think it should be roughly fine where it is, but we need to make some little adjustment to this as well. So I'm going to move this up some more. Do the same also in here. Okay. Yeah, that should be fine. And let's go over to deformation. Though we don't really need something that long all the way to the end, though because we're coming close up in a doesn't go all the way to the end, so we need to cut out some of this. Let's cut out some of this so we can just do this in her. Let's go back to our slice cove, slice cove. Let's just do tiny coat there should be fine. Okay. So I'm just going to select and select this as well. Then we'll do delete ding. M fact topology, deletes ding. So for this now we need to go over apology this All right. I would like to mark south but I don't this part to be affected. All right, grab your part. We need this to be applied on. Okay, grab this as well. Invert the mark, blow this out some more. Then let's polish and get those straightened out. Okay, lay that out. Yeah, this should be fine. This will work just fine. So now next thing we need to do would be to 00 match this. Let's go over to geometry. Over to geometry, extend this out lead two. Then zero masher, Turn that off. Okay, it is fine. Let's just set the value to two. Zero mash. Okay. We can do half of this. Let's go off half. Verbs at one k. You can go lower. Let's do half again. So 500, 500 seems like a good value for this. 500 seems fine. 500 will work just fine. Okay, so let's bring everything back out. So now we need to do an extrude, so let's go in and do an extrude. But this one definitely needs to be on top. Let's do. Before we do an extra, let's bring this out. It needs to be out. Let me max this part out for now. Let's work with this on this side. Okay, out a bit more as well. Invite the max pull this out out as well. Okay. Yeah, This should be fine for now. No, don't do that. Let's do this when we're afraid of de ickness in there. Let's do this after det iness. So clear that out. Let's do go dynamic stop div dynamic. Obviously, too thick, so we need to take down the thickness. But thickness needs to be a really good amount, a really good value. This is fine. This value should be fine. So in here now, we can manually pull things out. What are you going to pull out what we need to pull out in here and then we should be good. Awesome. This is fine. Okay, Ship F. But this one needs to be buried in. That is fine. Is buried in. But thickness for this for pulling this out is way too much. Let's put this down some more. Should still be flat down, put this in, put this back in. Okay, I think it should be fine. Put this down, put this down. Put this down as well. I think I need to select this instead. This is the one that needs to go kind of flatten down. Almost invincible itself, it's supposed to make it not even visible, so let's put this down. By lots, select this. Put this down some more, completely hide it if possible. Then we get this down. So more right, get this also down some more. Down way too much. Select this, push this down. Select this, bring this up a little bit more. Okay. Bring this down, select this, bring that down. Okay. Which piece is this? Oh, select this, leave this up. All right. I think we're in a good place. Yeah, certainly in a good place. This will work just fine. Probably llevate this a little bit more. On the opposite side as well. V this up a little bit more. Yeah, that is fine. So I think we also need to make some I don't know if I need to extend this, let's extend this out a little bit more. Let's tend we have some bend in there also, so that's way too much. Okay, I think this should work just fine. Yeah, that should be fine. It's not supposed to be completely straight on. You can see a curve in here also. Let's try to simulate something like that, also in here. Okay. The lens make sure the lens is accurate enough. Let's put this in cover most of those gap. On the opposite side as well, get the lens a bit more accurately. Okay. Yeah, that's fine. That is fine. We can work with this. So let's apply this on. All right. So the next piece we need to create this one that goes all the way to the back. So we'll do that in the next lesson. By for now. Before we move on, let's shoot this down as well. So down shift shoot this down. Okay, so buy for now. 6. 05 Foot Side Extract In Zbrush: Come back, guys. In the previous lesson, we worked on this front leather piece. So I'm going to carry on and then keep working on this. I'm looking at this, and I feel like I should extend the length out a little bit more, make it a little bit longer than it is right now, so let's do that. But first, you need to put all of this into a folder. So let's create a new folder for this. Name this to Nike. I just put sneakers in there. Snickers. All right. Then we drop the other mesh in there as well. So let's just drop this in. Okay, that is fine. If you select a separate piece now and we turn this so you can see how we completely hide everything. So let's go back in the let's transform. Let's do transpose sets. Okay. I'm going to center orient. Wh center at all. Extend this out a little bit more. Undo that. Move the sod back. Extend this out some more, a little bit more should be fine. All right. Let's compare this. I think it's a bit too much. What we did before was actually fine, should be fine. Yeah, this should work just fine. We're going to do some general adjustment to this buffer now, this should be fine. Okay? One that I'd like to do would be let's turn this off, okay? So Shift F, this is the piece you need to select. I like to make a little adjustment to this. So let's isolate. Co Shift click, Max this, bring everything back out. Shift F, invert the max. Let's blow this, then leave this up a little bit more this way. Do that actually. Let's do something like so, then pull this up. Yeah I think it should be fine. Let's bring everything back out. Yeah, this seems just about right. Thisul work. Let me get close. Let's create. This part loan goes all the way to the back. So we look at this also on the back. So this is where we get on the back. So let me just see if I can visualize this two at the same time. Yes, I think that should be fine. But there's one more thing we need to do. There's one more thing we need to do before getting this extra piece extract this extra piece out. That would be to select this with the max lasso selected max lasso. I'm going to grab this chunk like so. Okay. We don't even know any subdivision level in the less n or just escape should be fine. I think we might need subdivision leveling. Need subdivision level in less subdivide. I'm going to max these bits. Okay. No, I think I grabbed it too much. Grab with too much. Let's do somewhere around here, like so. Yeah, that should be fine. Invert the marks, blow this out. Okay. Then I'm going to do an inflate balloon. I need to get the right amount for this. Old out and sharpen hold out and sharpen the max. Undo that canter sharpening the spokes. Hold on control and sharpen the max. Then I'm going to do an inflate balloon again. I think that's a little bit too extreme. Go to boarding, if you do inflates, inflates is just weird. Inflate balloon is a good one. On do that. Okay. Just a little should be fine just to inflate that baby around it, leg so I think that will work just fine. I work just fine. We need to push some things back in. So this, for example, is coming out with too much, let's get this back in. Let's use the move brush. Use the brush size and get this back in. Okay. You know, I think I pushed that way too much. See. We just need to push it to where this band is so here should be fine. Did you see on the other parts. Here also should be fine. All right. Put this up some more. I think this should work just fine. We can smooth in here do that, take down your brush size, take down the smooth intensity, Smoot in her Smoot in here as well. Okay, I think we can work with that. That should be fine. Yes, that's fine. Now we can grab the piece we need now, so we need to duplicate this. The duplicates, I'll send that duplicate out of that group. Isolate this. Then we need to grab the piece we need. **** F, need to subdivide this again. This dire subltionT di subdivision, let's subdivide this one more. Subdivide again, delete lower Control Shift click on this, delete Eden. Deleted. This is all we need to bring everything back out. You just need to mark out Shift F, let's use a slice cove now to grab the parts with the portion we need for this. Let's use the slice cove. I'll put it somewhere around here. So I know where exactly to cut. Let's start from here. Do that in bit of space. Okay. Tap out. Tap out again, tap out again, tap out again. Top out again. Let's see. I think we have this where it needs to be. Let me leave this up some more. I think somewhere around there should be fine. Checking to be sure. I think somewhere around there should be fine. Here, we can work with that. Okay. If we need to push this in, we can. Let me do that again. Let me do this from around here. Let's bring this down some more forward. Yes, I think that's the perfect list to have this. That's perfect last to have this. Yeah, that's fine. Now let's go out another portion also too. I think I'll do this around here instead. Okay. I think you should be fine so now. We have this piece now. So this is the piece we need. So we need this piece. I think we need to grab a little bit more. Okay. Nope, nope. Let me do this again. No. I think should be fine. Yes, somewhere around there should be just fine. So this is the only piece we need for this, okay, I need to do an auto grouping here. There's an auto group. There's another auto group. I need something with completely different colors. Colors there are just too volume here. This is fine. Alright, so this is what I need so I'm going to select this. Is on both side now, which is precisly what we want. I'm going to do delete ding. Before I do deleting, let me duplicate this entire out in first ID then we can do delete ding now. So geometry deletes Eden. All right. Then let's get this polished. So go out to deformation. Ton of these dots, polish, polish a little bit more. That is fine. Let's do some zer mash for it. So Ngometry Z masher. All the settings we have in there ton of this f set this to two. Okay, Z mash. I need to check the poly count for it. Let's go for now Z mash. Much wants more 500. I think 500 would absolutely just fine. Okay. This will work just fine. Let's get back in there. So now we need to add thickness to this. Before we add thickness to it, I need to pull this back in. Just my brow size, so get a curve in there. The same around here. Let's get the curve in. Okay, that should be fine. Legs done extrude. Doesn't extrude, so go over to dynamic sub Divyam. This thickness is fine. I think this thickness might be slightly too much, so I need to take this down a little bit more. So more, this should be fine. Yeah, thickness should work just fine. Yes, it should work just fine. So I'm going to before I apply this on, let's shift F, we still on the move to. I'm just going to move this in on down and some more can get some more in the Okay, I see a major difference in here now. This portion in here is supposed to be going to push this bit slimmer. So make modifications to that. But for now, let's just get this in place first. So that should be fine. That is why I wanted to. I would like to elongate it a little bit more so. But these are those pieces we need to go back and then just fix. So it's not going to be a major issue fixing it, so long we have the shaping there, long we have the shaping there and it's low poly version. Pushing it and getting it in place is not going to be a major issue. Back in some more. That should be fine to go up. Check what we have in here. For this top part, we need to bring it out some more prezzi b size a little bit more, get this up. That should be fine. Somewhere around there Move this forward. So more, select this. By this down a bit more. Get this in in as well, select. I think they should be fine. Let's do for the opposite side. Select the phase, buy this in some more, select. Let's get this up. Okay. Forward. All right. Select this bears down some more. Select this, bring this out some more. Okay. Select the beds down even more. Bring this in. Okay. I think this should be just about rights. Here, that feels just about right. Pull this out out some more. That's fine. Then let's go back to this piece, and let's make some more modifications to it. Just need to refine it a little bit more and then we should be good. I think here as well, I would like to push this back some more. Okay, here as well push this back some more. That was way too much. Let's get it and get this out some more. Yeah, fine. That's fine. That's fine. Box or more. Chute F. Okay. Awesome. So now we select this now. I need to make sure this gap is quite visible. Even though we still need to create some kind of this middle point, we need to stretch out a little bit more. This selected, I'm going to max out this portion, blow the mark because I don't want it to be affected, so we can carefully move this back, do that. Move this back. All right. But some more quite a lot of work to do in here just to get this to look right. But it does necessary work to get this to make it look right, so there just keep pushing, blow this out again, pushing and getting this to look well. Just push this in, smooth this part out. It doesn't look odd. Okay. Set this back. Then we need to push this back into the shoe. Because it's looking way too thick on the edge. Edge looking way too thick. Okay. Move this down as well. Okay. I think that should be fine for now. Let's do for the opposite side. Blow this out. Do a very swift move. Okay. Put this in, selects, get this out some more, selects. Put this out some more. Get this down. All right. Here, as well, put this down some more. Okay, hipvPlay the mark. Let's do he polish for this, just to polish everything generally. On do that, let's mark out this edge. He polish marks out this edge as well. Marks out of this edge. Turn this off, blow this. Do that as way too extreme. Okay, should be fine. Clear max, hipef now get some considerable space in here now to work with is fine. We're going to extend it out generally later on, but it should be fine for now. I think we need to get this out. That that went in way too much, so extend that out. Yeah, awesome, that's fine. So moving along, let's see what we can do in here we have an extra bond extra bond here. Then we have an extra bond here as well. Okay. So we have this extra bond now. Let's do this later. Let's see if there's any piece. Okay, the piece needs to as the Nike Nike sign. Before the Nike signed let's add this bond. Let me see how far that bond goes. The black bond, let's go to the Torvi. I can't really see it here, though. Even looking at this nice. I think I need to extend this forward some more. This I need to bring forward a bit more. This piece needs to come forward some more. So let's extend them out. Extend them out. Let's see. That one should end there. Let's extend this out some more. Okay, bring this out. Extend this out some more. A little bit more should be fine. Bring this out. Okay, that is fine. Select the, bring this down. Yeah, that's fine. Yes. Okay, let me I think it ends. Try to figure out where it ends actually, okay? It goes all the way. Okay? It goes all the way in. It goes all the way in. So it wraps around it. It's like under level under extra level of thickness in here, okay, okay, that's fine. So we're going to select this Ship turf. I need to make a duplicate of this. Let's make it duplicate. I'll order and she send it out of the group. Let me do a quick save. Okay. Yeah, that's fine. We have this out now, out of we only need the inner part. So let me just go to lower subduction Shift D. Okay. Yeah, we need a higher subduption level because we need it to be smooth all round to go around perfectly. But let's try and figure out where we need to have this though. Okay? I see. Yes. I think I know what you need to do in here. So let's go to lower subduction level control shift. Click. Hi this. Let's do polygrouping here, poly group, poly group. Holy group. Yes, polygroup in control sheet, click aswell. Is the only bits we need. Delete higher. Is the only bits we need. We just need to extrude this out. I need to get this extruded out. But the extrusion should not envelope these parts. Let's see. Let's first sta by making a duplicate out of this so we don't mess things up. So I'm going to max out then max out these bits. ControW Control **** click to remove that. Then Let's do deleted. Et's do another deletes Eden, geometry, deletes modified topology, deletes ding. Okay. Let's make sure we're hiding what we don't need. Let me hide this for now. So this is the bits we need back in, so we need to do an extrude for this. So in this case, I will need to extrude down instead. I see the inode part is dark. Okay. I can't really see a good example of the inward parts. What we're having here is just at the edge, okay, I think Z material goes in. Okay, si material that's actually inside, probably dark material, so that is fine. Let's just create the thickness for this, but this time around, I'm going to be using I think I would like to use the Z molar brush instead so I can extrude downward. Okay, so BC, go to a phase, do an extrude. Okay. Then let's do all polygons. Okay. Undo that. Undo that to select the phase. The extrude is a bit weird. Bit of a weird extrude. No, this extrude is a bit odd. It's really ode's extrude out. Let's see. Okay, I think outward is way better than inward. Let's see what we have. All right. Yes, I think we can work with this, but we need to make some modifications to Control D on this, add a subdivision level N. Let's go in and look at our reference just to get this right. Okay, do that. I need to add a I need to add a loop I think flack actually won't delete this in a poly group. I'm not sure we need those. But let me add an edge loop around here. Okay? All right, then I'll need to move these down. Let's go back to move Brush. Let's center orient, get this down. Now if we do add control D to this to add this subdivision level, this is what we get, but we can make this a whole lot better. Let's just do Yes, let's do let me next you know, extend this out some more. If I polish this, yes. Awesome. So I just need a bit of polish. A bit of polish would go a long way. So we have this in here now the way we want. So we just need to make some modifications to this by moving this down. Move all of these down actually. Down as well. Completely hide this. But it should still be visible on this side. Let me see. Let's just max the parts we need. Okay? Blow this out some more invert the marks. So we can only push what we need to push in instead. All right. Yeah, that should be fine. But. Okay. Let me make sure this just shows picks around there should be fine. Smooth that down. Do the same for the opposite side. You should just pick around here as well. Okay. Smooth this down. Smooth this down. Undo that. Select this, I need to push this down. Maybe out instead out a little bit more out a little bit more around here as well, select this. Get closes, smooth this down. Bring this down. Select this. Fold this in on this side. Fool this in on this side as well. I just need to get this to look right. That's basically what I'm trying to do here. I get it to look right. I think they should be fine. He also looks fine. I think it should I should work. Ece we need to bring it down some more. So let's bring this down. Bring this down as well. As well down here. Let's get the same height range on both side. Okay. Yeah, I think this is fine. So should rest at the back. Roughly around there should be fine. I think I'm to lift this up a little bit more. That's fine. This work just fine. Okay? So let's just do one more tin. This one also has taper in. There's a taper for this also. So we'll do that taper in the next lesson, so I'll see you guys in next lesson. Bye for now. 7. 06 Foot Hoof Extract In Zbrush: Welcome back, guys, we still are still very much on this. So I'm going to carry on because we still have a little bit of some more work to doctor you on this. So I would like to create this Dapertaper in here. Let's create a taper. I'm going to select this Okay, we don't even that. We don't even have poly groups that holds the edge. No poly group that holds the edge in here. So let's see if we can extract a poly group. So let's do group by normal. Let's turn this dot off group by normal. Nope, still not working. Okay. Can we grow grow? There should be grow poly group in here, grow mark Okay. Group change, poly group, groups by dynamic, group by Max. So group there's no group, interesting. So anyways, let's see what we can do in here. We just need one but, and then we can work with that's let's see what we can do in here. So let's adjust the angle for this a little bit more group by normal again. Then take this down group by normal, nothing. Let's see, turn this back on, set this to a different value. No, it's not giving us anything realistic in there. So basically left in here, so what can we do? That's where is the duplicate of this. There's the duplicate of this duplicates. Oh, yes, we can go to lower, this is actually way too low. Let's use the duplicate of this vessel duplicate, send that duplicate down. Shoot it down. Do selected now. Let's go to lower subdivision level. Possibly we can get something out of it. Okay. Let's go on subdivision level higher. Okay. Let's go in to poly group. So this should be on 45 default is 45, then group by normal. Not much happening in your less tone of this dot group. We get the bits. Oh, no, no, not working. Let's increase this again, not in as well. Okay. I think this is a good one. Isn't a value of 23. Let's do an angle of 30 instead. Let's do 30. Let's do 20 instead. Group binomals. No, tone of these dots. Group binomalUd I think the previous one we had before was fine, which was this tone down and the value was at 23. Let's do 25 instead, group binormal. Yeah, yeah, this will work. So we need to grab this Whoa. Quite a lot of corrections to do in here. Let's see. Let me say this have an idea. Let me say this to 45 group by normal. Okay? That is fine. Control Shift click on this. Control Shift click again. Let's do another group by nomalGroup Bnmal. Okay? Group by normal. Nope. Okay, de do what I feel should work just fine. That's do BZ. So we use qua Q mash instead. I only need this edge. I don't need this edge edge and edge I need so let's go over space bar. Let's do Qsh. Let's see if we can do polyp Poly group Broder. We have poly group Broder. Let's try this poly group boder. Oh, we have subduction levels in here, so let's delete let's bring everything back out first, delete, delete lower, delete higher. Interesting. Come on. Do that. I don't I don't want this to extrude. I don't know why it's extruding now. This should not extrude. So it come slightly tricky. Let's just make sure we get this right, so I don't want to extrude this disabled triangle snap. Ton of alignments. Okay. Yeah, that's fine. He also. Okay, that's fine. I think turn off alignment with what fixed it. I think, this is fine. This is fine. Then Control Shift click Control Shift click. Come on. Hi click as well. This is the only usually piece I need. Generally the only piece I need, so I need to do let's go over to Let's go over to what's it called again? Yes, delete ding. The deleting let's do duplicate of this. Let's create a backup. Then let's do delete ding. Geometry deletes ding All right. So all we need to do now is to extrude this inward. We just need to extrude this in words. So let's do extrude. I need to extrude, I need to do next to the edge. Let's just do general extrude first. So I think we can use all at once. Yes, we can use all at once, like so. Et's see what we get. Yeah, I think this should be roughly fine. Let's bring everything back out. Let's see what we get out of this. So transparency. Okay. This should work. To of transparency. Let's I mean, polygons doves quite low. Let's subdivide this. Then let's do an extrude. No no, let's down in flits rather. So let's down in flits Inflate balloon. No, no, that won't work. Let's do normal regular in flits. Let's see how this regular inflits completely messed up. I'm seeing some weird edges around this also as well. Do that. What was the call f something else I need to do. Let's go to display a dub salt on. Let's see if we can make this work. If we subdivide this. Now, this looks quite a lot of issue going on here we subdivide, so I won't do that. I think I need to go back to the previous one or we can just extrude the edge. Let's go back to Extrude. Select space bar. Let's do extrude. Edge edge loop. Edge Bully loop. Let's do merge boda instead. Come on. Why not This not work? No. Let's try something else. Edge loop. Come on. Can see some extra as that I don't need or some extra sun we don't need. Can see a stretch. Let me just Control Shift click Invert the max, Invert the selection instead. It the selection instead. Oh, you still have everything. My still have everything as one single piece in. I need to isolate this less D delete Eden. So before we do delete, then. Um, let's do this instead. Control give everything one single pull group. No, undo that. Undo that. Undo that. It's an extra A that I don't need to be in the Is extra edge. I don't want to be in there and do that. This extra edge in here that I don't necessarily need. So let's grab this and CtWGive them one single polygrap. I just make my life a lot easier. I need to grab all this loop also as well. Then all this loop also at the back side also. So Control Shift click. Let's start with this, do that. I don't just snap keep snapping. Come on, come on. Can't you just get this be plyloop without it having to snap in a weird way. No alignments whatsoever, and then it keeps snapping. Let's just do normal regular Que. Let's just do Let's just polly loop. Why do this keep snapping? Let's do single loop instead. This one actually works just fine. Let's hold down oats and drag this out. Frank look for much easier we bot seems like it's not giving us the option to make our life a lot easier, so let's just hold out and turn these all whites around. Don't do that. Get a better angle on this. Okay, it should be fine. Bring everything back out. Let's do also. So grab all of this. Okay. Yeah, well, or so. Don't take many this lower part though. Don't take many these lower parts. Do we need let's bring everything back out first. Let's see. Okay. Let's just add that in there. Let's just add that in there. Design need to remove that. We can just easily remove that. Bring everything back out. Control Shift click, Control Shift click, Control Shift click this as well. Yes, I think this should be fine. Control Shift click. Control W to give you a separate polygroup. Let's do a delete Eden now, delete Eden. Let's do dynamic sub dive, let's add thickness to this. Way too thick. We don't want something too thick. But thick enough to hold the shape, no doubt. Okay? Yes, I think this is pretty much what we will need. This is pretty much what we will need except we need to make some. I just maintain there just to push and pull and then we should be good. But I'm realizing that I don't need this bottom, I don't need this lower part, so let's hide this for now. I don't need this lower part, so I'm going to use the max las. Let's max this this way, Control W. Well, we don't need this. I'm going to do delete ding. On ph topology, delete Eden. Then back to dynamic Subdiv Okay, gets a good angle to this. Yes, we can work with this. Okay. Yes, we can. If you go back and select, let's go back to move brush, select this. Let's go on subdivision level lower. I should actually fits. I should actually fit accurately now since we're kind of marching it. We'll do delete higher. Delete lower as well. Okay? So this fits nicely. So the only modification we need to do here would just be to move to move this up undo that move brush. Come on. Oh, selecting the wrong mesh. So this is the mesh I'm supposed to select so. We can just move this up because the thickness we have in there is a bit too much. It's a bit too much. So let's just get this adjusted properly. Think somewhere roughly around here should be fine. Let's adjust down here also. Do the same for the opposite side. Okay. Ship. So if we should subdivide this now and do that. Now, let's send this down. This one is actually down now, so let's send this down as well. Go down, ship, send this down. Let's merge them as one single piece. So go over to merge down. Click Okay. So these two nice one single piece. Okay. So this out. I think there's some discrepanc in here now. Which we can just easily fix. It's not going to be a major issue to fix. There's the auto group auto group auto group. Fully group auto group. Select this. Move this down. Move this down. Shift F, move this down, down some more. Okay, pull this in. I think this should do, okay. Movement in, get this in in as well. All right. I think we can work with this Control D, Okay. Yeah, I believe this should work just fine. Control click inverting max. We can extend this out a little bit more. Okay. That should be fine. Extend this out. All right. I'm just trying to make this as perfect as I possibly can. Down some more down some more. This should be fine. Okay, so now under extra edge for that, which is cool. Which other extra edge do we have? I think we've covered this so now we can go in and grab this shape here. A triangular shape in there should be fine. We can just use Max lust to do that, back, okay? This is the back. We go to the back. Come on, select this. Do I think we have a duplicate of that. Do we have a duplicate duplicates? I think this would be a duplicate. It's a good duplicates. Okay. ShitF use the maxlas Let me do this from this side actually. Let's visualize it from the side. It's a lot more easier to select it from the side instead. We can also use I believe we can use a slice cove for this as well. She the slice cove. Let's try using the slice cove. No, I should keep seeing this on here. Okay, I believe somewhere around here should be fine. Yes, perfect. This should work perfectly. So let's duplicate for this mesh. Hide the top piece. This is what we need to grab this out. All right. That's fine. Then we need to duplicate this as well. Do it delete ding, modified topology, geometry, modified topology, delete Eden. Let's polish just a little bit small. So polish by group. Polish by group. Geometry is zero mesh. Set this value to 20 mesh, zeros again. H zero mesh, zero mash again. As at 300 and I think 300 should work just fine. Okay, let's check the back. Let's see how it is on the back side, if we need to extend, if we need to extend this out in any way. Yeah, I think for the most part, this would be fine where it is. So let's do dynamic sub div, adding thickness to it. How much thickness you need for this? Solo this definitely way too thick. Reduce the thickness. Okay. We just need to use the move brush and then compensate for the thickness around here. With the move brush, extend this out. Look, that's way too much. Let me get this do this from the underps. Around this way, it should be fine. I think our thickness is even slightly even too much. Let's take this down again. Here, I think this amount should be just fine. Amount should be just fine. Not the house edge out a bit more, something should go around that. The logo should go around that. Logo would get itself in the But I think as far as this goes, this should be just fine. Bring this down, food down, down as well. Down as well. Awesome. Okay, just extend this down some more pretty much like, so it should be fine. Alright. Okay. Move this out some more. That should be fine. Once we add this logo in here now and then we can easily pull can easily push this down where it needs to be. But for now, I think this should be fine for now. I think the gap is way too much. Gap is way too much. I need to max out these bits, so I don't manipulate them, blow this out, so I can just quite easily move this down where I want. Come on. Move this down down some more down some more. Okay. I think that should be fine. Clear the marks. That should be fine. All right. So we're in a good place? 8. 07 Foot Sole Extract In Zbrush: Something else you need to get right. So I'm not checking around a lot to be sure there's something I need to do to get this a lot better. There's something I'm missing. For the most part, the writing I mean, at least for the padding. The fitting meaning you want this logo. Logo for one, and then we have this so piece. I think achieving credit extra black. So detail in there or maybe we can do that detail inside of should probably do this detail inside. Let's do it inside here. Let's do it in here instead. This extra cortos. Let's do it inside brush instead. Sort of soak down s pinter. So I'm going to select this. I'll make a duplicate out of this duplicates. I'll send this down. Okay. Is there an issue around there I need to be aware of. Take this down and do that smooth. I feel like I need to subdivide this some more. I'll definitely need to subdivide this some more just to capture the detail in there, though. But we need to do this for both the duplicate and the original also. So let me delete this duplicate for now. Dell this original, add some subdivision level to it, subdivide again. Okay. Now I do duplicate of it. I'll send that duplicate down. Let's isolate. Then let's grab then let's grab what you need out of this. Shift F. Control W, give this one single polygroup. Then I would go to geometry, delete lower Okay, two k seems fine. Then we can use a slice cove now to begin to capture or do what we need to do in. Let me zoom out a little bit more so we see what we need to do. So slice cove. Okay. No, undo that. Okay. Move down some more. Pull down, she lift it up some more. Maybe not too much. Well before was fine. Double click, get an edge. Okay. Double click. Get another edge. All right. Get this down here. Should be down some more. Double click. Get this up some more. Okay. Around here. Then I will double click again. Just give me double click. It's not give me straight lines. It's not give me straight enough lines to work with. I do that. I need to do this again. I need to do this again. It's quite tricky though. Okay. Double click. Double click. Double click. Double click. And this way I guess rick, just weird extend this out a little bit more. Just bend in a really weird way. Double click. Guess weird around here. Double click. I think we have one. Two. Let me come all the way down first. Double click. Double click, go up. Nope. Okay, we have these phase parts. We have these phase bits now. I think I'll just continue from that parts. Well, let's do it. Let's go through the opposite side instead. Let's continue from the opposite side. Okay. Let's do double click. Double click. It's weirdness and it also gets too close to an edge, begins to acts extremely weird. The sp ones. Tap ones as well. Okay? We have some symbols. Not completely perfect yet, but we need to make it need to combine them and then make it work. So I think the last bit would be this double click. Move this this way. Move this around here instead. Double click, get this down. Okay. Yeah, complete messing here, but if we can make it work, do that actually. Let's do this again. Double click. Okay. Double click. Double click. This way. Oh, I see the mistake I'm making now do that. I'm supposed to go up instead. Should be up instead. Double click. Okay. Double click down here. I think, like so Control Shift click. Okay. I think this is now is not the other part is not looking good. The other part is not looking good. So we need to do this again. Thinking the best option right now would be to use our Max Larso instead. Let me subdivide this one more. Delete lower. I think Max Larso still seems like a good enough option for us. Let me use the Max last one instead. Okay. Nope. Nope. Let's see. Maybe we should use the rectangle. Let's use the rectangle instead. In the rectangle should kind of give us though some sharp result bolts. At least we should get something good enough out of it. Let me hide hide the original to hide the original D. Okay, that's one first one is a good place. We'll do another one around around here. Okay, that's fine. They will do another one around that one knees Let's do Mx las instead. Okay. Grab a bit more. All right. Is it working on the opposite side. Yes, it is. We need to grab more of this as well. Okay. I think we can work with this. We can work with this. I need to grab this part also as well. Let's use the rectangle two. Oh, this is a square rectangle max rectangle. Let's do around here. Let's see if it goes all the way to the opposite side. Not completely, so we need to grab that as well. Okay? Some of this part undo that. So she lets you control W for that's I think we might end up doing most of this detail by and actually. Let's do a duplicate of this Control Shift click. So this is pretty much everything we need. Now let's do polish. Let's do polish. So deformation, let's do Polish scripts edge instead. Files polish by group, we're going to lose a lot of the detail. So let's do polish by group now. Okay. Polished by group. So more Eton of the dots. Okay. Yeah, I think this we can work with. Yeah, this we can work with. So let's do duplicate of this and then merge the naticness to it. So over to delete Eden, I will also extend this out a little bit more like so. All right, so let's do have you done delete already I've done deleted already. So let's do Zero mesher. So Z marshal, let's modify, Okay, a ton of. Say this to two. Zero masher O down to do Zero mesher. Let's give this a moment. Let's see what we get. Okay. Okay. We have something, no doubt. Then let's go. Let's see what that gives us when we do E. 900. Let's see if we still maintains some measure of the shape. Okay, it still does. Let's bring everything back out. Let's co on the original. Let's make the original visible again. Okay, I think it's actually in a good place. In a good place. With a few modifications, we should be good. Let's add some thickness to it. So let's do some thickness, dynamic, dynamic sub div. T. Come on, turn that on. Obviously, way too thick. Way too thick, obviously. But just before we do that, I think I'd like to add some cuts in between just to hold some of this edge tightly. So let's do Bz. I will duplicate this hide. So let's add red zebro size. Close. I need to go to inserts, add one segment here. Okay. Undo that going across Sync Let's do should be fine. Then I need to hold this edge. So I'm going to do one around here. Undo that here also. I need to hold that edge here as well. Yeah, undo that get close here also. Okay. Come in close. I'll do one year as well. Because I don't just to kind of when I smooth that, I don't want to lose that edge, also as well. Get in close, undo that. Yeah, that should be fine. Here as well. No, that seems odd. Let's do. Okay. Here, as well to hold that edge. So we need to do for the opposite side also. Oh, it's working on both sides, so that should be fine. Now, let's add thickness in. Let's go back to our move brush. So let's do geometry, dynamic sub div Obviously way too thick. Take this down, Shift F. Okay. I think you should still be slimmer than this. Oh, that's way too slim. I think what we have in here should be fine. Okay. Let's make this slightly smaller I think that's way too small. I think this should be fine. If we apply this now subdivide, you'll be getting something like so. Which in highlights at least we have most of the shape we need in there for the most part. I think we are good except for here, we need to pull, I think this should be fine. This should be just fine. Maybe, undo that more brush. Guys move bros, not he's working. Yeah, it should be fine. This should work just fine. Okay. Let's say like this. I feel like I should extend this increasing intensity. Breezes out a little bit more. Okay, use the pross select. No, I think that should be fine. That should be fine. So you should just be roughly in there. Control shift click on this. You should isolate, Max this out inve the max, bring Gatine back out, extend this down a little bit more. I think I pulled that out way too much. That's way too much. Oh, you can see initially here wound fix. So we remove brush, extend that out out a little a little around here. Okay. Yeah, this should work. So in the next lesson, we'll move on to creating or working on another piece. I think I need to extend this out some more on the inward parts. Red subluton level, select this blow invite the max, grease the sublution level, bring everything back out, Shift F, bring gizmo, orients up some more. A little bit more should be fine. Yeah, so it should be fine. That will work just fine. Awesome. So I need to bring this piece. I need to bring that into the group. Let's bring that into the group. So this is it. I'll drag this into the group. This also drag that into the group into the folder. And you create that piece, let's drag that into the folder as well. Okay. Awesome. So we select something else now and we go in and then Oh, one other thing is missing. Select this piece. You need to bring it into the folder as well. Okay. Let's select this. If you hide this now, one more under piece also you forgot to hide. Select this hoof, bring this into the folder. Let me select this. And then if we hide this folder, yes, everything is in here now. So I'm going to drag this fold all the way down. Okay, so continue on the next less. We're going to start We're going to create create the let's see. Okay, I think I need something else I need to do. This, I need to move up closer this way. Yeah, as well. Closer this way. Okay? Pull this down. Saldic corresponding piece that good pull that down as well. Select down. In Salic corresponding piece, puts down as well. In. Okay, that is fine. That is fine. That is fine. A lot going on in your ready bow. I think we are we doing grids. We're doing your grids in your do that. Alright, so I'll see you guys in the next lesson. Bye for now. 9. 08 Nike Logo Extract In Zbrush: Come about, guys. In the previous lesson, we were still trying to extract necessary piece we need for our model. So we're just going to carry on from there as well and then continue blocking out those extra piece that we need. So in this time around, I'd like to get in the logo in. Let's get the logo. Not done the logo yet, so I'd like to get the logo in. I'm just going to making some adjustments to this. We're just pushing some of these down. Okay. So it doesn't look too thick on the side. It's looking too thick, get that down. All right. Okay, that should be fine. Now, let's get the logo, the logo piece for this. So I'm going to select this. So I still have pieces of parts in here that we can just reuse. So let's use. Let's Nike logo out of this I'm actually thinking of doing this with the Max lasso. It's the ninth night with Mala it's going to appear on the other side also, too. So I would like to do this with the Maxa Soo. Oh. Let's on the marcas, select the MAs lasso. Okay. Let's make sure we're doing this as accurately as we can. Can we do transparency. Okay. Yes, we can do transparency here. Let's just set this up. Start from the big points. Go this way, so it doesn't seem perfect yet, but we can make some adjustment to it. I'm going to hold out and then clean this up just to sharpen it more. I would like to add some more shape to this. Nope. Go in here so Craze a few of these. Do some more around here as well. L solo this let's see what it gets. I think it should be fine. Then we can do some manual modifications to this as well. Et's go out of solo mode, ton on transparency. No wrong one. Let's call this out. I believe. Throw this out. Then let's go to pin Max pen. I'm going to paint some additional shapes to this. Okay. Some additional so around here. All right. That looks odd. I think this should be better. All right. I think this should work. Use the blow size. Okay. Now let's make a duplicate of this piece. Control W for this to get a poly group out of this. Control Shift click, then we can do deletes Eden. Let's deleted in years. We go to geometry, modified topology, delete Eden. Then under deformation, polish by group, tone of the dots polishes even well. Okay. Go out of solo mode. I think we need to make some modifications to these no doubts. Get that sharp logo detailing in. Most especially around the air. Make sure we get a sharp detail at the tip. Polish by a group. Mark this part out blow the marks. Mark this part out also blow the marks. Okay. This up, polish, that should be fine. Then let's do. I think we need to make some modifications in here actually. Put this in pull this in as well. Polish by group. Move this forward. Right. Let's just go to make sure this looks right. Then I think it should be fine. On the dot polish by group or more. So let's do a duplicate of this. Let's do Z marshal. No, not this geometry. Z mash. Let's say this to two. I get pulito two. Then let's z mah this.Hol out, select Z maach again, goo half half again. Let's do a one more. So this now we can adjust this by sharpening this up some more. Okay? This on the opposite side is not looking too good. Let's leave that up, push this in. Move this in as well, bring everything back out. Okay. We seem to make some modifications to this, no doubt. Folk do that, let's go in and add some thickness to the dynamics of the dynamic. Obviously, we to take this down. Okay. Seems like we're in a good place, we need to make some more adjustments to this. Yeah, definitely. The bottom edge needs to be up a bit higher. Opening a bit higher like so. Okay. Do the same for the opposite side. Do that, increase the bro size. Give this up some more, pull this out, up some more. Move this in. Basically trying to do something close enough. Okay. You should definitely work. I'll push this in here compensate for it on the lower parts. That should be fine. You should go in a swell. Okay. I think I need to leave the bottom parts up some more. Okay. That should be fine. Here also as well. That should be roughly there. Put this down. Okay. Leave this up, let this in the pie. Yeah, it should be just about right. It should be just about right. Create some height produce around here here as well. Get close, dig this back in. Then we can apply. I should be fine if we subdivide this. This is what we get. T should work just fine. Okay. Make some little adjustments to this. Yeah, that's fine. So moving on. The logo goes in, can stand and comes around there as well. Let me see if I can leave this up some more with a little more thickness for it. All right. Here, as well. Okay? That should be fine. Let's go to the duplicates we have in there already. Yeah, this is the one C any marks we have in there the duplicate Let's do transparency instead. Now we know where they should be. I should fall in there so let's cut it back this. Okay. See it now. So let's do Shift F. We can do, we can use the slice cove actually for this slice cove should work just fine for this. So slice cove. I would start from let me solo these two invert grades. I need to go to select inverts. It's pretty much all I need to slice cove Okay. No, that doesn't look right. I need to make sure this looks as accurate as it needs to be. Let me start from here instead. Yeah, it should be fine the first bits. Does not looking right. Hold Hats. Look, doesn't looking right either. Let's come from the opposite side. Hosts all the way should be fine. It's not against all the way for the opposite side, so Let's do that not looking good. O. No, not looking good enough. Nope, needs to be as perfect as we can get it to be, no. Move back. Now, Why are we having something weird this way, definitely not. I think this should work. Let's slow this out. Let's see, this will definitely work. I need to grab invited selection. This select this, select this. This is pretty much what we need Control W for this. Okay. Then let's do a delete den. So modified topology, let's do delete ding, delete den. Delete ding. Let's do a polish by group. Polish some more I think we need to do a bit of polish on the opposite side. Knows about this particular parts to be particular. Don't be dots. Polish dots mark this region, blood is out, Polish, polish again. Lady marks. Let's do let's duplicate of the sub to first, duplicate the sub two and then go over to geometry, Z marcher off. Let's say this go two Zh let's go once more. D should be fine. Go out of isolates. We need to make some adjustment to this, no doubt. We can do transparency. Mood this back. Okay. Move to the opposite side. Mood this back. And one more thing I need to set is to set this where the previous logo is Okay. Do the same for the opposite side. Then let's polish this again. Let's polish by group. Don't do that, don't do that polished by group. Let's turn on the dots. Like this This bitten needs kind of fix. But before do that, let's just go out of transparency. Let's add some thickness to it. To back in there, let's do dynamics of give, turn that on. Let's take down the thickness for it. He is where it needs to be. Move this up, move this up as well. Get this out out as well. Same for the opposite side. Us bro side some more. Let's put it back closer to the skin. M closer to the strap itself around there should be fine. This one suppose. Let me see if we can just get this this way. I think somewhere around there should be fine. Most fits, they just compensate for it here as well. Getting clothes. Something that is a bit straight on this way. Okay. Rotates. All right. Let's listen for the opposite side. To the opposite side, get those straight lines in All right. I solids. I think I will need to add loop codes this infers, let's do By Blick at the loop cut here, the same for the opposite side also. That should be fine. Out of solo mode. Move brush. Getting close. Let's apply this subdivide Okay. I think this should work just fine. Do that. Getting a better angle needed to uplift lift this up a little bit more, should be good. All right. Let's check the back. Let's see how the back looks. Okay, I think we have this way we need it to be. That would work just fine. Come back in here. Compensate for it down here as well. Okay? Still a lot more work to do. Most especially the shoe lace now. We need to work on the shoes. We have this also all these calves that goes in. I believe we can just extract that from what we already have in here. Now, let me go in. Something I like to do in the before I do that then make a duplicate of this. Let's duplicate open that up. Duplicate his, let's duplicate this. I'm going to do we have never had the max, never had the max again. I'm just going to more or less buy this in Make it quite closer. Basically I just need to bury this in some more. Okay. Let's make it a bit more tighter on the edge. All right, well. Okay. I believe the same also in here I down here swell, down here swell. I think this should be fine. Let me everything back house. Something doesn't seem right. I push something up, so I'm not supposed to pull out. This is what I'm supposed turn off. So that's what I'm supposed turn off now, we should be good now. We should be good. I like to send this into your group also. Bring this into your group. As well send that into your group. I think we should be fine. Here we should run this up by ing this cover piece we have in. That's a logo in the tag. Let's do that tag. Let's do the tag. Believe I can extract that tag from this piece. Let me select selected already. Let do the duplicate of this low click. Let's go to the lower subdivision level. Delete A let's also do delete Eden then we can grab it all the way here. Let's do. Let's Mx last one instead. A marks out these bits, ControlW do this again. W for this, this is the only piece we actually need. Click. I think I grab more than I need. Let's select this. Marko, ControW as well. Everything back out. Come on, everything back out. Believe is the only piece I need. Before I do delete it I want to be sure if let's do transparency. Let me see where that is. Okay, I think some corrections I know that lein pulls down down down here as well. Okay, so around there should be fine. Then let's do delete den. Delete den. Delete Eden. I don't remember having sub sub dynamic turn that off. That should be off for now. Let's so this. I don't think I need this p ControlW that as well as the delete Eden. Delete Eden. I think this is all we need. Okay. Let's on inflates deformation inflate balloon, way too much. Let's just do normal regular inflates. T of transparency now have this way we need it to be except if except we need to subdivide the delete lower, use the blow size. The use my gizmo less gizmo instead, Cenaens squash this down some more. Lower part let's bring this in in some more. We need to add thickness to this. Let's get it in where it needs to be first. Some of these out out as well. Pull out. I think I can mark this lower part invert the max, move this down. Then it's over. I think this should be just fine now. I want to be as straight as possible. Trying to make sure I even things out around here. Okay, Cho be fine. Then we can do a dynamic sub div on this dynamic sub div dig down the sickness. Let dug down with too much. So around there should be fine. Then we can continue with the move brush. Let's subdivide this a bit more. Apply. So we have this now with thickness and subdivision level in there. Good enough subdivision level in there should should work just fine. Let me just put this in as well. Ole this, subdivide some more so arm, I should be just fine. Don't need to do so much. Compensate for it around here as well. Bring this down here. Here, that should be fine. I will work just fine for now. There's that you need to do, we can always go back in and make the necessary adjustment for it, but I think this should be just fine where it is now. Okay, so in the next lesson, I'm going to move on to something else and keep working on it. Feel like I should make some corrections to this. Like I should pull this down some more put this down also. Okay. That should be fine. I like this. Yeah, that's fine. So continue on your next lesson and then think this time around, we can work on the shoe list. I'll see you guys in the next lesson bye for now. 10. 09 Merging Subtools In Zbrush: Pocumba guys. So we're still on this Nike retro sneaker, so let's carry on. Kind of blocked out most of the shaping. We just need to kind of get the shoeless in and then do some more sculpted detailing in here, and then it should be good to move on to the UV and wrapping process. So let's get right into it. If I do that, I like to elongate this a little bit more. So I would like to okay I think we have all of this in the fold Okay. This duplicator, I'd like to shoot that out of the folder. Okay? Yeah, so this folder knife I should select this ton off. Okay? That's fine. So I'm going to that folder. Let's do merge folder, duplicate instead. Look. Nope. Delete all. Lo okay. I would like to merge what is inside actually, so we can do that. Let's duplicate first. Let's duplicate first. I want to do a duplicate folder duplicate. Then select the one that is down. Let me hide this one at the top first. Then let's merge folder. Well, this is it now. So after Imaging that food and now, this is what we get. I think something is on that we don't need. Okay. Let me take down the brightness for this. We two brights. Shift F. Yeah, there's something in there to do first. Let me delete this. Let me delete this first because we're it's kind of merging down with some meets you there are subdivision level in there that I don't want to want to be in the lowest subdivision level possible before we merge down. Let me start with this. Okay. Okay. I think for this polar one, we need something a bit high. I don't think we need something necessarily high, so let me delete higher. Okay. Move to the next 17k. I think we can use this at the base level, so let's delete higher. Next. Okay. Shiff Let's go to lower sublution level two k should be fine. Two k seems fine. Let's call subibution level, higher eight k because I need to create an indentation in the middle so I need to keep this at eight k two ket's get higher. Okay. The back piece, I think this is fine the way it is. Okay. Without any subdivision level for that, let's move to the next piece. Okay. Probably it's at 15 K too high, deletes higher. Okay. Next piece. So that's 500, let's see if we need to increase this higher than it is right now. Not necessarily. So think I live data itt, move to the next. Go subdivision level one. Yes, I m getting close. Yeah, let's do this higher screw down. Okay, Shift F. This, let me say this down. When something feels off. Do you have another one visible down? We don't Fe slow this You have sub deletion levels in there. Take it down. Subltion level doesn't even do much. I can't see anything happening. Oh, it's working now. There was no updleting initially. So let's delete lower, delete higher. Okay. Next piece. I think this is fine where it is. This is fine where it is. Move to the next one. The logo. I'll do delete lower for this. Let's do that first. Let's undo that. We go to lower lower subdivision level, I think it should be a lower subdution level is higher, okay? I think this should also be on the lower solution level, deletes higher. I think the finer. This should be fine. Okay, so now we can merge all of this nine as one single mod linear now. I think I'm going to delete all the folder on top. Okay. I'm going to duplicate this folder instead duplicate darts, then let's merge folder, merge folder. Okay. I keep saying something. Something is speaking through this. Is a gizmo. I move this down. Something is speaking through which I don't need. I solo this. Something's awfully wrong. I've seen Ana ma speaking through, which I don't want. She which is rather odd. Which is rather odd. Got of solo. This 11 actually lose good. Not entirely sure where the second piece is coming from. The other inner piece is coming from. I think I'll probably just merge this down instead. Let's do isolate. Then let's do merge down in here instead. Just merge down piece by piece. Nope, something is wrong again. Okay. I kind of lost I lost this again. I delete all okay. Let's go back in here, do a duplicate of this. Something is merging which I don't need to kind of get merged entirely sure where that is. So let me do duplicate of this again. Okay. Something oddly wrong somewhere. Check any subdution level here, there's no. Okay. And everything back on. S, everything looks good here. Looks good here. Go to the top. Okay, let's mess down. Let's mess down on this. Let's see what happens. See, Immediately I meas down, we have this extra weirdness in here, which I'm not sure. Totally sure what it's coming from. It maybe we have a meshing that we're not sure of. So if I solo this Nope. Completely weird. Digital again. Let's go back to the original folder, duplicate this again. So it up me under duplicates. Turn its own, go into it. This is where the dish is coming from. We click out now. Let say lay this out. No. Let's the orders down first. Let's measure your order Let down. Let's measure your down, Mase down, mese down, Mase down. Okay. Come around here, mess down. Messe down, messe down, messe down, messe down. Okay? When we mese down, something just keeps pulling out of where it's supposed to be. We have some I would call it like an offset. We get these weird offsets. Weird offset we're not supposed to be having. I think the issue from damage. The issue is definitely from damage. Some merging sins and we begin to see some issues running out of this. So I think we might need to do might need to do some adjustments in there. Sadly, see a complete mess of our model. Okay. So we need to start making adjustments to this now. Unfortunately, there's no way there's no way around this, so just need to start making adjustments. Well, let's try something. I have another idea. I'll keep this go in here. Let me move this up here up here as well. I'll make a duplicate of this again. Okay. I open this up. So this time I'm going to come on. Having to just delete the fold out that having to delete delete fold out having to delete what is inside the folder. Then this time around merge them down instead. You still have the same issue. Sadly, we have the same issue. So it doesn't it doesn't work anyway. Anyway, we try to do this still doesn't work. Still doesn't work, sadly. Anyways, we just have to make corrections to this. So I'm just going to go over to probably a bug. Most definitely a bug. So now we need to make some adjustment to this. But I say I want idea, I want another idea. Let me see. Let me see if I can actually figure out what's wrong with this. Do we have sub dividondo? Oh, I see this you know. I see this, you know. STDs now. I think we have dynamic subdivision toned down for them, I think I can delete this and delete this again, delete all. Delete all because I don't spend extra time trying to get this to work, kind of adjusting them again. Then you do duplicate of this. Before I do duplicate, let's go in individually and then any dynamic subdiving there ton it off. Oh, I did not even apply it. It was not even applied. I apply. Let's apply it. Okay. So we just need to apply it for each of them. But I thought I actually removed that. This one doesn't have it. Okay? Go to the next one. Does this one have it? It doesn't move to the next one. We have in here. Which mesh is this the back apply. I thought I turned this off already or I've already applied this to it. Geometry, if nothing is in here. Let's check this as well. Make sure we apply this. Okay? Select the next piece, see if it's applied, it's not. I think if we measure now, we should have something good enough to work with. Apply. Next geometry, no dynamic, subdiving next one, no dynamic sub diving next one. Geometry, no sub div in the last piece. Okay, we're good now. Yeah, we're good now. So now we can safely duplicate this folder. Okay, then we can do a met folder. Okay. I should work now. Yeah, awesome. So it's working now. Good. So that you have been fixed is working now. Then I like to do a mirror weld for this. L get a mirror for this. Modify topology, mirror weld. Awesome. Bae I want two fits to be in here, so it should be fine. So I think we can move on and then subdivide, subdivide subdivide again. Okay. Just before I do that, delete aire. Let's do a few step. There's something I like to do first, which is to extend extend it a bit more, should be slightly longer. I like to get this a bit longer than it is right now, so let's use rectangle rectangle, Let's do the rectangle, rectangle will do a good job. Let's do Maka. Max out these bits. Okay. Blow the marks, invite the marks, blow some more. Bans. You need to move this forward a little bit more. Lo should be fine. Then we can make some modifications on the overall look of this if we need to. Okay? Then let's do poly group for this auto group for this auto group. Okay. Invert the selection, marks out. Invert the mark, bring everything back out. Alright W the move bro selected. Okay. It's quite a lot of corrections to made here, though. I think. There's some gaps in between that I need to fix. Okay. Move this down. Inverts. I Move this down. No. I see where the issue is. This is where the issue is. I think it's the hoof. So let's select that. I need to move this out of the way. Move that down. Move that down, move that back in. Okay, that should be fine. Much better. Select this. No, not this. Okay. Move this down some more. Okay. Down a swell. All right. You can bring this down. Okay, so. This way should be fine. Move to the opposite side. Move this down down as well. Okay? Select this. Make modifications, put that down. Okay. This should be fine. Put this down. Put this down. Okay. That should be fine. Now let's miror this to the opposite side then first, do a quick sieve, do a quick sieve. That's fine. Moving on. Let's see. I'm just making corrections in regions where we need to get corrections in. That should be fine. Okay. Move this down. Okay, that should be fine. All right. You can work with this convert the marks, bring this down. Okay. Do the same for the opposite side. I'm trying to be as trying to make this as neat as I possibly can. Trying to make this seems quite neat. Okay? As well. Okay. All right. Yes, I think this will work. Then let's do a miroun well for this. Okay. Then let's subdivide this by lot tactual. So enough to hold most of the detail. Let's test this out. I'm going to use them standard brush now. Lim standard. I'd be on the keyable. I think I would like to replace it here. Lam standard. Really brush size. Okay. I draw a line realistic, get in there see how much of that we having. Okay, we need to see subdivide this some more. But before we do, let's go to lower subdivision level. Select this. Okay. I think something is on here. Turn that off. Con shift click. Let's mark this out. Having the same polar group use what we want. I think I need to extend it out some more. I'm going to use move brush for this. Symmetry turned on turn on symmetry. Okay, symmetry is turned on. I'd like to extend it out some more undo that. Get close. Okay. Maybe let's do the inverse. Let's do the inverse instead. Invert this, grab this alongside, mark this out. Invert. I'll just push them in instead. This is way better. Push them in. Okay? That is fine. I need a little bit of an edge around there. I'll do that. Okay? Yeah, that should be fine. Get this in in as well. Is bleating out way too much. Get them in. Okay. Alright. Okay. Let's see if it also did sms. It also affected the opposite side. Yes, I believe it did. I believe it did. Okay, gets close. Okay, that should be fine. Play the max. Okay. Let's see if there's something else, I'm missing here. Okay, this we can do. Let's see. Yeah, this we can do when adding the shoelace. Okay. But we need to subdivide this even more. Slightly more should be fine. Now, the dent we have in here let me see if I can I can show you guys so the dents we have in here, we can quite easily do that inside of, we can safely add that inside of we can the Stan spinter. That we can Stan Spinter then we have stitches that go around this. Okay? One thing I like to do would be what's it even called? Let me get for 12 years. This of in here, we have we have some training going in between. I see it's going to add some line across them. But let's see if there's something else you need to do in here before, it's something definitely into doing here before moving on. I see should have done this earlier, though. I think I need to make this lower parts ticker. So let's grab this Shift F. Let's see if we can do that poly group. Let's group a normal. Oh, great. I lost that completely lost that extra edge I supposed to work for this. Completely lose that extra edge. Supposed to be able to pull this down group by normal again. Let's see if we can get that back. I turn this off, group by normal. Okay, T of the dots. I think this actually works. Do that. Yeah, this actually works. What I need to do would be bring everything back out, Control Shift click. Control Shift click Control Shift click, invert this. Okay? Max this out, Shift E, bring everything back out, invert the Max. I just need to extend this down some more. I want to extend this down some more. It'll be slightly longer than it is right now. Okay. Increase the subdivision level. See there's still something else we need to do in. Okay, clear the max. ****. Go to hit click. Mark this out, inv max, invade the max. We need to move this in in as well. You need to actually see the edge coming out some more. Okay. Put this in. Okay. That should be fine. Move to the side. Move this in. Bring this down, bring this down, down also. Okay. Put this in us the pro size. Okay. Put this in in as well. Okay. Push this in in as well. Okay. Yeah, I think this should be fine. Clear the marks. I bring the max back out. Let's see. Increase the subdivision level. Okay. Yeah, this is fine. Okay. I think undo that. Invite the max. Going to push undo that. Let's go to lower subdivision level. I would like to do an auto group. No, don't do that. But if you do an auto group, it's going to give this is symmetrical, see after symmetrical, that's fine. Recisly what I want. Max out, invert the max, invite the max again. Increase our subsionl increase subition level, do that. Move this in some more. Pull down. Okay. Okay. That should be fine. Come up close. All right. And some more I think I'd like to get some sharp edge to this. Feels way too rounded. Way too rounded. But for this Butler one, we need to delete any subdivision level we have in there. So let's delete IR for now. Let's get in. So where do we add this? So BZ going to reduce the blow size. Find where we can clamp this in. Why is not adding insets? Come on. Okay, around here should be just fine. Let me reduce the blow size even more. Come on. Tallsio why is not working in between though. Let's do one more around here. I would do it symmetrically. Who, it's we're not doing this symmetrically. I need to do the symmetric calling. It's important to do the symmetric curling. Symmetry is all now. Okay. That should be fine. Did it also work on the opposite side? I think not. Okay. You also should be fine. But I need one to be in here. I don't know why I can't get one in there. Not sure why I can't get one in here, though. Okay. Well, let's work now. Not entirely sure, though. Get up close. Not working. Not sure. Okay, let's do one year if that helps. Not sure why it doesn't work on that edge, though. Okay. Come on now. Ah, great. In do that finally. Okay. Et's do one. It isn't quite frustrating just to get to get edges across. This is quite problematic. No entirely sure why though. Great just great. Great. Wow. It works here, no doubt, but around here, it's a pain just to get this to work here. And I'm not entirely sure why. Let's see if we can do underneath this instead. Seems like Zip actually works when it wants to play some specific area, I know I'm not doing anything wrong in here. Don't think I am. I just need to add an edge in here, and then we have kind of declinings adding this edge there. Anyways, let's bring everything back out and then subdivide. We should at least get something that resembles an edging in Indian at least at the very least. Okay? Subdivide ones. Me, let's see. Okay, 89. That seems fine. Okay. Let me go to lower subdivision level. Then save. Then we'll continue in the next lesson. 11. 10 Sole Padding In Zbrush: Talk about guys. So let's continue on from left off. I'm just going to like to make some correction before starting your wrapping or rather before we start adding the hue lays on this. So is like this piece you need to kind of work on. So I'll just need to go in. Right. Let's let's see if we have new layers in here. Do you have new layers in here? Let's go into the high subdivision level. Okay. Okay, no layers yet. So let's create a new layer in. All right. That's fine. So let's go to the lower subdivision level. Okay. Get in there. Control shift click, hit click again. Control Shift click again. Okay, invert those, Max them out, shift F, bring everything back out, invert the max. Let's go to higher subdivision level. I think Might will need to completely isolate this, let's just undo Let's go to the highest subion level while we are in here. Going to use them standard add this cut in between. So as to make it look a bit inflated. All right, so let's get close. Close. Use the DM standard brush. Later them standard brush. Let's make sure we have this working symmetrically. Symmetrical, that's fine. Okay. So we need to align this where this label should be. I think to do that, let's go some few subdivision level lower so we can bring out this label as well. So select this as well. Oh Okay, invert the selection. All right. So now, let me make sure that my subuon level is visible some subduon level three come in close. Okay? So now we need to add the code in the Jam standard was selected. Right? Needs to be as accurate as we can get it to be. Let's start with this first. On this side as well. Just trying to block things in for now. So I block that in. So I'm going to hide this undo this as well. I'm not going to get into one, and then since we already working symmetrically, it should be fine. It also affect the opposite size. I'm going to increase brow size. Do something a little bit deeper. Don't do that, reduce the bros size actually, increase the subdivision level. Get enclosed. All right. I think this should be fine. Let's go even deeper around there as well. Let's go on subdivision level higher. Let's go on that subdivision level higher again. I'd like to refine this some more do that noting that correctly smooths little bits. Yeah, this should be fine. Increase the process a little bit more. Let's come down a little bit add one year. We use the bros size. Getting the smooth out a little memt intensity is way too high. I'm going to take down as intensity. Let's go to lower subdivision level. Go on subdivision level higher. Get a bit more depth in. Some more depth in there. All right. I think we can work with this. I think I like to do the same also too for these parts, get some more depth in there. I think we can do one more. Let's do one more around here. Okay. I don't think there's one there, though, but I also like I should do just one more. All right. So I want to increase the subdivision level. Let's see what it gets. Okay. I think this should work. Let's bring everything back out. Let's see what we get with everything out. Yeah, this should be fine. I should work just fine. Okay. Now I'm going to go to a lower subdivision level. Let's go to lower subdivision level. Let's see if there's something else we can do in here. Go to a lower subdivision level. Okay. So I'm just going to push this down now. So I'm going to select this label select this label as well. Give them the same polygroup shift F. Let's give them the same poly group so we can easily select them together when we need to. Let's max them, invert the max Shift F, invert the maxing here. I'm going to use the move brush and then bring it down. Let's go to a lower subdivision level. Go on subdiviution level higher. I'm just going to let's go to lower subution level. Almost lower sublution level than it should be fine. I'm going to push this down. Push this down as well. Let's go one subdiviution level higher. So you get more precision with this needs to touch quite well, almost like entering in if possible. Let's just put this down some more. All right. Yeah, it should be fine. This work just fine. She's on both side. I should work just fine. Okay. I think we should be fine. Let's see if there's something else we need to do. Let me go to lower subdivision level. I want to see if I have this pattern in her. Do you have a pattern in here? No, really. We don't have a pattern here. We need to kind of create a pattern. We need to put it under a cert level of padenO maybe not. We can just use. Let me get that out again. Yeah, we need a pattern. So I'm going to put that in a different sub sub tool. I want to be in a different sub too so let's get a paten out. So let's go over to let me hide this for now. Let make sure I also kind of rename this also because it'll be like a main. Let's just name these two sneakers. All right. That's fine. Need to grab. Let's go to this. Let me hide this for now. Let's go into that duplicate group. Let's look for the pad and. Yeah, this is it. I is the exact one I need. So I'm going to make a little bit of correction in here, I'm going to select select this as well. Okay? I'm going to do a delete there's the delete, we need to duplicate that first, so we have a backup. I'm going to send this down also, so Shift F, send it out of the group. Let me close that group, group folder for now. This is it. So I'm going to delete Eden. Let's go over to geometry, Modified topology, delete Eden. Okay? That's fine. Then I'll need to add some thickness to this, so let's go to edge loop. No edge loop. Dynamic sub div turn that on. It's way too thick. We need to make some corrections to this. So I would before I continue on, let me turn on the sneakers. Go out of solo mode. Okay. I'll need to make a lot of corrections in here, no doubt. But on the right track. So let's start by pushing it in. Let's push this in very much first. It needs to be inward. Now, thickness we're adding for this is still in real time, so you won't have any issues. Let's just get this in. Get this in quite well. All right. In some more. Okay. I don't want it to be visible outside. So make sure I push this in quite well. Okay. Yeah, that should be fine. Now, I just need to be concerned about the thickness thickness that I need to be concerned about. Let's slow this. This obviously way too thick. Obviously way to tick so. I'll go in back to the geometry. Then I mix up the thickness. I'll take down some more. Something like so should be fine. I'm going to apply this right. And I'm going to do a polish by group. Let's do polish by group. Deformation, polish by group, polge little bit more. Let's turn up these dots. Polage some more. All right. I think this should work just fine. Let's see where it is. Then we'll make some corrections by pushing things back in place. And then we should be good. Okay. Yeah, that's fine. Just checking this around again. That's fine. All right. So I think I'll need to lift it up a little bit more. Maybe let's do transparency. Let's see where it is. In the right place. S we need to let it rest down some more. Let's let this rest some more bring this forward. Let this rest. Let this rest on more for a little bit more. Trying to perfectly fit this. Okay. Yeah, that's fine. Here, this, this will work just fine. Let's go out of transparency. Let's see where we get. Let's make sure we check this out all around. Here, this is fine. Okay. Now, we need to mirror this to the opposite side. Let's just mirror this to the opposite side. But before we do that, I think I feel like I should add another extra loop on this. So B ZM, let's add some extra loop. Add one here as well, that should be fine. Let's mirror this to the opposite side. So geometry, modified topology, mirror and weld. Okay. Yeah, that's fine. We have that in here now. So the next thing to do now would be to I think we can safely add hue less to this now. I believe at this point, we can add hue less. Okay. So there are a few ways to do this though. I'm thinking of using or doing this inside of. I think we can Let's do in Zbrush instead. So let's just get this done in Zbrush. So we have crosses going inside. I goes in. Let's see. Need to make sure we do this as accurately as we can. This one actually goes in, then we have one that goes across, okay? Yeah, it should be fine. So I would need to, I think, we can do that in the next lesson, read the shoe less in the next lesson. 12. 11 Shoe lace base in Zbrush: Okay, we come about, guys. So let's get the shoelace in. So I'm going to rename this let's rename this two. So let's cups for this. So pardon. Alright. That is fine. So I'll select our shoe sneakers. I'll increase the subdivision level some more. So I like to use the Curve tool for this, see if we can get one shoeless going on in there. So I'm going to reduce the brush size, but make sure the saw pattern is selected because although I have subuton lay on the saw pattern. So you can use the curve brush a little bit better. So it'd be on the keyboard. I'd see. So we have the curve flats. Let's try this. Okay? Let's start by doing something like se. Let's make it slightly longer. Be longer than it is right now, so let's extend this out some more. It's extending Is not extending, so I'm going to do I repeat that he has better extended now. Maybe way more than I need do, but that is fine. Okay. I think we need to reduce the brow size. Let's reduce the bro size. So more going on tapping in there. I think I reduce this way too much. Trying to figure out the right size for the shoelace. I think this size should be just fine. This star should work just fine. Okay. So I'm going to go in and then do splits do splits on marks points, and I'll go over to Shrok let's cove. Let's do believe Cv cove function, delete the curve, right. Then we select it, go to the move brush. I'll just need to move it in place. I think I got more than I need so I'm going to use the maxing to mark this Control W. Tepid PL group control Ships click. Then realize the delete Eden. Do delete ding, so go over to if I do deleting, let me just do it duplicates. Let me duplicate first. Hide this. Then we can do delete ding now, delete delete ding right. So I need to kind of move this down. Gear this up a little bit. I should go down. To bury that inside already where it needs to be, so that's fine. Okay. Something like so. So I'm going to do a duplicate of this so let's go to our gizmo, center this old control drug duplicates out, rotate it. Let's get in close. Okay down should be on top. Get close, rotate some more. Okay. I'll need to lift it up. Like so it should be fine. All right, bend this in, bury that in some more. Okay. Let's see how far extended needs to be. I need to push this down this way. All right. A but this needs to be a little bit better than it is right now. So it's just to keep making adjustments to it. Invert the selection. Hold this up some more. All right, that should be fine. Yeah, this should work just fine. It the max Hold down control, drag this out again, make a copy. I'll rotate this way. S the orientation again, bring this down. Okay. Get this down. So we need to kind of get this to look right, rotate it this way. All right. And I think I can do a inch of polish to this. Maybe I went a bit overboard. I polished this, I complevery them could have no subdivisions or loops around this. You can't keep keep it as basic as I possibly can for now before making any additional corson to it. Can I use smooth Smoothing these out a little bit. Okay. Get this down. Let's make sure we did this correctly. Think I'll need to extend this out some more. At this point, it's all about getting the right angle to it. We need to get it the right angle. So you need to make a lot of movements and corrections to it. Okay? Yeah, I work just fine. But we need to move the center points down some more. I think somewhere around there should be fine. Okay? Can we do this with transparency so we can work a little bit faster? All right. So at this point, it's basically repetitive process just to get it looking right. But I think we're on the right track already. I need to push this down. This needs to go down, bury it in, Br it in as well. Okay? When we add more subdivision label to this, then we would have more control over the entire thing. So let's continue on. So you have done this piece, then we have done this piece as well. Then we need to do the ones that kind of goes across. So let's start let's start with this. So I can just duplicate this as well. So hold control, do that. Hold control and extend this out, bring this up, rotate. Route it this way. All right. Yeah, that seems fine. Just a few corrections, and then we should be good. Bury this in. Just make sure you bring this in properly. Like, so get this flat as well. Okay, in some more. All right. Yeah, that seems fine. So let's go. Let's do the opposites. Let's do it for the opposite side. Okay. So I'm just going to hold down Control. Okay, what, let's just continue on with this person and fill up the gap. So I've done one. So I've done one meaning meaning one, two, three, then four. Okay. Yes, okay. So I'm just going to pull control, move this forward, pull this out, rotate it this way, to make sure I'm doing this correctly. Move this forward a little bit more. That should be fine. Then we use a move brush, bury this in. Okay. Get this up a little. It's just a matter of news with utmost carefulness. That's all. All right. That should be fine. Let's get another one up. Put on control, extend these out. Okay, move this forward and up. Alright. Down some more. So you need to use that move brush now to kind of move things in place. Okay. Bury this in. Bar this down some more. Bring this down some more. We're kind of creating this one you want on top. I kind of go on top. All right, bring this up some more. B this down. I think that should be fine. Let's do one more. Pull down control, extend this out, pull this, bring this forward. Okay, rotates. Use more brush, move this in. Bar this in in some more. I think that should be fine. I think we still have a few more to go across this. Yes, we need one more. Okay, so let's extend these out. Pull these outs. Okay. Some more. I will need to extend this out some more bring the closer rotates down. I think at this point, I will need to use the more brush to kind of compensate for it and then complete this. This spoken out, so let's get this out. Okay? A better angle for this, bury this in, get enclosed, reduce this out rotate oh I think I'll need to jot this down some more. Hold this out. I'm not a thickness yet, so I just need to get the shape in f before adding thickness. So I need an edge loop in here to hold hold this some more. So let's create an edge loop. So be Z. Let's add a loop around here should be fine. Around there should be fine. Okay, let's go back to our move brush. Let's bury this in. I need to find a good angle for this just to get this down. I feel like I'm selecting the wrong parts, reduce the bro size. Find a good angle. Okay. Vary this in. Okay. Increase the browse size a little bit more. Bar this in. Look for a good angle this up. Get back in and then push this down some more. Rise the blow size, push these down some more. Okay. I think this should work. I think I need to add another extra edge loop in there. So let's Z. Let's add one quite close around the edge should be fine. Okay, move brush. Rotates. Here something like so should be fine. Here, this should work. I would just need to get the ones that will go on the opposite side now. So let me just see if we can make slittb modifications to this. Okay. I need to make some more correction, but I think for now, they should be fine. So now let's get the ones that should be facing the opposite direction. So we have these that comes across, you should go from under, it should be under. So I'm going to do let's do a let's go to poly group Auto group. So you can select them individually now. So give us more select this Wood control, get the duplicate out of this rotates. Get this up this way. All right. So now we just need to use a move brush and then make modifications to this. So this one going to be buried under buried under here, like so. Alright. It the marks. Give this up a little bit. Invert the marks again. This one should be up a little, then bury down this way. Here, like two should be fine. Reduce the bro size, a little bit more work in there. All right, this should be fine for now. By this down. All right. So I can just use this now and then go across. So I can just duplicate this now. How control, I duplicates out. So just a method of moving this in place, and then we should be good. The move this forward some more. I believe, yes. Sin should be fine. Okay? So now we need to make corrections to this, and then we should be good. Et's first get this pushed down. Get this out of the way. It sell this up some more. All right. Invert the mark Sill this up a little, bury this in Make sure you bring this in properly. That is fine. Okay. Till this down. Reduce the bros size some more, leave this up some more. So I'm just making individual corrections to this now to the points. Okay, I think that should work. Alright, now let's make sure this on the opposite sides cannot properly buried in.O some more, that should be fine. Pull down control, pull this out. Up some more. I think this is ECC work. And move this out of the way some more. Okay. Bury this in. I think I need to move this out some more so should be fine. All right. Let's do okay, saving out. We need to do another Auto group just to modify some of the other points. Fell us on auto group. He's fine. Okay. More select move this up some more. Just give it a bit more space. Okay. Here us the one Move this out some more. Get us fine. Let's do a duplicate of this again. And to pull it down. Now, let's use a more brush to make significant corrections to this sib size. Get this down. Get this down. Then some more some more invert the selection. Si this sib size, till this up some more Resib size gets close. Et's use the Gizmo. I select this. So you can do individual movement suits. Okay. Let's go to the one we created before and then get this in. By this in here. Look at it from a different angle. Let's see what we have. Okay. I think we might need extra loop in here. So let's do the ZM. Let's add an extra edge loop here. Back to the more brush. We can move this now without any issues. Okay. Yeah, I think we are good. Here that's fine. Zoom out. Okay. So you need to get it out again. Undo that auto group. This is what we need, down control, get another one out. Let's see how this is supposed to be. Okay, Kitchen should be on the also as well. Are we have it in a good place already, so I'm just going to pull this out. I think I'm using move Brush now to get things in place. Let me start by, let's extend extend this out a little bit, like so. Bury this in. Think might need some extra hedge as well for it. Lets just gets in place. Bar this down. Kind of tined out on this part, so we need to reduce the brows size and extend this out some more. Okay. So extra edge loop A. So be Z, let's add one edge loop. Con do that. I think we already have Ed loop already. Let's add one year. We use the back to the Mo brush. Increase the brush size. Pull this up, use the brush size compensate for it here. I need to bury this now. So let's bury this down. Bury this down. Okay. Extend this out. Alright. Trying to make some adjustments to this. This fine here as well. Okay. Since something pretty much like so should work, we for start adding subdivision lay to it. Alright. 13. 12 Shoe Lace Refinement in Zbrush: Welcomba guys. So I'm going to carry on with this there's something I needed to do initially before letting the shoe list. So let's do that to inflate this a little bit more. I'm going to select this now. You have some interceptions and you're not entirely sure what the ship is, though. Okay. I'm supposed to hide this. Let me drag this up and temporarily hide that. Okay. So I need to grab this. No, this instead. This also as well inverts. Okay. Let me put this aside. Supposed to just inflate this a little bit more to shift F. Okay. All right. So let's do, I think we can do that. Let's do a let's see if this would work. PoroPlyGroup. Group a normal, not really, so. Anyway, it's too really matter that mooch. Let's just I would like to max this first. Then select this and invite the selection again. This is precisely what I need. I'm going to invert the max. Okay. Then I'll go over to deformation. I need to inflate this udon flow. That's way too much. Let's use a small amount. That's still too much. There's a value of 0.6. Zero point C looks like a good one. Let's bring everything back out. Yeah, zero point seems like a good one. But we need to make some adjustment now. Start by pushing do that. This out. I need to select this also, too. Come on. Select this. This as well inverts, max invert and max. I think we symmetry turned on for this. Get enclosed, push this down. I do that actually. I need to include this as well. Need to include that so we can do this all at once. Okay. Like so. Then I can come on. Move the marks for this. Marks, this bring everything. Come on. It the marks, yes, this work just fine now. So I just need to push this in. In some more. That's fine. Do the same for the opposite side. N to be quite careful with this, so I think it should be fine. Just trying to get it as precise as as I possibly can. Okay? Alright. I think I need to bend this down. Yeah, that should be fine. Cut the subdivision level again one step. Get this buried down. Okay, that should be fine. Clay the max. Now we can safely go to the shoes now. Lay this. Can see this booking out here, I need to bring this down. So you need to subdivide this. Let's subdivide this for now. I'm going to subdivide. We have this at 500 pulley counts. Little bit might need a little bit more. Let's de duplicate of the sub two first. So let's duplicate the sub two, subdivide again. So now we'll see where we need to kind of make corrections too. Let me undo this Let's go to original. Let's go to the original do this. Now, there's one I like to do because I smooth the subdivision levels to kind of smoothing out the edge way too much. So let's delete this duplicate for now. Duplicate the original again. Then B M. I need to add I need to add segments on the part quite close to the edge. The edge one more add subduction level, so it's not going to completely smooth out the edge. I'm going to do this for the entire out sin. Okay? Well. Go up here as well. Yeah, so. Okay. I think we didn't do this, but let's add one year. Let's even add to actually. Close the edge. We just repeat the same here as well. We need one here down here. Okay, so Okay. Yeah, yeah, as well. Come down here at the same also. Yeah, as well. Okay, that should, Steve a few more. Stay a few more. No. Just make sure we're doing this not doing something else. Okay. Yeah, as well, get it in. I think we have one day already here also. Make it duplicate again. Ming everything back out. Now, if you subdivide this, it's going to hold the edges properly now. Subdivide this again. Okay? Alright, I'm going to delete lower now. It, let's work with what we have here. Mm. Right. Yeah, I think work just fine. I work just fine. We can reconstruct this if we need to. Okay, delete lower. Let's create some thickness for it. Let's put the dynamic sub di dynamic. Okay, reduce the thickness. Needs to have a good amount of thickness for it. Segment segment will need to be in her Okay. Let's reduce the thickness a little bit more. Let's see. I think this thickness should be fine. Ship let's C. No need a little bit more thickness. Yeah, I think this should be a good one. Signs should be a good one. So if you apply this now and then we subdivide, undo that. Undo that again use segments, just one. Apply, subdivide nope. We have extra edge. I don't want extra edge on this. There's extra edges around here. Actually quite tight are quite tight. Okay, I think we can work with this to apply this if we subdivide. So we need to do to make this a little better just so far is looking good. I'm just going to do a polish to it. There's a polish. Okay. Yeah, I think that polish was fine. Okay, so now we need to start moving. Let's polish this again. No, not yet. Four polish this. Let me take this down to lower subution level and then. So I'm going to do auto group. Let's do AutoGroup also in here. AutoGroup. So I'm going to use the move topological brush now, move topological brush. So I can move things a little bit as an individual piece. Okay. F. So I kind of do this properly. So I'm just trying to push the edge down. Just basically trying to push the edge down. Okay. Like so. Let's do for the opposite side as well. Okay. Put this in. Pinch the edge a little bit. Let's use the pinch brush, BPI. We you pinch? Yes. So I'm not going to pinch this pinch the tip a little bit more, so it looks like it's being put in. Let's see actual reference for this so we get a good idea. Okay. So it looks like it's being pinched in. Okay. I think I might need to extend them out a little bit more. But the painting is working just fine. One should be fine. I don't need to do too much working here. Okay. I feel like I need to pull them out some more. **** let's grab all of these first. Okay. Okay, let's do this first. If I would like to put a more brush, pull it out some more. Out some more, put it down. I'm asking to come back and fix this later on, though. Why? Because trying to get a good ideas to where it's supposed to be roughly close to the middle point, close to the middle, somewhere around here, like so. Thus I needed to get them close to the middle. This one I need to push down. Okay. I think this is fine. All right. So I need to pinch this insults use the pinch brush again. Pinch brush. So pinch this down. All right. Yeah, this should be fine. Okay. When this down, invert this put this out, then down. Since ready in the midpoint, that should be fine. So we need to extend this down some more. Okay? It'll be in the midpoint as well. All right. Stand this out again. Bring this in, up some more. Get this back close to the medum. I have a good angle for this. By this down around here as well. All right. That should be fine. Unless you ready, so that's what it's supposed to be. Close enough. Let's just get it down some more. Do that part extend out some more. Okay? Mtend this out a little, be it down. All right. Yeah, that's fine. I think this is fine. I think we can bring everything back out now. So this will be like a finish list. Then we need to mirror it to the opposite side. So it higher and let's do mirror and weld. Okay. So you have list on both side. Yeah, this is fine. So now we start writing an indentation in there. Don't know symmetry to on for this. Just to be sure if symmetry is symmetry to on. Okay, symmetry is on. Okay. So let's subdivide this a little bit more. Yeah, this will work just fine. We can pull this down some more. Okay. So now I'm just making minor corrections on this now. Just to make it a little bit tighter and close out to the close out to make the strap a bit tighter. This will be fine. Okay. This we can definitely work with. All right. Select this Okay. I think that's fine, I need to pull this forward some more. All right. Yeah, that is fine. Clear that out. Yeah, I think for the most part, it should be fine. So let's just go back to the tones instead, and then let's make some other corrections in here and then we should be good. I need to get this to the subdivision level. Okay. I need to smooth this out see there's an issue or something. Let go to lower subdivision level. Let me select this smooth this out. Bring it back out, subdivide, include the subdivision pre subtion level again, pre subdivision level. I feel like I might need to exclude this out. It's not as smooth as the others. Not as smooth as the others. Not entirely sure why though. But most likely the subdivision levels are kind of low. We have lower subdivision levels there, so that is why it's not as smooth as the others. We need to make this as neat as we possibly can. Okay. T is what I'm going to do. I'm going to go to the higher subdivision level. I'm going to separate out I combine into something else. I will go over to layers. Let's do big O. Okay. All that's fine. Then I'm going to do Ship F. Let's go to lower subdivision level. Let me first do a quick save. Save this. So I'd like to separate them out. Let's separate this this as well. So I'm going to do splits. Let's split it out on the rest. Let's do a split ding. Let'll give you some moments kind of run through. Okay. So we have separated out now. Let's check. So the sickness stickers itself, the other parts are still maintaining the subdivision level we have in there, which is fine. Now the separated out piece now, we need to measure that to something else. Let me take it down. Okay. Let's keep it a little bit up. Then let's go in there and select it. Separated piece, let's go in and select that. Okay. So the highest subdiviution level for that would be really 1 million and then it's still not as smooth as it needs to be. That's rather odd. 1 million and then we still have this weirdness in there. I'm not entirely sure where we have some weirdness in there. It's 1 million. Okay. So I'm going to delete let me start by deleting higher. Let's delete Aya to begin with. Okay. Then let's now subdivide this. Subdivide now we get something smooth, subdivide again. Okay, subdivide one more. Now we have something quite smooth. Which is fine, so I'm going to go down. I'm going to delete Ai just want to kind of test this out just to be sure. Alright, so we are good. Yeah, that's fine. I think I was missing one more piece. I'm missing something so I'm going to go in and select this delete tire. I need this white piece supposed to be in there. So let's see what we can use. We can't steal this because it's kind of merge the entire body. So let's create something new instead. So we can do let's see what we can steal indian use. Here, we can use this. I'll duplicate that again. I'll pull it out. This might only take too much time, so let me just flip this this way. Then I'm going to mark the bits. Mark this bit as well. Control W. Okay. Select those two. Let's do deleteden So they delete den for this delete den geometry deletes den. So this I'm going to scratch this down a little bit more. Okay. I believe the way extend out this way instead, rotate this way where it needs to be, needs to be put down. I think is down. So we just need to make some modifications to it, and then we should be good. This way, rotate this way. Want to subdivide undo that. Let's add B modify topology ZM. Let's add an edge here here as well. So if we subdivide this now, you should hold delitle bits. Okay? So now we can delete lower. No, let me undo that. Okay, let's Busy again. Let's add something here also. Then one in the middle. Let's subdivide Sd quite nicely now. Delete lower. Now, we just need to use the move brush and then just move things in place, and then should be good. Move brush. Okay. Bend this down needs to be in this way. Still make modifications to it, but let's just get it where it needs to be. We need to look, check this out from a better angle. Transparency. Okay. Okay. You blow size gets close. Don't know transparency. All right. I don't need to be down with too much, something on the tip. Once we add thickness to this, then we can properly get it close down even more. So let's just I think this is fine. We cannot move this down on it a little bit more. The thickness should be working out instead. You made the points come on. Made the points I need to move up some more zoom out Sled the shoes bring this down. Okay. Back to this, we need to do a smooth for this as well. So let's use the polish by group. That was a bit too extreme, turn on the dots. Smooths out a little bit more. Okay? All right. I think this should be in a good place. Rotate this reduce this, get in close. All right. Now let's add some thickness to it. So dynamic sub div way too thick. It is down to zero. Shift F. Let's see what we have compensate for it on the side. Kind of maintain even even width around it. Okay. Get close. Put out some more. I think we an extra bit of thickness to it. I think this should work. Yeah, this should work. Slightly too thick but. I think we can make it work. Let's reduce the value. Okay. Yeah, it should be fine. So I will eat apply. Then I'm going to the slight polish for it. There's a slight polish, so go over to deformation. Polish by group, polish by group, a few times. Then polish. No, that's way too extreme. Turn on the dots, polish this. I like it too extreme. Okay, I think we need to go in there and type in vales in it. Let's go 0.4. I think we can make this work. Going to reduce the brush size. I think that's still way too much. I think, let's do this a few times. Let's go back to dynamic. Still dynamic sub sub div. Yes I think sticks should be fine. Trying to find the perfect balance for this is not too thick. But at the same time thick enough for what we need it for. Okay. All right, so let's apply this. And I'll go over and then put it by group a few times. Put it by future, put it by future work just fine. Put this up some more. Put this out some more visible size. Let's get this squarish. Squares as well, o let's see how this works zoomed. I think this is fine. I think we have looked at it too closely that it begins to feel like it's not there yet, but I think this is fine. This work just fine. I need to get this to look perfect. I'm trying to find the right balance for it. M Okay. Yeah, I think we can live with this. This we can live with. So I'm going to do a mirror for this. Let's do a mirror with. Okay. So on the opposite side now. Symmetry turn on. Symmetry. All right. Then we need to merge this with the shoe last itself. Let's merge this with the shoe lace. I'll send this down. Let's select the shoe lace. So I need to rename this now shoe Let's use a cup for this. Shoelace. Okay. I'll send this down. So I'm going to merge this down. Let's merge this let's release first. Make sure you want the lowest subdivision level to begin with. That's lowest subdivision level. I'm going to merge down. So let's merge down. Select merge down. Okay, I also going to merge this down with the Nike logo as well. Let's merge that down in locus. Let me pull this down. Let's merge that down the Nike logo. So merge down comes this merge down. All right, this is fine. So now if we subdivide this now, we subdivide this now, we should have everything looking quite good. So let's subdivide. That's way too much on D. I think this value should be fine. So the last we need to do will be just to create this whole inside of this, and then we should be good. We'll do that next lesson. Bye for now, 14. 13 Shoe Lace Holes in Zbrush: Co comb, guys, so let's carry on from where we left off. Before we continue, I would like to make some correction I see here that I need to make. Let me go to the lower subdivision level. Okay. I would like to select this as well. It the selection, given the same polygroup mark invite the max. I'm not going to use the move brush and then move this back slightly this way. Yeah, that should be fine. We're working we're not working symmetrically, so I need to do that without the mark tonal symmetry for this. Get closed. All right. Yeah, that should be fine. I'm actually thinking of deleting this if I draw out my indention in here to be sure if I have enough subdivision level to hold. I don't I don't go to delete this side. Let's see what we have, though. Okay. So I'm going to create a new Shift F. Create a new layer for this? So this indentation is going to be on this layer. So we're working symmetrically in here, so that should be fine. So I'm going to use the max brush instead. Let's use the max perfect circle. Getting close. Then I'm going to draw a circle this way. Okay. Yeah, like su should be fine. Draw another one, as well. All right. Around there should be fine as well. Draw another one. All right, that should be fine. Yeah, well. Here, also. Okay. Move this along. We need one here. I was thinking to adjust this a little bit more. Let just get the circles in here first. We'll do one here. Let me get a good idea the size of darts. Okay. I think that side should be fine. Lake another one in. I think this one might be too big. The right size. That should be the right size. Okay. Go to the opposite side and repeat the same thing. S, we need to kind of clean this up. But we'll do that later on later just kind of gets everything need to be in there first. Getting close, I think I'll reduce the brows size a little bit more. Okay. Well. He also. So what's going to make a lot of correction in the blur just gets the blocking in there and it should be good. Okay. I think we need to extend this out even even more. Looks a bit too thin. Stand this out. That so should be fine. Move this along here as well. Then we create these extras here also Okay. Zoom out. Shif Control Shift click on this this again. Right as well. Etside this. I'm not going to clear out clear out the maxing we have on the pass that we don't need the maxin to be on. Okay. Let's do for the opposite side. Let's do for the opposite side. Okay. Come on. Okay. If I go to a lower subdivision, I'm going to just blow out entirely the maxim we created and I don't want that, so beside this as well funnier, they have almost similar colors but they are not similar. I think we have this now. Okay, so we can clear the max in for this. So let's just dress circle lo. Then invert the max. It the selection instead. So you can actually see the opposite of the selection that we made. Great. Lost everything. Nd that Great. Everything is lost. Let's bring everything back out. I think start to do this in your opposite direction. Let's just bring everything back out. Seems like it does not want to. Let's see. Um Okay. Let me feel this black. Do that first. Zoom out. I'm going to use a different max too. Let's use the max last zoom instead. Mark all of this. Okay. Bring the ship out. Undo that first. I would like to invert selection. Let's invert the selection instead first. Invert the selection now. Let's everything back out. Yeah, perfect. This is what I want. Okay. We have this in here what we don't need. So I'm going to mark this part out. So I just need to kind of check this around just to be sure. Mark this part out as well. Okay, I think I think we are good now. Here, I believe we are good now. So let's get in close. Getting close. So we need to use the inflates. Let's go to the formation. Let's use the inflates. Let's get this on the negative. That's way too much. That's way too much. Do that. I think I want to start using values in here. Let's use a value in here. Let's use the value of minus one. Let's see what minus one gives us. Let's getting close. Let's see. I think minus one is actually too deep, do that. Then we need to blow this out. Do that. Let's blow this out. Let's get in close. Tap on the surface just to blow the edge out a little bit more. Okay. Let's put the value in here. Let's do -0.3. Let's try it out. Let's see what we get. Okay. Maybe maybe just a little more should help. Let's go in there again so -0.2. Yeah, I think I think this will work just fine. Yeah, I think this will work just fine. Yeah, this is the write on. So I'm going to I'm going to play the mark out now. I need to go and then begin to wait a minute. Great. That is just great. Lost what was in there. Lost completely lost what was in there. Let me do this a few times. I'd like to get that back. We need to get that back. I'm guessing it was when I kind of visit Mark's last kind of movie portion probably where that is where that's coming from. Okay. I don't even have It's not even there. Okay, it's there now. It's there now. Okay? So let's grab this. Let's grab this. Okay? I think we have it now. Just to make sure I'm doing this correctly. So we still have the max lasso selected. The mark last selected, I'm going to max all of this. Okay. Let's bring the other one back out. No, not yet. Undo. Not yet. Invite the selection phase. Invite the marks. Cross check again to be sure everything is in the right place. Autonomsymmetry for this now, Marks this marks this as well. Marks this. Marks this as well. Okay. I think we are indi now. Let's get everything back out. Okay. Yeah, it's there now. So the value we need to use for this now be minus zero -0.5. So -0.5 Oh, yeah, I'm supposed to supposed to blow this out first. I supposed to blow it out first. So do that. Let's blow the edge. So I'm not going to control tab just to blow the edge at once. This one should be completely fine. Okay? Then we'll do the value again, -0.5. All right, that's fine. Since we have this way it needs to be now, I'm going to clear the max and I can go in there and then make any adjustment I need to make in there. So let's go to lower subdivision level. One subdivision level higher. I'm just going to use the move brush and then just try and compensate for it. Just making a little adjustment in here, make this a little bit tighter in there. Yeah, that's fine. I think at this point, I'm supposed to be doing this symmetry to on, so I undo this is symmetry ton so I can work a little bit faster. Okay. All right. Okay, this is fine. So back to the original point. So symmetry on now, we can increase the subdivision level once and then begin to adjust this is the way we need it to be adjusted. So I'm going to get in closer and then start moving this in Okay. So you need to symmetry to on, which is fine. All right. I need to reduce the bro size for this so I can move that down some more, move this down some more as well. The opposite side. I need to kind of move this back in like so. All right. Then you can adjust this snap properly. Let's increase the subdivision level one step higher. Okay. Make this a bit tighter in place, select this. Go to the lowest subdivision level. This the lowest subdivision level for this. I need to extend this out a little bit more looking too slim. Yeah, I think that should be fine. Go back in here. Make this a little bit tighter in All right. Okay. Yeah, that should be fine. That should be fine. I'm going to isolate this. I feel like I should go in with a dam standard brush. A little bit little more depth in there. Let's do it to lower subdivision level instead. All right. Need it to have some more depths, make it slightly more interesting. This for the opposite side. All right. Almost done. Yeah, I think this should be fine. Let's get everything back out. Increase the subdivision level. All right. Let's see if there's anything else we want to do in here. I think for the most part, this is fine, so I'm going to do a quick si. This is good. I'm taking of adding stitches inside of Zbrush. Let me see if I need to do this in here or not. Someone to increase the subdivision level. Create the subdivision level, and then we do one and we see how that looks. If it comes out well, then we can continue on. If not, what are you going to leave it and do it inside of sotan spina instead? So I'm going to name this two Liz. Let's do Liz Ws, that's fine. I'll create a new layer. Just stand out brush. Go to my light box. I think it should be under brushes. I think I was going to find those we have some sin brush. We're supposed to stitches. Stitch, not this one. Let's see, okay? Yeah, this is it. So we have some stitches in here, so let me start with this. Let's see what that gives us if we would have something interesting enough to work with or not. I while, I mean, I think I like to make some adjustment to this also. You can use the select this. Select the one on the opposite side. Okay. L to extend it a little bit more with more brush, increase the brush size mores are those minor corrections that we can just do just to make it a little bit better. Okay. All right. That should be fine. Let's do the same for the opposite side. Because you want to make sure you don't neglect the opposite side as well. Okay, I think this should be fine. Okay? That's fine. Okay, increase the subdivision level. We still have this mark, so this is fine. Gonna leave this as it is. Go to the higher subdivision level for it. Okay. Let's go back and repeat the same brush. The same the brush size. Let's just draw and let's see what that gives us. If it's holding the details well or not. It's actually holding the details well. Holding the details quite well. So when we do that, let's get close so we can actually use it. But we need to do this as accurately as we possibly can, so we'll increase the brow size a little bit more. Symmetry td on for this as well. Okay. Yeah, that is fine. Let me get in close. Let's see how close to the edge it is. I think should be more closer to the edge, so do that. Let's repeat this again, increase the blow size. But let's in next tutorial, so we know that the listen we're supposed to do. I think that makes better sense. So we'll do this in next tutorial, five for now. 15. 14 Shoe Stitches in Zbrush: Okay about guys. So in the previous lesson, we really should let's go and make some little adjustments to it. So in this lesson, we're going to carry on and then work on these stitches. So let's name these two stitches. All right. So right now, the stitch brush we are going to use. So let's just go on and then use them. This butlers supposed to be very close to the edge. I also to kind of get the right size for these ditches. Size for these ditches also needs to be accurate. So I do that. I think I will reduce the broad size the lead to. Yeah, I think this is the perfect size for it and it will be very close to the edge, right. And since we already have this maxed out, so we shouldn't have any issue in here. Okay. Let's see how this one goes, this one goes this way. So we just need to pull this quite close to the edge. Like so. Okay. I'll stop this here, then move this along and continue on and do that. To kind of get this as accurately as we possibly can. We got trying to create something quite neat. So it needs to be quite neat. Do that. Let's make sure we're doing this. I'm ordering this well. So you don't need to rush. Just take your time to actually make sure you're doing this as accurately as you can. I'm ordering symmetrically, so that's fine. Precisely what we want. Okay. All right. All the way up should be fine. Awesome. We can do that to do this again. This way, Okay. Move this along. Make sure we're on the edge. Fantastic. So that's fine. So I've kind of completed the first one. Is looking quite good. So we need to do something else. Let's go and select something else. So let's first do the one that has like two stitches. So then we can go to the one that has just one stitch. So I can go to the back now. This back two stitches. Yes, that's two stitches. Check this again, right? Yours is just one stitch. So clear the maxin. Let's select this. Let's let the one on the opposite side also as well. I think we need to go to lower subdivision level. So can do this a little bit faster. So like this inverts, increase the subdivision level. Max this, bring everything back out. Invert Come on. Ivar the max, okay? Let's see. I would like to exclude this for now, Exclude those for now. All right. Let's continue with the stitches. Let's get close. So you need to do this as slowly and carefully as you possibly can. Close to the edge as well. You know, I think I'm stealing off way too much. Itel like I'm stealing off way too much. I think I need to do this again. I need to do this again. So I'm going to undo that. Let me repeat this again. Because you need to be as close to the edge as you possibly can stop here. Move this along. So be as slow as you possibly can, so you can do this with a bit more accuracy. Okay. Stop here. Move to the opposite side. I Stop for now. Okay. I think I'm going to stop here. Let me come up instead and close the gap. Like so should be fine. All right. Move this up. We need to close this down here, and then we should be good. All right. Awesome. Now, let's finalize this on the opposite side as well. Okay. I think we can nail this in one try. Yes, we did. Awesome. Let's see if there's something else that still has two stitches. There's something else that has two stitches. Okay, so this is just one stitch. Let's see, there's one stitch here as well. One stitch. I think this one should should also have one stitch. Let's see. One stitch. Cam stitch here though. No stitch there. Okay? Yes. So it just one stitch now need now. So let's clear that let's look for one stitch. Stitch, stitch, one stitch, be fine. Don't tell me there's no stitching here. Just one stitch. You just need just one stitch. Okay. Sitting here Is one stitch. I'm going to use I need to do something. I think. Let me look for it. If I can just find it. I go to create something for. Let me get close. You can see this stitching here. You can see it depth in there, and then the stitch goes in that it goes in there. So look for something that kind of capture the essence of it a bit more properly. I think this This one looks like it. This is one. I think I saw another one also. This is also another one. So let's try this on first. Let's see. So I'm going to go to lower subdivision level. I'll select this first. This is the piece we need. Invert the max. Okay. I think I need to increase the intensity for this a little bit more and getting close, increase the subdivision level. Increase subdivision level a little bit more. Higher subdivision level, and then let's drag something in. Just getting close. Let's see what we have. I think it's a little bit too intense. Let's reduce intensity. Okay. This looks like it to work. Let's try the opposite one. Let's figure out which one works better. Before we do that, let's draw this out. Let's see. Okay. Let's try the one, let's see what the other one gives us. So let's try I believe that's then, this instead. Let's see what that gives us, do that. I think we need to out for this. Now, this is not what we need, so we're going to visit the other one. The one we use initially, so where is it now. This is it? Okay? So, yes. So this one, I need to increase my lazy mouse radios for it a little bit more so Lazy mouse radios, increase that some more. Just to be as precise as I can get this to be. Okay. So let's get in there. Let's look for a good reference point for this. All right. I think I might need to increase the bros size a little bit more. Yes, something like so should be fine. We increase the bros size some more. Okay. I need to get this as do that. Let's do this again. Do that. What's been the mid range? Do need a lot more carefulness to get these rights? No. Let me start from here instead. Okay. Think we're on the right track. C do that. It needs to be absolutely perfect. Okay. Okay. I think that one is fine for now. Let's continue on. Undo that. That one looks a bit too deep. Undo that. This needs to be as accurate as we need it to be. Okay. I think we're getting something in here now. We can make this work. It's a very weird angle, though, but let's see how far we can push this. Not the best angle, butting, but doing a really good job in here. On doo that. This needs to be as clean as possible undo that. Needed to get this to be as clean as possible. Nd that No. Fine. I think we can quite easily connect this. Yeah. Awesome. That's fine. Take us one parts. I supposed to have two stitches. But we do more than two stitches, like three stitches in there. But as I was using one sti, I go to create three of that instead. Let's clear this out, go to the lower sub dution level. Grab this. Grab this as well. Max this invert the max. Okay. Then we just need to hide ho that I'll hide this. Come on. Getting close, select grades. Need to hide that Okay. So we just need to continue on with the same stitch and then stitches in there, and then we should be good. Please size a little bit more. All right. Let's figure out where this needs to be. Let's bring everything back out first. I'm going to use this one to kind of get an idea of where the first one should be. Let's start. Con do that. I need to be on the highest subdivision level for this so. Let's go to the highest subdivision level. Okay. I think we need to undo that. We need different type of stitches for this. It is the one we need. Okay? This is just single stitch. Undo that, but it needs to kind of increase the size a little bit more. Alright. We do that also as well. I think we can do start with doing something like so. Then we'll do another one that comes across this way. Then we do a final one that comes across this way. Close enough. This lower part is not entirely there yet. Not entirely there, not accurate enough. Maybe we should start let's start from doing the ones at the top first. Start from doing this ones at the top. Okay? Then the next one that follows. All right. Then we can undo that. Need to get this to look just right. Yeah, I think that should be fine. Symmetry on, I believe, yes. Yeah, fine. That will work just fine. So move on in for the max. I think this one has just one stitch. We can just quite easily do this move this along. Like, so all the should be fine. That's fine. Symmetry thunder that's fine. Okay. Clear the marks. Let's select individual piece now. This one kind of got in. That's fine. That's fine. I don't be visible, let's just ignore that for now. I need to do for the opposite side also too as well. Let's go to lower subdivision level. So can you see a bit faster? Select this as well. Okay. Select this. Select All right. I'll just selecting piece that are not too close to themselves. Okay. Okay. I think this should be fine. So let's invert that, It max. You can start and just continue on adding those single stitches in. Okay. I think this is way too big, so need to reduce the broadst a little bit more. I not think I'm doing that correctly enough. Let's find a good angle for this. Yeah. Awesome. That's fine. Let's do for the lower parts. That do that. I'm not sure that is done correctly enough, so do that. Let's do again. On do this. I need this to be as accurate as I can get it to be Awesome. That's fine. Let's go to the opposite side. Find a good angle for it. Get up close. To tiny, getting close. That. Do this again. Almost there. Awesome. That's fine. Okay. Let's see what we get. Now that's not looking good so let's do this again. Yeah, that's fine. This work just fine. Let's move this along. I know there's like a stitch here. Let's get this properly angled. This way, getting close, symmetry that's fine. Getting close. I believe you have this across here this way can do that's Let's increase the subdivision level. I think I didn't do this with on the IS subdivision level, but it actually still looks good, so that's fine. I do that, it needs to be. Let's see what we have in there. I think we need to increase the broad size some more. Here, that is fine. Opposite side. Here, that is fine. Okay, move this along. Okay. We continue from here. I think the size should be fine. Move out. Let's see how this comes comes across. Oh, there's kind of two stitches on the opposite side. That looks interesting. So it's two stitches on the opposite side. Let's tackle tackle one stitch on the side first. Okay can't do that. Let's do this as accurately as we possibly can close to the edge. All right, that's fine. Let's go fn up piece that a single stitch. Think of taco most of it. Okay, clear this out. Plan is one stitch box. It's not with the same sub too. So let's use the two stitch. Okay? To stitch now. Let's do undo. So you can get back the max. Then let's get those two stitches in. I want to be sure if it's kind of penetrating through on the back side gets. That's fine. Okay. Awesome. That's fine. Let's do the same for the opposite side. All right. That is fine. Connect this this way. Awesome. That's fine. Let's see. Okay, so just a stitch in here, and then we should be good. So I can clear this out. Let's check it again if there's any other stitch you need to create in. Now, this dense I'm going to create that instead of Subtanspnter instead. Written that subtanpnter should be a better way to go. Let's select this now. Let's go reduce the subdivision level some more. I will select this. So we need to crank this up a little bit more. So let's see how we need to do a little bit more, a little bit more subdivide subdivide one more. I think that should be fine. Let's test this out just to be sure. So we just need single stitch. This is what trying to figure out with you and we need this is the one single stitch. Get this at the better and let's test this on here, let's see. I hold just nicely. I need to create a layer in there. Let's create a layer in there. Use the brow size a little bit more. Don't do that. Brow size is way too small. Let's increase the bro size some more. Okay. That is fine. This one might be slightly tricky. Now at this moment, I'm not even sure if I'm doing symmetrically. I just hope pad symmetrically, honestly. Let's just hope perm doing it symmetrically, Yes, I am. Let's go to the opposite side. Get in close. Okay. Go to the opposite side, get close. Look for a good angle for this. This is fine. Con do that. That's not coming out correctly enough. Almost there. Like, so should be fine. Okay. Awesome. That should be fine. I think we're pretty much done with these stitches for everything. Let's just cos menu one. Manu one the center. Okay, so let me just increase the browsize some more. I think we just need to do nope reduce the brush size. Reduce the brow size some more. Getting close, I think that side should be fine. I think that should be fine, as well. We need to symmetry ton do on. I believe Yeah, that's fine. I think we are basically done with this now. Yeah, we're basically done with you just kind of create let's create the UVs and then we can bake and then move this along to the next stage. So this is fine. So I'll see you guys in next lesson by for now. 16. 15 Shoe UV Unwrapping In Maya: Welcome back, guys. So next thing we need to do now will be to arrange and set this up to export out of Zbrush to Maya and then create some UVs for them and then continue with the baking process. So let's let's get to it. So I'm going to let's start on the main piece. Okay. Piece. I'm going to go to the lowest to the lower subdivision level, actually. So we have subdivision level two, we have this at 148 k. But on the lower subdivision level, we have this art 37 k. So I'm trying to figure out which one work best. Let's start exporting this from the lower subdivision level first. So let's go to important exports. Don't know group smooth normal. Okay. Let's see. Completely separate piece. Which is the soul. Okay. Then this should be lets you name the two. Let's name this so we know what it is. Shoes parts. All right. So I'm just going to drag this up here. So everything that is down is what we don't actually need, so that should be fine. So let's go to the Mint Nau pies and export this at lower subdivision level. So let's do exports. Okay, with a new fold. I'm going to name this to Z pots. Alright, open that up. So sneakers. I'm going to save this. And I'll go to so pading Okay. So part and I'm going to export this out as well. Then lastly, shoelace parts. Let's take down the subdivision level to something low. I think 11 k should be fine. Should be like the lowest for you. So this is fine. So I'm going to export this out. Maybe not. Let's just go one subdivision level higher. Okay, I'm going to export this out. Okay, so let's go to Maya, create the new documents in here. So these documents we're going to be using. We're going to be importing our exported maps, exported models rather. So let's create rather open up a folder and then go to it. Let's go back to Maya, take a folder and import these three in. Okay. Great its way down. But that's fine. Don't matter that much, though. Or maybe we can move it up a little bit. I think we can move it up some more. But we need to do that inside of zebush instead. So this is what I'm going to do. I'm going to I'm just going to create a spare I'll leave this fare up. Then I'm going to export this out. Okay. Let's export this into the same folder. We'll just pin the directory in a page that's in. HB has OBJ. No OBJ. Okay. Let's just them to spare. Okay. Then I'll go back to Zbrush. Okay. That will save. Okay, yes. So now I'm going to import this in. So let's just do unopened. So this is fair. Okay. And I'm going to import and replace this fare with the one we selected one we created instead of Maya. So let's just replace this. That's fine. So nobody is supposed to be now. So I'm going to put these three in a group or in a folders let's put it in a folder. Min sneakers. Okay. All right. That's fine. So let's drag what is necessary into that group. Into the folder. Folder group, whatever would you prefer to use. Let us lit folder instead so. Then I'm going to transpose sets. So I'm just going to lift this up. So I want to be up this way. I think somewhere around the base of this should be fine. Yeah, so around there should be fine. Okay, so I'm going to export all of this out again. So let's go back into the sneakers, export this out. Okay, so I'm going to export this out. I'm going to replace this. Yes. I think I still need to export a higher subdivision level as well. On subdivision level higher actually. So I'm going to export this out. Oh, I think I made a mistake. I really mistake. I'm supposed to kind of use the export instead of imports. So I need to let's go on subdivision level lower first. Then export this out and replace yes. So let's go on solution level higher now. Is why we didn't have any issues because it's still the same model. It's not going to give us any issue. We didn't really actually do anything. We actually move just the position. We still have the wives still raw five spot out of Zeus without modification to it. So that's why I won't have any issues in here. Anyways let's carry on. So let's export this now. So I'm just going to put I in front. Okay. I'm going to export the one below parts. Exports. Okay, there's less paths. Replace that. Then lastly, the soup adding exports. Okay, that's fine. So I would like to save this as well. Let's save this. Okay, so we can import put them in again. So I'm just going to delete these three let's imports the new ones now. So select all of them. Minus is fair, drag and drop. So there should be should be in the same position now. So we have two sneakers, we have the I, then we have the low. So let's visualize the low. Let's see. This is the low version. Low version actually looks good. Let's visualize the high version. Okay. I think at this point, I think I might be sticking with the they're almost quite similar, most almost quite similar to themselves. Almost quite similar to them. So let me just stick with it. I'm going to stick with the low version instead. So I'm going to the universe with low versions. Let me see if this Okay. So I'm gonna be saving this as sneakers. She used Nike sneakers at the beginning, so just to be a bit more specific, okay? All right, so I'm going to close this for now. I'm going to close this for now. I don't I don't need this now. So I just need to create my UVs first and then we'll come back to it. So in here now, let's start creating UVs for this, so make sure you're on the U UVE diting. Okay? So I'm just going to drag this on top. We are really weird naming always comes from Zibos. Let's just give it a more simplified name. Leave that extra naming at the end. Okay. Save this, save notes. So the first thing I'd like to do would be to unfold the main part. So let's just starlet sneak up first. Let's give you and wrap this first. Let's open this up, open up and transform, create, cut, unfold, arrange and layout. That's fine. Okay? Now, this is sit in here. Okay, close now. So now I can work a bit faster in here now. If I go back in, I'm going to select the isolates Okay. I'm going to start by using the creates and I'll just do camera base to begin with. Now let's see if we can get symmetry in here, so object X. Let's see if we can get this working symmetrically. Also, we can get this working symmetrically, which is precisely what we want. Okay, so let's start with the bigger piece. Isolate the bigger piece, and let's do UVs for this. I'm just going to come under this so I want to create a seam line where we don't want it to be visible, so I think here is a good place. That's fine. He also around around there is also a good place. Okay? Yes, I think around there is also a good place. Let's look at our reference just to be sure we're placing it in the right place. Okay. Most of these parts are going to be covered up. So I'm trying to make sure I put the same line where it's going to be covered up. So this is fine. All right. I think you're working with this symmetrically also, too. Yes, this is symmetrical as well. So let's do it cuts. Okay. Let's select these two, and let's do fold. Select the two. Let's do Orient. And let's do layouts. Let's get the want something we can do it. Okay. I think we're in a good place. Whoa. Okay. Yes. The other parts that we don't need for now but just focus on the parts that we actually need. This is what we need. Let me select this too. So I just going to select most of the parts we are working on currently. So I'll select this and I would like to rotate. Let's rotate it this way, so it should be fine. Let's go out of isolates. Face mode. Double click on this, this selected on both side. This as well. So you cannot stacle it at once. This also. This also isolates. Now let's create our UV SIMs. So I think this bottler SIM should be underneath. I naturally goes across. Let's make sure we hide our seam. I think this place is actually fine. Just checking just to be sure. Let me use a more darker material for this. Let's use a more darker material. Let's go to attribute editor. Little bit issue. Let's just dark in this a little bit more. So actually see where we need to place our sim. Okay? Yeah, this one seems like in this ne good place. Let's go to the next one. Come place this here. Yeah, that seems fine. Come over to this piece. Let's find a good place to lay this here as well, also. That should be fine. Okay. Let's come to this piece. Find a good spot to drop our UVs. I think here should be fine as well. Okay? I think that goes across, that is fine. Let's go to our UV two kids. Okay, we still have this soul. So I'm going to do this inward instead. Should be inside. No. Let's go inside even more. All the way. Oh, no. Definitely not a good place. Let's do Let's do CT first. Let's do coat first. Okay, I think if you select this again, it's going across the entire out. I don't want to go across the entire out and so we do instead. I think should be fine. Still very much inside of the shape. Yeah, that should be fine. So do coats. Okay. Yeah, that should be fine. Now let's select let's select all the UVs do with that. I'll move them aside. I'll select all of this. I'll move this up. Okay. So let's work with this, select all of this. Let's do an unfold. Okay, Koreans. So let's do layout all now let's give you Almost done. Okay. So now I'm just going to go in and then make some modifications to it. So this time around, I'm going to turn off symmetry. The inward parts. It has the corresponding parts. Okay? That seems fine. Okay? This I'll need to straighten up. I need to straighten this up. So let's just preen. This one doesn't seem like it doesn't seem like it worked well. So you need to get in there and then make modi whoa I wasn't selected properly. So I think we need to come back to darts. I need to come back to d and then fix that properly. I think I would like to rotate this way, this way, as well. Rotate this way this way as well. I want it to be flowing in a butler direction. Okay? Let me rotate this way as well. Rotate this way as well. This piece. Think I'll rotate this this way, this way as well. Now this that we need to fix. Let's go out of isolates. Let's go in phase more double click the entire outin isolates. Let's create a new one camera base. Okay. Now let's go to the edge. This edge is the cats. Okay. So let these two unfold Unfold. Okay. I think we are fine. Now, this means so I'm just going to orient this way. Let's done orient again. Let's orient this way. Okay, select everything inside of zero to one space, and let's do it layout. Let's give it a be done. Okay, so we have this arrange now this way. But there are a few things I would like to check just to be sure. Select this, see where it's facing this direction, that's fine. Select this. All right, then the right place, get that is fine. Now, let's select the other piece that I didn't select before. Some of those objects, X. Then I think what we didn't select before was this as well. Okay. Here also this as well. Let's take the opposite sides, see if they are selected. Okay? That is fine. Let's isolate. Okay. I'm going to select all of this. Move this to the side. Let's work on this. Okay. So I'm going to create this let's see where this ends. So I'm going to start by creating a cats around around here first. This part is not going to be visible, so let's create a cat here first. Let's see if it's the same thing on the opposite side, it did. Let's do coats. Okay let's go under selects. Let's find where that is. This one to do creator, let's find where that is. Okay? Select let me start with EFS, then I think we can select on the opposite side. Should be this, am I correct? Yes, that's the one. That's the one. Okay? I think it should be selected on the opposite side, too, as well as fine with the coats. Okay. I think we do this. Let's just do let's work on the simpler piece. We can move this along, select this loop, select this loop, or do cuts. I believe it should be selected on the opposite side. Let's check. Okay? That is fine. Okay? Let's come in. We know where we're supposed to place the UVs for this so. Let's select the cuts. Okay? Now we can find, I think for this, we can do let's first start by selecting the squash part out. So should be that the one. Let's see what we get actually with this. Okay. Maybe we can calm down a little bit more. Do we have a loop here? We don't have any loop there? This place we have a loop. So the idea is to kind of hide the same. So I'm trying to see if look for a really good spot hide or same Okay. Now, this part is way too visible. Okay, I think so far. Let's even check. Let me check this instead. Where does this stop? I think so far, this one seems to be like the best one. This part seems to be like the best one. We'll circle back to that anyway. So let's just add that for now. Okay. Go out of isolates. I'll go over to UV shell. I'll select this shell, get enclosed and see if I can find if my UVSm is quite obvious to see, it's not, so that's fine. We a good job, pretty good job there. Now, these two I'm going to isolate. This one shouldn't be a problem. We can add that on the bottom parts, and then we should be good. Let's do instead. Let's add that day instead. So let's do cuts. Okay? Select all of its let's do an unfold. Okay, let's do Rents and let's do layouts Okay. Let's say I set up. Okay, I think we need to make some modifications to this. But before we do that, let's just go and turn off this symmetry, let's turn off this symmetry and we can align this the way we want it to be aligned. I'll say this way, rotate that way. Okay. I think we have parts that we don't need to be in here as well. But I don't really matter, I just kind of set them up properly. Do you want them to be arranged in a Okay. This one is arranged properly. Let's see this. Let's see where we are for that. Let's find where that is. I'm going to use face mood double click on this pace. Okay? With this butler one, I will need to adjust the set up for you. I'm just going to pull this up for now. This part lon, I would like to get them in a more vertical position. So let's get them arranged vertically. Okay, that should be fine. Okay? These two. Let's arrange them vertically as well. Okay, let's see how we have the others arranged. Okay, I think that direction should be fine. Let's see where rotated this wears get this horizontal. Get this horizontal as well. Okay? Yeah, that is fine. Maybe I shouldn't get them horizontal get this horizontal also. I'm thinking, though, maybe I need to get this. Let's get them horizontal. All of this as well. Let's get them horizontal. Okay? Where is this supposed to be? No, this battle, we need to kind of get it vertical instead. I think vertical should work just fine. Okay, vertical also, too. Let's see. I think we should be good. Oh, yeah, missing I have not done this yet. And this we have not done yet. Where is it supposed to be? Let's find that. Okay. Entirely sure where that's supposed to be, though. Let's just let's get this. And this Let's get them out. Let's see where they are supposed to be. Oh. Okay, I know where the are now. Okay. So for now, let's just go out of isolates. Let me select this. Let me select the entire face instead, select the entire face. Iulate I need to pull this out this way. I don't want any distractions for now. So back to face mode. Double click on Oh, it's not in the same position, so we need to do this out of symmetry. Select ship select this as well. Okay. So this one shouldn't be too much of an issue. We can just we will just select an edge inside. This edge should be fine. Let me make sure I'm selecting the same edge on both side. Okay. Yeah, this should be fine. Let's do cuts. All right. Then down fold. Select the two down fold. Just do Orient Slet this rotate this way. I think we have tackled the entire outin now, so let me select it again. Let kind know where my UV seems are. My V stems and seams are not visible, that's fine. I think we are good now. I think we can select the entire piece. Okay. Then we can just do a layout for it. So let's do layouts. In the right so. Let's reenter and then we're going to check for distortions, checker pattern just to be sure ultimately. Okay, so we have this layed out in here now. Okay, let's check for distortions in there if there's any. C to check if there's any flips. There's any flips UV. We can check for distortion now. So so far, I don't see any weird distortions in there. Okay, so now let's check our pattern to this. Let's check if this is working just fine. Yeah, for the most part, I think this is just fine. Okay. So the next lesson model is going to work on your piece. Let me just even wrap this actually. I just don't even wrap this as a final ton wrap because this is just a simple piece don't wrap actually, so I don't take too long. Okay. I think it's a logo in the c, it has a logo in the center, so I will just create my SIM underneath it. Turn this off. So my SIM should be somewhere around here. I won't do the mid range part, actually. No issues. We do mid range parts. Uh, probably not. Let's do this. We don't have weird stretching. So regions where we have 45 or 90 degree angle should be fine. So a the cut there. Okay, on food, orients need to make some adjustment to this to select o, select the entire out scene out. Yeah, that's fine. I'll save this. So the next lesson, we'll just work on shoe less piece, right? And then we'll continue on with baking. So you guys in next lesson. By for now. 17. 16 Shoe Lace Parts UV Unwrapping In Maya: Come back, guys. Fist lessening, we kind of started creating a UV sem for the main piece. So let's just finalize by creating UVs for the shoeless parts. So I'm just going to isolate this. It shouldn't be too much of an issue. I believe this is symmetrical. Symmetrical, but I don't want to risk it so let's just do this as manually as we can. Last we're creating the seam lines. So camera Bs to begin with, edge mode. I think a good edge should be this edge for the opposite side. We're trying to cut our same line where it's not going to be that visible so here as well. Cuts. Let's do the same for the opposite side. Okay. Getting close. I believe, it should be fine. Cuts. Okay. Let's go to the top. I would like to do Let's work on this piece instead. Let me kind of get at a better angle for this. Okay. Let's see. I'm not sure that I went round. But it's still the best place to add this though. So let me just go and make sure I get it right. Okay? This should be the final piece. Let's do a cuts. Let's do the same for the opposite side. Okay. Yeah, well, I believe at the edge, that's correct. Find this at a good angle, select this as well with cots Now for this particular itself, so slightly I would say is slightly tricky one. Slightly tricky one. Let's see if we can find a good spot for this. Okay. Here, we can do somewhere around here. We can do here as well. Okay, better. I think we can let's cut out let's cut out this first. Let's get this loop off. Then we can do this with symmetry turned on, so let's just do this symmet it's quieymetrical. You can do this with symmetry ton off. Let's start with this. So is going to do this across. So you should work symmetrically also. Okay. Here as well. Get in close. Okay? That is fine. Do this also. Here as well. Here, also. Here, also get this in as much as possible not to skip any parts. No, wrong place. Here us the place here as well. Okay, that should be fine. Around there as well. I think should be fine. Okay. Let's start by doing the coats. Let's the coats. So let's just check the opposite side. Let's check the opposite side. Let's see if we have it in there as well. Is in there. That's fine. So let's carry on. Okay. So I'll grab this. Go down, grab the next one. Basically, you just repeating the same thing. Okay. We're going to do this as precise as we can. I think this should be better? Okay. That's fine. That's fine. Grab this as well. Okay? I think this is the one, that's the one. Almost there. Okay, this one seems like kind of joining themselves. But I think this is it that's the one. Let's grab this just as well. I think this should be it. Yeah, that's fine. There's the coats. Yeah, I think that's fine. It's not nest you need to be to start adding or creating I think I prefer to do this inside. So I'm going to let's select that. You just find it now. You just need to find where that is. It's going to be difficult one. Kind of ton of symmetry for this. So far you select this now. I can just Come on. Still a lot more harder to find. It's a lot more harder to find. It is gonna be tricky one, but we kind of figure out way it's going to get through it, so trying to avoid trying to avoid selecting one edge and going all the way to the other edge. So let's see how we can make this work. Let me start by letting the entire out in and going to do one on fold to begin with. I think this will make things slightly easier for us on fold and then I'm doing layout. I think it's going to take longer time to do that. I think I would like to to this off first. I'm turn off symmetry first. It's a little of this quick sieve. I think let's try to unfold again. I think this should be faster. If it's not faster, then I was going to count this and then figure out a way to just it's taking too much time. So taking too much time. Kind of try and simplify this a little bit more. Just trying to simplify this a little bit small, so I'm just going to look for good I good kind of add my sim So usually I'd on this edge but I'm going to add my similar that's why I'm trying to add this in the middle instead. So we just have to Let's just do at. Let's select this edge. Let's just go back to symmetry. Let's leg this edge. Go to the opposite side. Let's see if we can find the exact same edge. Here that's the one. I'll do coats Okay. So select. Let's find the midpoints. Select this edge. All the way this way. Let's find the midpoints. I think it should be this. That's the one the cuts. Okay. Let's go down. But that means we're looking for the midpoint for it. I think the midpoint should be this as well. Do that didn't do that correctly. Let's select that. Go to the opposite side, try accurately, find the midpoints. Gets not working either. Select this. Let's just kind of three seats out. We just have to kind of trees this out. Okay. I was trying to avoid doing this, but it seems like we don't have any other option, but we just do this. The cuts. Let's see if this paler maintains the midpoints. Yes, it does do coats from around here, find the mid points. I believe here, move to the opposite side. I believe here. He has the right one cots so maybe a little tricky, let's just see if we can get it right on the first dry. Midpoint will be this, that's the one records. Okay. Select in to the opposite side. Let's find midpoints. Where's the one records. Okay? So might be tricky. Let's select this. Get in close. Oh, great. We got it right. So ts. Oh kind of skipped, we skip a few. Let's go back in. Midpoint midpoints should be this. That's the right one. Okay. Almost done. The midpoints. Midpoint should be here as well. The cuts. Almost done, I think, as far as this goes, I think the midpoint should be this. Let's move to the opposite side. Nope. I'm not sure we got that right. We didn't get that right, so I was going to trace this along I'm just going to go through dos kind do this almost at the end. Almost at the end of this going to find, that's the one. I'm going to click Pods. I think this is fine I want to correct. Let's just select the midpoint. We close to the opposite side, find where the mid range point should be. But 18. 17 Shoe Baking in Zbrush: Okay. Welcome back, guys. So let's continue from where we left off. So I kind of gone in and then kind of added the final cuts on the rest of this. So at next, we need to do nest on food. I believe we have this working symmetry as well. So I'm going to turn off symmetry for now. Okay? I'll go and select all of these UVs and click Cfold. So you should unfold relatively faster now. Turn off UVs symmetry for each rather less orient and less the lays to make some adjustments after we have this layers 01 space. Okay, so let's go in and then check this out, right? Unfolded, we need to make some corrections to This, for example, this all I'll just get them facing this way, rotate them this way a little bit more. This is fine. This is also fine. This I need to rotate this way. Okay? This way. Yeah, that's fine. Okay, I like to get this is more like horizontal directions with Let's just get them horizontal fashion. Okay. Almost done. Yeah, I think this is pretty much it. I'm gonna select everything again let's do a layout in there. So you shouldn't post settings well. Okay? That is fine. Yeah, I think this would work. This work. There's I like to check, though. This label, I like to make sure the orientation is correct for it. So I think this is fine. Let's go out of isolate. Let's do UV checker Pat and let's see. I think we have this map correctly, which is fine. Precisely what I want as well. Okay. So I'm going to check this. I need to check this. Okay, so let's check the UV. Oh, it's quite small down here. I'll need to increase that slightly. Let's increase that slightly. Let's see if we can put this somewhere else we take a little more space and put this up here instead. Okay. I think that should be fine. So let me kind of check now. So I'm just going to select edge, select this edge. Okay. That's the edge at the back. If I say this edge, it's the edge in front. So to rotate I need to rotate this. So I'll like something more or less like, so it should be fine. So if I should say this mid edge. Okay. So I know it's facing this direction this way. So this is precisly what I want. Okay? Let me rotate this a little bit this way, select this find where that is. Okay, just inside of that, that's fine. So we have this working correctly and I think this should be fine. I'll rotate this a little bit more, make it a little bit more straightforward this way. Let's make sure it's not intercepting. So getting clear, make sure it's no intercepting. Yeah, I think for the most part, this will work just fine. Okay. Here we are good. I'll save this. So you need to export all of this back out again. So exports. So sneakers, this is the exports. So I'm just going to it is the low version. So let's just paste it in there and replace y shoelace parts. Lports shoes parts. Replace that as well. Okay. So pardon replace that as well. All right, that should be fine. Now let me save this up. So now we need to open up the Z brush file and then import them back in. Okay, so back to Zbrush. Now I'm noticing an issue in here not really an issue, but something I forgot to add seeing now that I'm supposed to add another treading on thehall it hoof, let me call it hoof. It's supposed to add a treading in there, so I need to do that first. I need to do that first before bringing in, let's just bring in our model in first, then we can do that. You can do it for days anyway. City days out bringing it in or doing it first. Anyone will still because we have all the detailing in a layer. That's the good part. We have the detailing layer, so it don't really matter that much one we do first. Let me go to the subdivision level so I can. So we can add this detail in. Let me first isolate it. Let's get it isolated. Okay? Isolated this way. Alright, so I would need to I need to make sure that layer is active. That's one you need to do first. Let's make sure the layer is active before isolating it. Okay, so layer is stay active. Awesome. So layer is stay active, so I need to go back in and isolate them. Okay. Then you can go to the highest subdivision level now. So as to treading. There's a single threading, or stitches in there and we have the double stitches in there. We'll start with the single stitch and then move to the double stitch. Let's make sure symmetry stand on for this. Put this to the side. We have symmetry activ in there. That's fine. Let's go in and then look for This stitch is brush and then reuse that again. So brush sm. Let's start with the single stitch. This is the single stitch getting close. I think we can also isolate this so we can work a little bit better in here. Okay? Let me drag this. I need to reduce the brush size. Trying to figure out the appropriate height for it. I is the highest possible subdivision level on it, this will still work just fine. So I just need to do just one there. Just one trading comes across this. Okay. I think I I'll just kind of redo that here as well. Undo that. We don't really have enough resolution holding this. But it will still work still undo that. No, we don't really have enough resolution holding it. Let me do this on top instead. Okay. We actually need some more resolution to hold this, but at the same time, I think this will work just fine. Or we can even do the detail inside of, you know, we'll do the detail inside of Softnspina instead. Since we don't have enough resolution to actually hold this in here for now, so it's best just this way. We can do the detail inside of detection. That's the smarter way to do it. So let's just go back in. Let's go back to the lower subdivision level. So on the lower subdivision level, let's reimport back the mesh. Let's make sure that no UVs on there. I believe that she did not be any UVs in there not put any UV in there. Let's bring in. Let's import in the ones vis in the Z exports. Sneaker, it's in here now. So we have UVs in here Okay. But I would like to my normal map from subdivision level. Instead, I like to bauble my normal map on subduction level. Now we have vis in. We go to vn map. You can see vis in here and that's why we have this smooth heaving. I used to fork a resolution, normal map, create make sure it's tangents, torn smooth UV and smooth normal should be torn down then concrete. I shouldn't take too long to actually create this so it's running through, so you can see it's running through now. So let'll give you the same moments. So it's done. So we need to check. Let's check. Okay. Seems to be fine. Let's do clone. Texture philip V, you know, Zbleus things upside down, so Let's export this out. I want to export C PNG. Normal. Okay. Save this. So now we need to go in and then check just to be sure we exported it out correctly without any issues. So we need to go in and view this. Okay? I think for the most part, this came out well. Yeah, this came out well. I don't see any major issue in there. Alright. But I'd like to create a new folder for it. Let's create a new folder for it. Name this to Zim Z maps. Okay. Then I'm going to drag that in there. All right. So I'm going to big I'm going to I think maybe I shouldn't big this again. Let me big this at eight k instead. Let's make the normal map at eight k instead. So we can get the best possible quality out of this. So create. So I'm making this at eight k. So it shouldn't take too much time because actually it takes it bakes quite fast. So roughly less than a minute, so definitely less than a minute. You should have a bake ready. Almost there. So done now. So let's clone this again. One this again, flip pots. So this is going to be the eight version. I'll put eight at eight at the beginning. I'll save this Now, let's go in and then check to be sure we have this bit correctly without any issues. So far, bit correctly, without any issues, precisely what we want. Okay. So now let's go in and then big displacement for this as well. So Pip V smooth, ignore this adaptive for now. You don't want because it chi is going to take so much time cannot bro we turn that on. So let's just click on create an expo displacement map. I put the ISPL for displacements. I'll save this. I don't think this would take too much time also as well. It's not supposed to take too long. Okay, you want to export the mesh? No, I don't want to export mesh. So if you go into that folder now, we should have it in there, so I'm just going to double click on it. So we bake this at eight k. So it's going to build up with a Windows photo viewer. Yeah, so far, we are biting. We need no weird issues in there. Great. That's fine. So let's go in and import the others. But before that, I'm going to export this out. We increase the subdivision level, so I'm going to export this out. Look, let's make sure the export setting is setup correctly. So spots. So I'm just going to replace the sneakers eye. I'll replace that. Since this one has vis in here now. That's fine. So let's go to the next piece. Let's go to shoelace parts. Okay? So I'm going to import the new one hu spats. So as uv is on there. Now, let's just be. For this, we can just be out Fok resolution. Fok resolution is completely fine for this. I'm only going to be backing out the normal map. So let's make out normal map for this. Don't take too long. It's done. Then let's conclude over to texture, flip V exports. Hues parts, normal Okay. Yeah, that's fine. Exported out correctly, then remain for the soul parden. Do you have any subdivision level? Let's just divide before let's divide this a little bit more. Just have something a lot more cleaner, right? Let's go back to lower subdivision level imports. So so padding, select that. All right. Let's go over and then make normal map for it. Let's create. We need to go OSs done, clone this texture, flip the exports. So pading normal. Okay, so now we need to go in and then check this newly created normal map, just to be sure there are no issues in there. Okay, so far, no weird issues in there. That's fine. Let's check the shoe padding. No issue as well. Biked out correctly. That's fine. Okay? So this is fine. So I'll need to save this. Let me just save and close this because we have everything before we close this, let's go back to Maya and then check. Going to ice stickers now because I like to use the AR version, so that's important the AIR version just to be sure we have good UVs in there, so I'm not going to drag and drop this in. C, it's imported incorrectly without any issues. Awesome. Awesome. This is fine. So I'm going to save this. Great. So now we can go in and close the ZbohFle. Let's close Cs. So now we have everything we need. So the next step would be just to go in and then yes, go in and then just start start exporting this out to Soutnspen and then begin our texturing for it. So I see you guys in the next lesson, bye for now. 20. 19 Sneakers Texturing in Substance Painter: Cucumber, guys, soon or let's dive in. Start the texturing for this. A few things to keep in mind though before texturing is kind of analyze your reference and be sure if you have close enough reference to actually capture the detailing of the texture, I bills. Things a good close up reference in here that we can kind of capture the essence of the texture in there. So let's go in and then use that. I'm going to start with the sneakers first. Let's start with the sneakers. Yes, we can start with that. I want to solo that out. I'll go to layers, create a new few layers. I'd like to bring in the normal map in here again. Let bring in normal map. So you have the eight key sneakers in here, select that. I like to intensify the details we have in a little bit more, and I'll go over textual say this to Fok resolution. Let's visualize this at FokiRsolution, so you can see more of the details a bit more accurately. Okay. Yeah, that's fine. So now moving on. Now I'm going to use the leather material for this. Let me rename this to normal. Less or caps, normal All right. That's fine. So let's go into Let's start materials first. Let's type in leather. W is like an obvious leather material. Let's see what we have in here. Let's see which one we can actually use. Right of the battery, you have something interesting to use leather green, leather skin, leather reptile skin, leather sweet. Let's use leather green. Leather greens closest we can find. Basically it's time to actually apply, so it's supposed to be applied on here. Okay, we have something no just all over the place. I'll drag this up. So quite a lot of corrections we need to do here. Let's start by taking down the tying for this. Something quite tight. Still have this weird X crossing across this as well. So let's see if we can find that and then remove it. Is that the one. And do that. It's looking like some kind of skin material. So we need to actually find where that is. This is the one just to figure out the where the pl texture is coming from and remove its range. Okay, that's not it. Turn this off. This is from this, but it's not supposed to be affecting it. Not supposed to be affecting it, so I'm going to delete this again. I'll create a new few layer. We only need this for the normal instead. So let's turn on normal and bring that in again. So it should be good now. So that was where we having the issue. So I think something close like this. So let's go and make this even smaller. Let's tie this. Do you have any tiilin option in here? No tian option in here, so we just need to go back up here and then do this done less is a value of 20. Make it quite small. The small like so should be fine. Okay, so we have majorly two colours in white and black. We have the white and black. Let's start by changing this Let's start by changing this to black. Let's type in black in there. Then we change to a full black leather material. Let's just say this to full black. I think it should be quite darker than this. I think this black I think something a bit darker, something a bit darker. Expose this two was a more darker value. Okay, I think this should be fine. All right. Now, just specify want to be applied on. Let's add the black marks to this. Let's use the mesh field, polygon field, whichever you prefer to call it. So I'm going to be using the mesh field instead. Let's select what is black in select this. Okay, select this do that actually. Let's make sure we have symmetry tone down so it work on both side. Okay? So let's select X on the keyboard, go to the whites. Let's see what you need to select. Okay. I think this as well. Yes, I think so. Yes. Or maybe not. Let's just select what we need first. Okay? Let me grab the entire out and then select what we don't want to be selected. So let's see this as well. Okay. What else? I think spot lawn is a different material. Yes, this is also different material. So I'm going to deselect this as well. Okay? Let's see, I think this should be fine. So yes, we need to deselect this too as well. The pot laws are actual fabric material. So I think they should be fine. Okay. But I'd like to make the material a little bit more shiny. Just a little bit more reflective. So let's see whether we take this down or take this up. I believe taking this down should make it a little bit more reflective. I want something that kind of catches a lot more highlights in there. I think so something out the nature of this should be fine. Yeah, this should be fine. This we can definitely work with. So I'm going to duplicate this, and I'm going to name this to white. Let's say this to whites. Okay. Let's add a full black marks in there. Se these two more whites polyton. Okay. Let's go back in. Let's select use the polygon field. I will select this mesh. This is the mesh meaning selected, I'm going to select that Oh, sell it to white instead. Select it again selected now. I that's okay. Let's see, I think we need to select. I think I need to select this well. I want to be sure what kind of material it is, so let's come in close. It's a completely different material, actually. It's a completely different material. So we need to kind of do something different in there. Yes. I think we need to do something different in there. So I'm going to let's click out first. Let's see what we have. I'm thinking this white we have is way too white. Most likely way too white. So let's kind of do the white a little bit more. Let's dough the white some more. Looking a bit too whitish. Okay. Let's see if we have this colo tone right. I don't need to be too wide because what's it going to add? Is it going to use a different light setup in here, so I don't want something that's blown out. I think I might even need to change my entire environmental light instead. Let's change in environmental. Let's use something that does not have blown out. White in this. Let's use the Tomaco studio. Tomaco Studio seems to have a really good balance for the white in, so let's use that instead. Okay. Yeah, this will work just fine. Okay. So moving on. Now, we need to kind of create this as well, but I'm going to ignore that for now. Let's just tap to other parts first. Okay? I think this will work just fine. So the next now I'd like to do would be come in here. Let's see if we can do some adjustments in here. This one pot lawn very noisy, a noisy kind of fabric material in. So it's going to play along with this a little bit small, just to figure out what to work best. I'm going to let's see, I'm going to duplicate. Let's duplicate the black for now. Add a black mark again. I'm going to select. I'm going to select the soul. With this, let's do mesh few select. The sole the wrong one is selected. I'm supposed to be black. Let me drag this all the way up instead. It's fine. I need to exclude this also, too from this. I don't be affecting let's exclude that.Exclude that in here also as well. Okay? So I just go to figure out the kind of material that should be in here. So let's go to the black. I'll need to take down this. Is there an invert in here? Let's see if we can see an invert? Let's randomize this seed first. Okay. And then I'm going to let's go down un tipped color. Please antiped color. No, antip colour is what we have this tinted colour in there. I'm going to go back to the white and adjust that a little bit more. Let's use some thin towards the gray. We use towards the gray, so it's kind of eliminate this kind of sin Wetining there a little bit more. Okay. I just tow the white a little bit more. So just a matter of going back and forth and then making corrections to it until it looks good. Let's go back to the black. For the black, I think I will need to take down the height range. Take down the height range. I don't want it to be too intense. Should just be barely in there. Height position takes down as well. I can't see much happening in there, though, so I would like to go in and then don't see much happening in there at all. Let me just keep going down, taking this down. I want it to be too intense. Okay, now we're getting something. I shouldn't be too intense, so we should increase the normal intensity a little bit more. We need it there, but not too intense, not too intense, yes. This should be just fine. Here is a nice one. Okay. But it looks more like there's more noise in there actually, there's more noise in there. So I'm going to maybe I'll just take this down completely actually and take it down completely then. I'm going to create a new new feel layer for this This few layer are just going to be having information. Then I'm going to add those type in noise noise. Okay. So you have to say noise not the one we need. Yeah, this is definitely the one we need. Undo that actually, I need to add a black mark first and add a few layer to the black mark. Then I can use the noise now. There's this noise, select the noise. Let's go back in and increase the intensity of the noise. Okay, now it's all over the place. It's not what we want, obviously, but we can just make some adjustments to this. Once it looks good, let me dow this down to 0.5. I do that as the wrong one. And to do this on the noise itself. Okay? Now the bla. We don't even have tiling in here we have tiling up here. Got to be a specific tiling for the noise map itself. So saying this is too small, let's put eight. Okay. So let me select this to now this black, put this in a group or add the black marks to it. The mesh field. Se this to white. I'll select this. So now it's noise is quite strong. So let's go to the height information. Let's dow this down. Shouldn't be that aggressive. Let's diw this down. Okay, let's go back in. And let's set it to one. Okay, now we're getting something in here now. So let's go back in. This valuing needs to be quite small. Let me use the channel instead. Let's go to the eight channel. Let's take down the I channel. So we use the channel to kind of take this down a little bit more so it doesn't feel too strong in the Okay. Look at this from a distance. It looks perfect from a distance. This is what we want. So I'm just type in black so. That should be fine. But we need to roughen it up a little bit more, let's go back to the black grain and then roughness, increase the roughness a little bit more. Shouldn't be that shiny. So let's add some more roughness to it. Okay. I think I went a bit overboard, so let's take this down a little. Need to have a little bit of shininess in there. Okay? Okay, that should be fine. So now I need to use the same thing also for this soul that same thing for this so let's just duplicate this. Name to white white green. Okay. Let's do white green instead. So I'll wear the black marks to begin with and I'll go in and change the colour to white. Is more whitish tone. Somewhere around there should be fine. Close this let's go in and apply. Let me make sure I say this to Heights Heights green. So I know what it is. Copy the name. Open this black, paz the name in there. That's fine. V quick sieve. Okay. Now let's go back and then select this piece. Let's do a mesh fill. This is a piece you need to select. Selecting it now, we should have that applied on there. That can apply now also. So now let's go in and then work on some other paths. Now I'd like to get some fabric going on. Let's get some fabric going on around this. Let me look for close up reference if we can find any. Okay. I think it seems like it's actually this actual layer also. Looking as if an actual actual layer. Let me just look for another reference if we can. I'm not really showing it properly, though. Let's see if we can find something close enough to use. It's the same fabric with the same fabric as this. So let's go in and then bring in some fabric material in. Sometimes going to type in fabric. So I'm reducing the material, so we didn't look for a good fabric to actually use. This one seems like a good one. But let's just see check. Let's check if we can find something better to use. Quite a lot of fabric here to be see this one looks interesting. This one has an interesting pattern to it. But let's look for that also. This one has an interesting pattern to it. I'm going to drag and drop this all the way up let drag all the way down faces. Don't want apply on top. Then drag this up here. Okay. Then just style this first. Let's style this first. Let's see what we get when we tile this. Yes, we're getting good. We have good tiling in here just to. I think this might actually work. Let's have the black marks first. Let's say the black marks. Specify what needs to be applied too, so it should be applied to this. Let me start with undo that. Let's start with Come on, select this. And this is supposed to be black and let's set it to black and then but the roughness in here, I'm not really liking roughness and the roughness in here is not looking accurate enough, so I need to adjust that. Is there a general roughness for this in here? Metalness? Let's see what we have in here. We have a rough lon. Let's try it, yes. This one seems like a good one. We just need to change the color for this. So we need to use black actually for it. S first black, let's say it second black. Okay. But the roughness, let's get this quite rough. Get this rough as well. Maybe we made it too rough, actually. A too rough. And the black seems too black also. So let's add some lightness to it. Trying to figure this out and make sure this is the right match for it. If not, I was going to try something on something different on there. But let's just see if we can somehow make this work. Fabric color variation. If you say this to one, let's see what we get. S zero, what do we have? Okay, I think a little bit of value in there should be fine. Okay. I think this I would like to darken a little bit more. But the material notes not really giving me that fabric vibes in there so. I might just have to change it. Oh. Oh, the IC DC the issue now. Fabric grading is actually different. We have a grid pattern actually in there. That's why it's nobody give me that actual accuracy of fabric I need in there so. I think I might need to recreate my own. I think I might just need to create my own. Let's go in. Let's try this on first. It is at the top. Okay. Let's to this. No, this one be this one work. So I'll delete that. We have to quit our one, so I'm just going to delete this as well. Let's create a new material. This material should be black black Bs, ton on roughness, get quite rough. Okay. Then, yes, I'm going to create a new few layer as well. Set these two heights, increase the heights, add a black max, add a few layer in there. So I think I need type in dots. A grid. I obviously something that has some grid patterns. Let's try this on. Let's see. I'm going to go in and then. Do you have any modifiers in there? Let's tile more. Actually way more. Let's do 50. I think we need way more than we have tying in here as well. Get close. Ty this even more should be quite small in there. I think I need to adjust this lesser back to 30. Tie this in some more. I think we are getting something interesting in here. So I'm going to select these two. Let me just name this to X Grid. Okay, select these two. I'm name this to fabric. These. This is even giving me an idea. I think can use one of these fabric acid Bs. We can start to use one of these fabric acid Bs actually. Just go to give us those roughness map that we need in there. We're not going to using the eye so let's use this as a fabric Baze instead. W is up here. Okay? I'm going to tao this quite well. Then you change the colour to something black. But this is going to be having those roughness that comes with the actual fabric. So this kind of darkness is a little bit more. There is a variation in there. I think this one has too many variations in the fabric colour are Let's take this down. Want something more of full black in. Fabric roughness, tension fibers let's take this down as well. Sorry about density take this down. Still not there yet. Still not there. Let's set this to full black. Let's say full black. Let's see what that gives us it's going to darken this even more. Well, I think we can actually work with this. I'm going to put these two in a group. At the black marks. So I need to mesh select this and this. Let's see what we have. Yes, this is perfect. This will work just fine. It will work just fine. But we need to make some corrections to this because we need to just you need to make some corrections to it. I need to go in. I think I need to make this little be shiny. Let's take down the roughness. Let's introduce some more shininess to it. Okay. So produce more shininess to it. Yeah, I think this should be right, maybe too shiny, a little bit roughness in, okay? I think I can increase this fiber density, fiber tensions, tension as well. You need to use a little bit more variation in there. I think this should be fine. Okay? You need to apply I think its applied on here as well. Okay. Let me apply this to this label also. Apply this on here. Let's see what it gets. Yeah, I'll do cool. I'll do cool that would work. Okay. So we're getting all the essentials in which is cool. This is working just fine. I'll do a quick save. Okay. So now this polar fabric in here, I still trying to figure out, I think you can just use the same scene and then, I think that works. Let's just rename this to black fabric. I'll do play this. I'll name this to white fabric. Okay. I'll add the black marks in there and I'm going to change this color to white instead. More white ton. Okay. Then I'm going to use the mesh fill and select this. For this, I'll need to make some modifications to it as well. And I think I would like to make this quite white. Let's put it all the way to full white instead. Then I'd like to make I'll need to make some adjustments to this Suwly on the eight channel, I think you need to take down the eight channel. Oh. Okay, I need to take all of this down, take this down, take this down. Open the channel, take this down as well, takes down, takes down, completely remove it. Okay. Then go back to the X grid and then bring this back in. But this one shouldn't be too intense. Should be quite quite faint in there, not too intense. We have this broken up. We have this broken up on evenness on the whites. This broken up on evenness on your white. So let's see if we can make some corrections to that. Let's see, I think I can just create a new fill layer in there with full whites and then just take it down. Let's take down the colors, and going to it's only color been applied. We don't want any roughness in there. So let's just so we can get a little bit of white things in. So let me just name this to white fill. White fill. I'm going to copy this. Okay. Okay that I'll come down to the I believe is the white green. I mean if I do this in here now, I need to put that in there. Let me just past this in here first and then I'll add the black marks to it. I will specify where I want it to be applied on, so I select it. Okay? So I'm just going to dow this down a little bit more. Have a good blend in between, this is fine. This will work just fine. Okay. This is fine. I'll do a quick save. So this is coming along quite nicely, precisely what we want. So left nice to bring in our logo and apply the logo in. Just to apply the logo in there and then we should be good. Okay, so let's apply the logo in. So I think we'll do that in next lesson. Let's apply the logo in the next lesson instead. So do that in next lesson by for now. 21. 20 Sneaker Parts Texturing in Substance Painter: Come back, guys. So let's carry on from where we left off. So I'd like to add the shoe labor in the Nike logo. So let's go in and then import that in. Okay. I think we have two. Let's import two of them. I'm to drag and drop this in. So I'm going to import them as I think I can import them as an Alpha instead, let's import them as an Alpha Imports. That is fine. I'm going to create a new layer, a new white layer on top of this. We already have this white layer, so we can just duplicate this or drag this so way up. Let me delete what I don't need anymore. I don't need these two. I'm going to delete those. So I'm going to name. Let's say this all the way to full whites first. So I'm going to rename this to Nike Lebel. Nike Logo instead. Let's use Logo instead. That'll be fine. I'll add black marks again. Okay. Then I'm going to add a few Layer to it and then I'm going to drag and drop this logo in there. Now I'm going introduce is specify where this logo supposed to be in. Let's go to our two D and three d view. Repeating, let's do none. Let's make sure three dv is also visible in her. I need to start making adjustments to this. I'm going to squath this down. I need to find where that is. So to do that, let's just paint those little paint over. I'm just going to use red are the black marks. I'm going to do little paint over. To reduce the blows size, I'm going to paint. Ti should affect the opposite side also, too, because we're working symmetrically in there. So we know where they are. So this is and the other one is on the upside. So now we can go back to the fill, the logo, and then let's start with what we have in here. Going to take down the size some more Let's go on. Trying to shame this without having to deform it way too much. It's already down shift instead Epos do that. Down shift again. Getting close. I think it's but is one upside down actually, we need to make some corrections on it. I'm going to rotate it this way and try and position it where it needs to be. I'm going to ton of this for now. Looking at it now, I feel like I need to add a little bit of information to it. Let's introduce some It information to it. Okay. Now, the density is quite I'd like to take down the t information for this black. So this black fabric, let's go into the grid. Let's go to the It channel and let's take it down a little bit more. Looks way too intense. I also need to go back to the fabric field and take down this density, take down this tension. These are the ones were supposed to take down so we do that. P's go to the technical perimeters instead. To take down the heights range and the normal intensity. I believe those two should be everything we need to take down so we can increase back. So those gonna find a good value for this. Okay. I don't use to be too intense, so just should be fine. I'll go back to the logo. The IT information for the logo, I need to take down the IT information for this logo. That's fine. Let me get a better close up. Let's see how this is supposed to be. Then go back in there and then make adjustment based on that. Okay. You've been down some more. I think it seems fine. Let me just stretch it out a little bit more. All right, this is fine. So I'm going to duplicate this. I'm going to drag this duplicate piece to the opposite side. Now, we still have the other one at the top, so let's get that cop there. Quite far from our reach, but let's just let me extend this. Let me make it a little bit bigger first. I think a little bit bigger so I can easily drag it where it needs to be. Bring it in there. I think this but now we need to rotate this way. Scale it down. Scale down some more. Scale down some more pretty much like so, extend it down some more. This way should be fine. Okay. We have this applied now on both sides. It's precisely what it wants. I'll do it quick. Also have another one that's supposed to be at the bag. So we have one at the bag going to be different actually. Let's get it in. I'm going to delete this for now. I'm going to put a new fill layer and then go in and then type in embroidery embroid this is on Broadway, so I'm just going to drag and drop this. Here drag and Drob this in there. All right. I don't know if I need to think I would need to undo that. Let's add a black max. I think I need to drag that into that max instead. Okay, let's bring in our logo in there. So you're going to create a chart where you can drop our logo in there. So if you scroll down, you see image input. So let's use the Nike Nike instead. Lead. Then you just need to find where that's supposed to be. So I'm going to create a new fill there. Say this to red, at the black marks. I'm just geting to pints in here. Okay. So this is one. The second one should be, okay, this is the second piece just beside it. So I'm going to go back to the embroidery, shing this down. Turn off repeating. Said this to none. H this down. Now, let's put that where it needs to be. Shing this down. Shing this down. D some more. I want to believe I'm doing this correctly. So if I should go in at It information. Yes, putting this correctly. I want to add information in there, you should have this list correctly in. Someone who said roughness as well, so let's add made this quite rough. We already have details we need in there. I just want to make sure we have the size correct. Copy this name. I set puts this tonight embroidery, so we know where it is. So do need to figure out the size for this. I need to shrink this down a little bit more. Lacle should be fine. I'm going to do duplicates effects. Move this out of the way, put this on the opposite side. Okay, let's see where that is being placed. So we place this accurately where it needs to be. All right. That should be fine. I'll turn this off. Okay. Awesome. So we have that where it needs to be now, which is fine. Pretty quick sieve. Now, let's go over to the other parts. So I need to copy a few of this. Let's copy the black. Let's copy this black black fabric, the black so the black leather green, copy darts. Okay, and go to hue these parts, select darts. Pace that in the the set this to three degree only now. Set the black material again. So let's give you the black marks, then mesh fill. Select this, select this as well. Okay. Let me see what's this material supposed to be fabric I believe supposed be fabric material, so we can just go and steal let's at least see if we can find something close enough. Is the fabric material. So let's go back in and grab this white one. So white fabric. Let's copy that. Okay, paste that in here. So I want to say this to black. Then let's select we need this. Okay? Ii applied. We need to say this to fog resolution as well. So you can see details a lot properly in there. Resolution is quite low, so you might really see the details quite well in there. Okay. I need to make some adjustment to it. Let's make some adjustment to the grid itself. So let's say this to 20. This kind of match with the one that's actually behind it a little bit more. So I'm going to reduce this a little bit more. Let's do ten. Okay? That's too small. Let's do 15. Yeah, I think that should be fine. Okay. That will work just fine. Oh, there's one thing we kind of forgot to do. Supposed to have this thread. Start from third in here. We go back to that. Let's go back to that, so let's just carry on. Okay. So this black one, you need to kind of adjust the tiling also as well. Let's go to the black. Let's adjust the tilene for this. Let's say this to 15. S this to ten. So I'm just going to merge the tylene in here, so that's matching now. That's fine. Okay. I think this should be fine. Yes. So yes, now let's add I think gym fabric should work for the shoelace. You can gym fabric should work for the shoelace just fine. Okay. There's this white fabric also the candle is going to grab. Before we do that, let's just one piece at the top. So let's use the Let's type in fabric in here. So mix material. So this gin gen fabric should work just fine, so let's drag and dab this at the top. Great. Undo that. Undo that. Let's dragon dab this at the bottom, so drab this at the top now. Okay. Pleas, let's just I think you can put this down. Let's leave it up. Let's add the black mark. A, let's add the white mark since let's add the white max. Okay, then we're going to exclude it from affecting on the keyboard, affecting exclude this from this.EleEclude this as well. I think we're working symmetrically also. Yeah, so we are good. So we need to make some modifications to this. So let's say this to supposed to be more full black instead. Let's say this to black. We have two variations of color in there, so these are the light one. Let's do something towards more lighter black. Then the one at the bottom, said it more darker tone of black. Okay. I think I need to darken this a little bit more as well. Okay, let's go in. Let's start by piling this I still want to kind of see pattern in there some more, so let's do three. Let's do three. Three seems like a good one. Orientation for this, I like to rotate this a little bit more. Rotate it this way, perfect. But it's going to darken this material somewhat, it needs to be a lot more darker than it is right now. Color variation, let's take this down. So on the darkness actually peeking through a lot more. I think we need to go in. Do you have black in there? We have dark, no dark blue. Let's Let's just kind of adjust this sstead this to more darker shade. More darker shade for it. Okay. Think of those creative few layer on top of this. Say this to white black. Okay. Then add the black marks. Or rather, let's add the white marks instead. Let's do white marks instead. I'm going to exclude this from affecting this also, and then we should be good. Okay. But the black to be through it too much. Let's go to the color and then take this down. Let's compare. Let's see what we have. Awesome. So this will work fantastically fine. Okay, maybe a little bit of maybe darkness a little bit more. Let's bring some shine to it. Let's introduce some shine to it. So fabric roughness, let's take this down. Let's introduce a little bit of shine to it. Produce some more shine. Yeah, I think this should be fine. You're awesome. This will work just fine. Okay. Okay? This is fine. I think we can definitely live with this. Let's go back in, before I did let's start the tin as the last piece. Let's go to this instead. I'll select the white fabric. I think I need to use the fields instead, so fabric fails. I'm trying to see I'm going to figure out, Okay, okay, I think this white fabric should work just fine. Let's copy that. Let's go to the sow saw adding Was that in there. Okay. But you can't see it properly because we need to set this to fk resolution. You can see this a lot better. It's in there now. I would like to make the intensity a little bit more obvious. Let's go in to the Its channel instead. Increase a little bit more. Eso should be fine. I'll add a few layer on top. Set this to Black at a black max, at a few layer. On this few layer, I'm just going to type in the Nike Nike logo. Okay. Then I'll go to my two DTD view. I just need to say this to repeat none. All right. I think it should be on this. Lets rotate this. Shring this down. Let's see how this is supposed to be. I think this is supposed to be on the opposite direction this way. Shing this in some more, Shing this down some more. All right. I think somewhere roughly around here should be fine. I'll duplicate it opposite side. Okay. I think this one kind of stayed perfectly where it needs to be, so is fine. We can add a little bit of te to it. A little bit of t that's get close. That should be fine. That should be fine. Okay. Save this. So now let's add stitches in. Let's go select this. Let's add stitches in. Okay. So let's use this instead. Let's add t information to it. Let's add some heights. Then let's go over to pin to Let's make sure symmetry is on, symmetry is done on. Okay? These are parts to know. I'm just going to draw a part this way. Okay. That should be fine. We get close. Okay. Let's adjust the blow size. All right. Be this is working symmetry. Symmetrical that's fine. Then for the Alpha in here, we need to use stitches in here. Let's type in Stitch. Stitch generator. I think that's the one we select it. Okay. You need to make some adjustments in increase the spacing, reduce the bros size. A needs to do some rotation in here as well. Okay. Rotation. I think I think they should not fouling is properly, though. No fully properly. Let's see, you need to delete this. Let's draw this out again instead. We can't make correctional adjustment to it instead. You can make adjustments to it instead. A black max. Let's do this properly instead now. Let's do this as accurately as we possibly can. Okay. So let's make some adjustment to this increase the spacing. I think that should be fine. We'll create another one. Let's create another one. I'll go back to depend too. The bottom one supposed to have two stitches. Let's create another one that comes across this way. Okay. That should be fine. I just the rotation. Fu. Let's create another one at the top. Get close. Okay. Yeah, that's fine. Let's adjust the rotation. I think it should be fine. Let's work just fine. We can just set this to whites. Set this to full whites. Introduce some more roughness in there. It is quite rough. Reduce the height intensity between tens roughly in there should be fine. Okay. I think that should be fine. So I'm going to save this Let's try some different lights set up in here. Ice meaning just to create something for the soul. Now we need a little bit of an extra work to do in Photoshopping, yes. Still have some dots to add in here. So all of this we're going to kind of work on in photoshop instead to get a little bit more accurate and then bring it back in. Let's just kind of test this with different lighting first. Let's test different lighting in here and let's see what we have. Okay. So, this is fine. Let's try different light setup. Let's use this. This is also fine. Try something different. Let's try more outdoor scene. Okay. Yeah, this is working just fine. Okay. And it's good lighting contrast in here as well. So next lesson, what is going to go on and then work on other parts of this and get it to look good. I'll see you guys in next lesson. Bye for now. 22. 21 Dots With Path Tool in Substance Painter: Come about, guys. So let's create this dotted pattern we have in here. Okay? So, so the 50s I kind of mint in and the name just show you guys what I did in. So I painted full black. I created a new few layer and then added black marks. And I'm painting full black in here for these holes, painting full black in. Okay. So that's basically what I did. I painted full black in there, and I went back to the blood drain. Later the mark said this to black, and I erased some portion of off it in there especially in the middle. So go in and then you erase some of this a little bit small, you can see difference in there, then go back to the black and then undo that X. Paint black in there. So nothing too complicated. That's basically what I did. Let's go and create this, so let me just please rename this to black cool pins. I'm going to duplicate this layer. See black marks. I'm going to change this to a red to now. This is red for now. Then I'll go over to my path two. Let's create a part for this. Let me first start by creating something in the middle middle part should be fine. Let's see if it's in the middle points. I don't think so. You need to get something directly on the middle. Okay. I think that should be fine. So these for the alpha is just a normal shaped circle in there. And then initially, we came in like so skills so just increase out all the way up. But let just list again, if I close that and I go back in and I just type in circle, select the circle. And then we should be good, actually. Nothing too fancy. Created that in there now and I'm going to increase the spacing. Any browse we have in there should be fine. Spacing so should be fine. Okay, that's fine. I'll go and click back to my brush too. So we have the fair ship, I'll go and click the pen again. The next shape I would like to create would be let's see. There's the shape that comes in across this way. Do that. Select that again. I'd like to reduce as accurately as I possibly can. Let's do a shape that comes in from here all the way up. Here should be fine then all the way down. This way, let's do something this way. Let's start with one dot here. Here you can create a straight line this way. Okay. That should be fine. That should be fine. We need to add extra one. We can do that manually. So I'll go back in. I need to symmetry tone down, which is fine, precisly what we want. Go back to the pens again. We do another one that poms across from the opposite side. No, undo that. So starting. Let me click that again. Paints brush should go back in. Should starting from around let's see, roughly around her, all the way to this point at a ton, all they should be fine. Okay. Let's go back to the paint brush. Then go back to the path brush again. Let's create one that comes across this way. Let's do one here. But the paint brush, Pat two again. Undo that paint brush, pat two. Do one that comes across this way. Okay. Pas two again, one that comes across this way. P two, let's do same for the opposite side. Part two. Let's do one that comes across from here all the way down here should be fine. Paint brush, part two, we don't know that one that comes across this way. Paint brush, part two. Then we just do one that comes across this way, paint brush. That's fine. You need one around here. Part two, we can get this this way. Come all the way down. Okay? Paint brush. I think I'd like to add another extra one just for the sake of having another extra one in there. But two D one. No, do that. Paint brush, part two. All the way down here. A two. Down here, should be fine. All right, should be fine. What we need to do now will be to change this up. Let's is black instead. Then we need to add some its to it. Let's create an eight channel. Then push this down instead. Okay. Let's see if I turn up the colo, let's see what happens when I turn of the colo. I think we need some coloring India at the very least. Colos India should be fine. Okay. Let's go back to the path two. Let's see if there's something else we can do. Select this part two, reduce the brow size some more. Use the bro size some more. I don't need to be too big. I think we need to do the same for the entire ten. Do you have it applied on opposite side as well? Yes, it is. Part two, select this path, do that. H. Paint brush, select these parts. Could you the size of this. Let's stick with the value of 0.5. Stick with the value of 0.5, paint, part two again, select this 0.5. Okay. I think this will work across the entire actin paint brush again, Part two, zero point. I have not copied it yet, so 0.5. Let's copy it now. Okay. But two select it. Was that in the but we can select this phase a value in. But two play the center parts. Pase a value in Select the part as well. Phase the value in. Back to part two, select these parts. Phase the value in part two select these parts. Phase the value in. P two again, select these parts. Past the value in part again, select these parts. Okay. I think down to the last one, I believe. All right. Okay. So I think the I information shouldn't that deep. That's something should be fine. Save this. Now I want to rename this to parts, fronts, point, dots. That is fine. That is cool. The next thing we need to do will be just to finalize by creating the soul detail. I want to do next. I'm going to save this in next lesson, I'm going to work on creating this soul detail. I'll see you guys in next lesson. Bye for now. 23. 22 Sole Pattern in Substance Painter: Talk about guys. So previously I see we kind of decorated these dots in here. So I'm using mod iqation to it. So I went in, okay, selected it, and then adjusted the d a little bit more. So was a negative. Then I went to the It channel, and then I took down the eights, channel to around eight. Then I set up a different camera for this. So I'm using a focal lens of 85 millimeters. It does go to display settings and then you scroll down, and then you find the camera set up in there. Set down to 85, and then we should be good. So now we need to kind of create a suit for this now, so to do that, I would need to let's grab this sot out first. So let's make sure we select it. So then I'm going to create a new fill layer. Create a new fill layer. This fill layer. I'm going to set this to red. Okay. I'm going to have the black marks. I will go to fully fill. X set this to white and select these two. And I'm going to export out the export texture. I'm only exporting out the sneakers texture. Am I exporting Let me export this out for a resolution? Cooperation should be fine. Okay, I'm only exporting the Connor channel alone. Let's specify what wants to export this two. Let's export can just open this up, so open output directory. Okay. This is it in. And this is looking rather old. This texture looks rather old. Like, really old. We don't want this, so we need to export this out again. Looking rather old supposed to have let me close this first. Let's see. We go to two D and three D. So this is what we're supposed to have basically in here. Okay. I was thinking to do something also in there just do we have shadows in here? Let me change our lights. Let's change our lights. Let's use this. She's going to fill up the lower part also as well. Okay. So I'm going to create a new fill here again. I'll say this to let's say blue at the black marks. I'm not going to paint where it's supposed to be. Let's paint in here. So not painting here. I know this is I know where the solar, so we can actually apply the material in here, so we need to.This in there. That's fine. So we need to export this texture again. Let's change this to no padding passthrough instead. Export this out again. Open out with directory. It's better. This is way better now. Now you can see it's precisely the way we want it to be. I'm going to close this. I'm going to drive this into Photoshop. Let's drag this into Photoshop. So close this Photoshop is open at the background the radio. So going to drag this into new documents. Drag this into new documents. This is a part I'm going to be using something to save this out. Let's save this out. I'm just going to save out. Let's got this from the Internet. Let's save this out as a JPEG. Senna this to SOL. All right. Then I'm going to open up the Illustritor. I'll do the Illustritor. Okay. And I'm going to create a new file. Okay? This is what we're going to be using. Open this up, and I'm going to drag and drop my image in there now. Let's drag and dbimaging. So I'm just going to use the sneakers. Going to sew rather. It's supposed to be sold, so I'm not going to drag and Dobie sing here. So I'm going to convert this into a vector image, so it's a vector five. So to do that images, okay. I'm going to convert this into a vector shape and give it straight lines. So do expand. On group, select the deletes. Select all of this, bring this to the side. Like all of this. I need to be on the move brush first. Bring it to the side. I see a lot of stuff, I need to delete also as well, delete this deletes, this as well. This also, okay. So I think I need to bring in that image in bring that image in here. Okay, so I think we need to bring it in. Then we go back to Photoshop. You can grab this from here. A, Control C. Okay. I'll go to Losito, CtVPas this in here. Okay. Shing this down. Just trying to align this in here as much as I can. Maybe we should do this Anyway, just trying to use a guide just to place things where they need to be. So there's going to be a guide fight to just use. So I'll go into my layers and then I'm going to log this image, log the image. Select all of this. Let's group it. Make it duplicates. I'll shring these duplicates. I try and place it where it needs to be. It's all the way to the back, you need to bring it to the front. So I arrange, bring to fronts. Let's get close. Okay. I'll extend this out. I need to make quite a lot of modification in here just to make it look good. Let's try and get this where we need it to be. Okay. Then we can start adjusting it where we want. Okay. Not so much. So in those needs to be a bit more precise in. So I'm going to ungroup this. I'm going to ungroup. So can select individual shapes and then extend them out however we want this to be extended out too. Okay. Do a little bit more. Okay. We can go in. I'm not really trying to make this as accurate as possible, though. I just need something that looks good enough to work with. Something good enough to work with will be just fine. Okay. I think this should work. Stand this down some more. Let's get some close. Stand this down. Down some more. Some more. Okay? I'll select this. Extend this out some more. Have we skewed this? I think we can. Let's see. Let's do share instead. Look. Send this out some more. I think I think this we can work with. Bring the closer. These three, I'll bring them closer. As let put them back in some more. Yeah, I think we can work with. I'll select the entire outing. I'll copy this, and I'll go back to Photoshop. And I'll just piece this in. P as a smart object instead. Get close. Extend this out. Extend this out. At some more I just want these two kind of fits. I think this we can work with. I'm going to duplicate it. All right. Move the duplicate down. I'm going to mirror. Let's rotate this. Let's que horizontal instead. Okay. Since somewhere around should be fine. Move it forward a little bit more. Okay, I think we can live with this. Okay, so I'll go back to let's use the magic wand, I led this red and do that SLD Image instead. Latest red. Go down ship lets red. Okay? I need to deselect what is in there and do that. Let's use sub trate selection, subtrt this undo that. Noting this correctly enough. Control D. Let me create a new few layer first. Got a new layer. Let's create a new layer, and then I'm going to let me hide the two at the top for now. We're going to select this color. Then just use that to fill the inward parts. Let's use a brush to. Fell this part up. Fell this part up as well. Select this to merge them down, Control A to merge them down. Magic selects Whip select this Control J. Select these two, Control J. Make them visible Control E to measure them down. Wow control select the thumbnails. Just let everything ins that thumbnail then. Make sure the last layer I selected is the part layer you working on then. Let's do Control J to get a copy out of that. If you hide all of this now, this is what we have. I think I need to make some corrections to this actually. You can see a whole lot better now. I'm going to let me tell this I think is the one we need is what we need to tilt. Let's just move this down I'm going to move this down some more. Let's move this down some more. So I'm going to take down the opacity for now. It's possible on this top of face. Let's take down the opacity and let's see how much you need. So I'm going to tilt this down some more. Yeah, that should be fine. I do that older shifts, squash this in more older shifts, squeege this in some more. That should be fine. I'll do the same for the lower part. Let's use the opacity. Hold shift, scratch this down some more. This way should be fine. Begin with it's not even properly sets. Just go to set this this way. Older shifts, squirtch this down down this way. This way as well. I think they should be fine. Make them visible again. Okay. Then go down Control select this. Then put these two in a group, let's put this in a group. These two at the top, I'm going to delete them. I don't need them anymore. So make a duplicate out of this. Control A, select this group. Control J, cut out of it. Something pretty much like so should be fine. Okay. I think I need to undo this. I see something I need to fix. Something I need to fix in there. Just a matter of getting this to look right. I want this to look right, so I need to extend this out a little bit more. No, do that. Undo that. Let me scale this out some more. Hold on shifts. Extend out this bit more. A little bit more this way as well. I'll do the same also in here. Up this bit more. Okay. Move this up some more. Okay. I think this should be fine. Let's duplicate that group again. Measure this. Here, I think I can work with this I can work with. I'm going to hide this now, create a white background, invert this. I'm not going to create an invert. Let's do inverts, do that. Inverse supposed to be on top. Something modest like so. I'm going to save this out as an image file. Let's save it as an image file. I'm going to drop this in here. Let's just do so let's just soul pattern. Okay? You can speech able so you can find online though. Anyone who work just fine. Let me use this instead. Let's go back in all of this. So I'm just going to select the soap pattern drag and drop this in here. I'm going to import this as a texture file. Inputs. Then I think we can use any of this. So let's start with this let's use this read instead. I'm just going to Opd for now, then I'm going to add eight channel, increase the channel, add a field, drop that inside of the gray scale. Okay. So should begin to have some kind of texture now, we need to make some modifications on it, though. Skin modify some more bots were think good enough now to work with. So to modify this, I will turn off the color for now. Let's turn of the color for now. You can see what we have in there now. I need to go into filter at the filter at the Bvul. So the Bvul now, we can kind of intensify this a little bit more. Let's figure out what works best. Not too much sons is in there. This is looking good. Let's do ang good. Les gives us round. Bevo work. I don't see any much difference in there though. Uniform. Let's do uniform. We take this down this way, pull this up. Don't do that. Let's take this back the way it was before it before that fine. Okay. So if I should duplicate this, just make it a bit more intense. Let's say we invert this. But before I do that, let me turn over this bubble for now. So you should get this on the opposite direction now, mainly just kind of moving around this, just to figure out what works best. I think around here works best to work just fine. Okay. This we can actually keep. So you can actually play with this and figure out which one works best for you, but I think this should be fine. Maybe let's go back in and then tighten this bevel a little bit more. Let's you want to tighten the bell some more just to find a very good tight value for it. Okay, probably something like so, something like this will work just fine. I'm going to save this. You can even push this further even let me take this down by duplicating this. Before we duplicate this, let's just name this to soul Soul pattern. Let me just copy this pace this in here, duplicate this again. Then this time around I'll do invert, so let's invert max. Okay. So let's turn on the bevel as well. So you should be getting something a little bit more interesting in here as well. So if you turn this off, you can see slight edge difference in there. Make it a little bit more interesting. Okay, turn this off. So this is going to give it a little bit of an interesting look to it. Okay. So this we can work with. So let me go and close. S this only three D alone. Okay. Do a quick sieve. Then let's do some actual renders out of this. But let me bring in, let's use this studio black. Ton on shadows for it. Okay. Get up close. And let's go to we render. Let's do some renders. Let's see what we can get out of this. Okay, interesting. We have some testing here. Let me go and change the a little bit more. Okay. This is way too dark, actually. We see some shadows in there. We need to actually see some shadows going on here. Maybe down some more a little bit more. Okay. I think we can work with Asia a little bit more. I don't think I'm pushing this too far out. Getting glass should be fine. Let's getting close. Okay. Glass should be fine. Unless renders out of this. Let's go to render setting. I'm going to set this to n just allow this run through for a little bit. Okay, so it's done rendering, at least basic render. Let's save this out. Save this great new folder for it. Render. Let's do sneakers. 01. That's fine. I'm gonna do some other render view, but it just give you guys a good idea what this final result looks like. So I'll see you guys in the next lesson, bye for now. 24. 23 Look Dev In Marmoset Toolbag: Okay. Talk about guys. In previous lesson, we kind of did test strand that's inside of irony. Let's do some model work I would like to do in here. So I'd like to export out the texture. Let's turn of the shadows for now. I'm going to export out textures for this. Okay? So let's go over to file export textures. So let's turn these three on. Let's specify where you want to export our textures too. So I want to export it to the retro Nike sneakers. You can export it anyway, actually. Anyway, it seems best to export this out, you can. So I'm not going to create a new folder in here. I'll name this to XP textures. Okay? Lay that fold out. Food spotting out for key resolution, no padding pass through. I don't have any metal properties in let's just leave it on. Turn off normal leave normal open GL, to off Auebot seclusion. Calm down. Ambiente Turn ambient seclusion off of this normal off wants keep our normal open GT. Let's turn these two off off as well. Let's export this out. You should have this exported out correctly. Based on exporting. Okay? I think we're done with this. I'm going to close this, S with this yes. All right, let's go back to Maya in here, I'll put all of this in your name these two sneakers and I'll duplicate this group, how high you want at the top. Select all of this. Let's go to modeling standard. I would like to bring it closer. Manton on face more. Select all this face then let's bring it closer. Select this as well. Bring those closer. I think axo should be fine. Maybe quick little bit more space in between them, I think you should be fine. Okay. I work just fine. I'll save this. Then we need to. We go set up a studio for it. So I have a studio mesh I can actually use. So no, no edge. Let me drag this in here. All right. So we're off. I think I have something better than I was just properly positioned. I think I have something properly positioned. He should be fine. This is properly positioned. I'm not going to pretty much drag this and drop this to be. Let's go to what you. Let's do this in position. It on the keyboard, I'm going to drag this all the way to the edge, hit the again, bring this down. We need to align this properly. I'm going to use this as a guys touching the soul. Somewhere around there should be fine. Getting close now. Maybe move this a little down a little bit more slightly touching it Let's get in there. Think a little bit more. All right. I think they should be more or less fine. Quite big though, but this work just fine. All right, do a quick sie Okay. Now I need to explore this out. Let me do this weird name and by the end. I'm going to select these two, and I'm going to explore this out as an FBX. Let us pull this out as a new BX. Put to the front. So you go to bring this because I want to render this out in Mama set two bag. I'm going to render out in Mama set two bags. So let's go in to Mama set two bag. A? So we have Mom set two bag open up in here. So I'm using the Momo set two back four. I'm using the classic layout for this. So let's drag and drop in a file. So let's go back in studio sneaker, SLB x. I'm just going to. I'm not sure this exported out correctly. Dad did not spot out correctly, so we need to export out again. Did not spot out correctly, because the five size is smaller than what it needs to be, so let's now spot again. Like spots, yes. Let's give you some moments. Go back in there, spot it up now, 11 gives precisely what you want. So let's go and drag and drop this in here. I drag and drop this into almost set two bag. I think we need to subdivide the studio. It's not looking smooth enough. Let's subdivide this one, stay on the keyboard. Then we go to modify, convert math preview to oolgons. So they should hold up quite nicely now. Let's expot this out again. Just replace. All right. I cannot update itself automatically, which is one of the cool things about most two ba cannot update the model immediately. So now that we have this in here now, I'm going to for the bab drop, I believe this is the babrop. So I would like to use the same colo tone we did for the rendering. It's era. Open the co minimize this. I believe we should be able to pick. Should be able to pick the colour for mits let's go into the colo. Let's see if we can pick colours outside. So we have a color picker? I think you can only pick colos from inside. Only pick colours from inside instead. But that's fine. It's going to go around roughly where it needs to be. I think we have something roughly around let's do somewhere around here for now. Okay. The need to make this quite rough. It needs to be quite rough. Okay. We don't want any metallic property to this. So we need to change this from food quality to okay, no, yeah, we need to go to rendering settings. I believe that rendre settings, let's use re tracing. Then that digi we have a material in here for the sky, though. We have a texture in there for the sky. Not entirely sure if I want to use this though box. I would preferably like to use so I'm reuting my light now. I'll preferably like to use the one I kind of use instead of top and spinter. But let's just try this on, let's see if this will give us good results. Okay, so I'm going to now start bringing in the textures. Let's start with the sneakers. Min body itself, so normal map. So not in here, I need to go Okay, let's go over to when we have textures put it out in B textures. So let's have the normal map for the sneakers, so sneakers. This is it to select that to begin with. You should have our normal map in here now, Bd Let's select bed bed that's metallic. Sneakers mat, here is B color. That's the one we need. Okay. Looking at this now, I already know I will need to use the GI from SubtansPena instead. So just carry on. The roughness, let's bring in the roughness map. The roughness map, metala. Let's bring something in there. We actually expected that metal in there. Though won't be seeing much of it happening there though. I believe so set up now. Let's go to the shoes normal map. Shoeies be shoes parts. It's like a normal map. Get closes being affected Abdo bed shoeless parts. That's one roughness roughness map for it. Metallic, I don't see you having a metallic material in the blood just select the map that is so pattern. Know map for the sow pattern should be one at the bottom. So this is it Bdo PDPs color roughness. Roughness. I'd like to save this file. Let me save this file. Let me just name this more more sets. Sneakers. Let us find metallic. Let's go back to textures metallic for this select. I know evidently now that I will need to use the lights from stans pinta I'm not going to duplicate this light. I'm not to duplicate this light so conclude to duplicate this. We put these lights. Lights I go into image. So we need to go and find need to find where that is Dube sotanspinter. I believe the resources for starter assets. Environment Studio believes studio Studio Black Studio Black softs one like that. Okay. Yeah, that's the one. All right. So this gives us a nice shadow in there as well. So I'd like to change the background also. Change the eye video for the background. Something that's more dark bluish tints to it. Okay, maybe done some more around there should be fine. But now we have kind of generalized speck across the entire outing, brightness is kind of all over the place. I would like to get something a bit darker in. Let's just let's just get a good balance, then we can introduce some other lights in here as well. Let's get a good balance, so Okay. Then I'm going to can temporarily hide these lights. We can take down the brightness. General brightness for it. I'm going to introduce new lights in. Let's introduce new lights. Let's use the rational light doesn't really do much though. I think we can change too many lights. Let's see if we can change the shape of this to a rectangle. Not sure getting the Let's change this light a bit more. Let's use spotlight. Let's try spotlight. Spotlight gives us probably better contrast to it instead. I'm going to rotate it this way, drag the sp Nothing about working with small set to bags that to get good results, there's not, I would say, not too much controlling here for some specific setup you want to do, but either way to get good results, just kind of play with the light and then figure out the right angles for it and it should be good. Let move this up some more He just facing down. Complete turn of our skylights. You can just see just the nil lights a bit more. Brightness more. Let's get in there. I'd like to soften out the edges of the shadows also. Let's see spot angle, all that. Cast shadows. We don't have cast shadow, we definitely need this cast shadow, obviously. Let's adjust the let me take this off first. Let's see. Okay. That's looking good. I'd like to soften the shadow some more. Let's see if we have a setup soften the shadow in here. One of the supposed soften the shadows but. It's not really softening those shadows for us that much. Okay. Now this diminute soften the shadow. It's not giving me that desired result, let's see if we can think how to play with this setup little bit just to soften the shadows on the edge. I'd like to change the lights. So more warm for this. I'm not sure I'm seeing the color picking through this though. Okay, now we're getting something. Okay. I I don't want it to be too warm. Let's get in there. Let's see what it gets in. Okay, slightly warmer tone. Yeah, I think we can leave this for now. Let's turn back on the sky light so we can actually get some good balancing between them. Okay, that's fine. So I'm going to duplicate these lights. I'm going to duplicate these lights, and I need to move it to the opposite side. So I'll move it to the opposite side. I'd like to change this let's use an omnlight instead. The om light is quite big, maybe I'll go back to the spot lights instead. I would rotate rotating inside of Momos too, but anyways, let's get this at a good angle as well. This way, move this forward this way instead of a tricky when working with the rotation and the navigation zines inside of Monsebg. But I think somewhere around there should be fine. All right? I was a way we can exclude the background from being lit off with this extra light we're adding in here. Anyways, let's just change this to a more bluish tins. Let's use a more darker blue darker bluish tins, okay? That should be fine. So this is basically what I want to do in here just to get a more interesting light set up to this. I'm going to darken the backdrop a little bit more. Maybe even you something completely black. This is completely black. I see. All right. Now I'm going to move my skylight a little bit more. I'm just going to rotate this one more. Let me kind of look for a more better angle for this. Let's find a good angle. This is way too bright. Don't look cool though. Actually looks cool. I think I would like to turn off the shadow for these blue lights as well, keep keep this let's see lame bit on. Let's just find a proper angle for these lights. Way too dark. This looks like an interesting one, but we're losing those color contrast coming from those other lights we added. We just need something that leaves the environment a bit smoke what's in Asia most like a skylight rather like a key light. Kind of leaves the ambience of the entire light across the entire mesh. I'll go back to the orange warm light. I kind of make it a little bit maybe bit too warm adds a little bit more warm to it. Okay. I think something should be fine, rotates. Skylight a little bit more. Yeah, I think somewhere around there should be fine. I'll do a quick save for this. I think this should work. I think there should be, we can look for the t table. You found the turn tab around here. I want to do renders for this, we can just go into render. The main cameras where I think we set this to 85 millimeter lens as well. So let's do 85. You get good camera angle in there. Even when you close off shot, you can see most of your details quite well. So I think this is looking good. This will work just fine, save again. Okay. So we can do some editing in here as well if we need to. I doubt. But let's just play with this. Let's see if we bring in some saturations in, maybe not too much. Just a little should be fine. Okay. Contrast, let's increase the contrast. Not as too much contrast. Let's say this back to one. All right, we have the bloom. I don't think we need that much bloom, though. Maybe a tiny bit should be fine. Okay? I don't think we need to netting in early that we do that is fine. Let's go to render, scroll down. I'm not sure if we need to learn I don't think we need ambience collision in here actually. Let's go down to render setup here let's do some renders out of this. The default will be just fine. Default will work just fine. I think this size arranging out also should be fine. Let's increase this to something around two k. Let's do two k render for this. I believe there should be a show frame somewhere. So you can actually see where we're rendering out. Show somewhere. It's the main camera, set the main camera and just see frame. So give us an idea what kind of render view for this, know how we're rending. What's going to brand that out actually. Let's go back to render and specify our output, specified output for this. I'm going to put this in I retro nike sneakers food. So let's get this in here. I'll give it a name. Let's just do snake sneakers. Okay, so rendering out as a PNG. I'll save this and then I'll just hit render for it. So let's go down too render image down. Let's do render image. So this shouldn't take too long. Shouldn't take too long. So let's just give the moments. I'll come back when it's Okay, almost done. So it's done rendering. De rendering. So if you go back in here so this is a final renders in here. It's looking quite good, quite neat as well. Some good neat renders out of this is fine. I like to try some turn table in here, so I need to open up this food. I'm going to drag out the backdrop. I'll select the hues now. I'll go to not seeing art objects. Let's do. Let's do it let's do tm table. Okay, this should be fine. Okay, so let's go to animate sub unless it's play on this. Alright kind of turn in the sneakers on. That was why I kind of removed the backdrop out of this. So this is looking good. So we can render viusly render this out. We're going to steal this a little bit more. So I want everything to catch actually be in view. I think this is looking good. I'm going to stop this for now. I'll stop this. Let's pause this, go c to the end. I'm going to render this out now. Let's go to render. I want to render this out as a video. I want to render, come down to Video stab. You want to render this. I think the default to be fine. This one is sing it should be fine. I don't need to go too crazy on this. Maybe we can go even maybe even lower for this. We can go lower. Let's use. Let's leave it as it is actually. Just let's give it a little bit of time just to render out. So just to specify the foold I want to render out this in. Let's just do sneakers. T table that is fine. See this. Then all we need to do just to click on render. Click on render. So I'll come back when this is done. I'll show you guys that's good to be our conclusion video for this. So see you guys in next lesson. Bye for now. 25. 24 CONCLUSION: Welcome to the final conclusion of this tutorial. So I've gone through quite a lot, actually. So first of all, let me congratulate you for getting to the final part of this, which is the conclusion. So we used Zbrush to kind of modify, create extras and sculpt quite a lot of most of these detail actually, most of the sneakering years at we done in Zbrush. So it's been an amazing journey just to show you guys my technique in tackling a retro Nike snickers instead of Zbrush and then showing you guys my technique in bringing it into sbtanpnter baking in ze brush, doing the uv wrapping in Maya, and then texturing the entire tin instead of sbtanspnter and some test render and then bringing it back out to Maya and setting it up for Marmo set bag, and then we have a final renders in here. So if you kind of follow through the entire us step by step, you should definitely be having a final result looking as good as this that you can actually use as a portfolio piece. So with that in mind, I want to congratulate you guys once again and then buy for now.