SEMI REALISTIC BEAUTIFUL DARK GIRL 3D HEAD DESIGN

1. TRAILER SEMI REALISTIC 3D GIRL : Hey, guys, my name is Keychi John, a three D character and probe artist with over five years of experience in V effects and game industry. I specialize in realistic three D character and procreation. In this class, I'm excited to walk you through the process of creating one of my latest portfolio piece, a semi realistic three D female head with rich melanin skin tones, natural grooming, and cinematic rendering. Here's what you learn. You discover how to texture realistic skin in substance painter with beauty pass eyelight and sub through tone variation. Groom soup and volumoush using gen in Maya, render final images with lighting setup that gives you work a professional and polished finish. What is this for? This class is for TD artists, students or hobbies who want to improve their character curation workflow. You get the most out of this if you already have a basic understanding of Maya, substance painter, and rendering fundamentals in Arnaud. Why take this class. By the end of this class, you have a fully textured groomed and rendered three the female head, perfect for adding to your portfolio and showing off your realistic character skills. You follow along to create your own version of character complete with high quality skin textures, natural looking e gen A and final render seq that brings it all together. Away to see what you create. This is going to be fun detailed and packed with valuable tea. Let's get started. 2. 01 Semi Realistic Dark Girl Baking In Substance Painter: Okay, O comba guys, so this Tori. I'm going to be texturing a character using this referencing here. I already have the Baz mesh in already, so let's bring this into SubtnSpner and I'm going to show you guys how to texture that from scratch instead of Subtan Spenter. So let's go in and create new let's let our base mesh for this. So these are mesh in here. We're going to be using all the Glc on that. We're not using UVtiz for this. So twos fine. Let's Bick that map. I already biked out some maps kind of use in here. So let's just go in and get them in. I'll select these three, drop them in. Click Okay. I think that should be okay. The one more map, you need to input in. So I have an eye texture map, I need to input in. Okay, so we can use the normal maps for this. Yes, open the Iris normal, it should be this, then this also this, this, and this also should be pretty much it. I'm going to open this up. Okay. I'll click Okay, then we should have this in in a few seconds. Now first I like just upset my camera in. Let's use cameras a bit more accurate, a portrd camera lens. So let's do 85 millimeter in it should be fine. So this scope is to based on the same reference we have in here. So we're going to try and get this texture looking similar to what we have in here, right? So ignore the hair and the bowl, so just please fold in there. So yeah, let's move on. So let's big this out. Let's go to dark G mat. Then I'm going to come over select normal I use the normal map for the gil. So you should load this up. Yeah, this is fine. This we can work with. Okay, so let's go to We don't have no map for the for the iris. Let's grab something for the Iris normal. Yes, minuscule no. We don't have anything in there. So let's do for the neckbw. Have normal map in here for the neckbw. The leg darts that should be in now. Okay. This should work just fine. Let me just be on the safe side. Let's go back to Zbrush. However much in select this, let's go to the highest subdivision level for this. The high subdivision level needs another additional subdivision level in this. Let's subdivide this one more. Let's get something really smooth in here. Let's subdivide this again. So I'm going to big out a map again for this just to make sure we get something good enough to work with. So let me go to a lower subdivision level. I'm going to level where I sped this out, and I'm going to create a normal map again for this. Then I'm just going to replace it. So this is fine, lowntexture. Flip V exports. Go in here. Let's select this. Let's just replace that. Let's go back to Softnspener. Then we need to close this. You need to update the texture, let's go over to textures, type in neck, rightly conduct, do a reload, then we can drag and drop this in here. So we get something slightly cleaner now. Let's cancel this. Let's see if we have something in there. Yeah, this is fine. Let's go to our outer I. Let's select the normal for the outer I. That is fine. Let me save this. Save this up. Save it whatever name you prefer to use. Okay. Save out now that should be fine. Saving up. So saved out note. Now, let's big textures for this. Let's go over textures sets, big mesh maps. Let's big necessary mouse needed in sobtanpener to work a bit more accurately. So I want to big mouth with that gel, exclude the exclude the minuscule. Okay. Yeah, exclude the teeth also. So this is everything that comes with the normal map, normal maps in there. Nanomal map. So big for this. Let's select the first one. Turn off normal, select the Iris, turn off normal, neck bone, turn off normal, outer eye, turn off normal for that. Then let's set the curvature for this. Let's do generate from mesh, generate from no Mama product. Then under ambient clusion Sevillion always serve same name. I always gives me a better results, so. This should be fine. So let's click on big selected textures, and then let's give the same momentum run through. Okay, hold on. So now let's go in and then invert this invert texture sets. So for this now, we need to big maps normal maps. Let me do this as wrong on selected. Yes. Normal maps in there already. Okay. Yes. So for the overture, let's just generate this from the mesh itself. Then click on big selected textures. Let's give this a moment. This shouldn't take too long. In there just a place older, so shouldn't worry too much about that. I think it's almost It's kind of floating down yet, so it's almost done. This run through almost there. Yeah, it has it, so it's fine now. Let's come and we're going to run painting mode and then get painted some painting on top of hire as much as possible to get a skin very, very similar to what we have in here. Don't painting. Let's check what we are big. Think this should be just fine, close. I should be all should all instead. So this should be fine for what we need it for so we can jump into the text sharing process in the next lesson. I'll see you guys in the next lesson. Bye for now. 3. 02 Semi Realistic Dark Girl Base Skin In Substance Painter: Okay, welcome bad guys. So let's get right into it. This is like our main skin reference here. But at the same time, I also have another reference here for a more realistic human character. So I'm going to be using this as my reference guide to kind of gets the more or less like the Albido texture of this and then use the Abido texture and texture is a character in here. So this is Abido texture with no light information in there. So this is what I'm going to business. My best kind of capture the essence of the colors in there, but still keeping this in mind as a final pass for this. So let's jump right in. Okay. So the idea is kind of start with a dark shade and then build up lighter shade on top of that so. Let's select the girl mats isolate this. And I'll go over to my texture set say this to fork your resolution. So that should give us a more defined wrinkle detail and skiple detail around this. So should be a bit clearer now. Like, so should be fine. Okay. So now let's carry on. So I'm going to go in so my layers, I'll delete this. Originally, I'm working for I'm working on a caucasian skin, Fatual do kind of drop in a vein, blood splatter, smart material created in here, but let me show you guys actually you can actually see that. So just type case in here. Okay. Smart materials. Let's see. Here, this is the one red skin. Typically, I start with a base like this, in capture the redness of the skin, and then I'm going to then I float that with some brtle caucasian skin tone in there but this is the dark skin tone, so a darker skin tone does not necessarily need this in here actually. You can always start with a dark tone, and then just fill with d c. Except if just for the sake of having this in there, just have another additional layer underneath this, you can keep this but take down the dig down the redness down some more and then create a few layer with a few layer that should be on top of this. And this few layer should have a more rough value somewhere around not entirely roughed somewhere somewhere around this should be fine. Then we're going to unpick the darker sheet. We can pick from many of these too, though. You can also see some darker shed in here darker reddish tone. Maybe we shouldn't pick from this instead. Find this dark tone. Yes, it's a good base. So I'm going to biz in. Maybe I should won't drag and drop this in here, so I can just work with just one let this to. So work with just one pure pure board in here. So let me pz this in here. Like, so restaurant creates, we can create a bit more space by moving this out. He puts in this down here instead. Then bring this two inner and just scale this out a little bit more. So we have those two inner so we can actually pick in between them. Then this I can temporarily hide. Okay. So working with one now. Let's close this. You can see you are using this now. It kind of completely covers that red. So if you go in and then, let's include this all the way up again. So there isn't so much difference in here actually. Except we can break things up. So more we can do we can add a black marks. Let's rename this two Bse dark tone. All right. This is going to be a base dark tone for this. Let's go back in here. This is going to be more or less the main reference to paint with. Let's see. Something, so we're actually going to lighten things up we need to lighten things up though. But for now, this should be fine. Okay. So I'm going to right click on this, add a black mark. On that black mark, I'm going to add a few layer. And on that few layer, I'm going to add use a texture map in here, kind of marks this. So let's use the cloud. Let's use the cloud in here. So let's find a good cloud in here. You know, I supposed to be like some cloud texture in here s clouds. So there are a few ones in here. Let's let's start with this. Okay. Then I'll see you on the keyboard to go to the max. Let's find the marks for that. So this is the mark for this. Let's tile this some more. Make sure we're using this on tripar mapping. Let's tile this some more. Now it looks looking to more or less like some non seamless dalb map in here. So we go make sure that we're not seeing any repetition in there too much. We don't want too much repetition in there. Open up the noise perimeters, adjust this a bit more. It A on the keyboard. Let's see what we have. Okay. Maybe tune down the tilling to get this spread out a bit more. I'll come in a let's add a blow to this on filter. On this filter. Let's use the blow filter in produce a little bit more, I'm going to duplicate this for this lower for this one underneath this, I think I would let's start by turning off the blow. Let's randomize this. Let's see where it gets. Just basically to kind of fill this up some more. Let's take down the cloud. Like, so should be fine. Okay? Then this at the top, I'm going to lighten this a bit more. You should be fine. Okay. I'm getting something in here though. So I'm going to take this down some more or maybe probably duplicate this instead. And I'm going to play or move the marks in here, move the marks. Let's do a slightly differentiate in here. Slightly differentiating here, something like so. I'm going to take down the visibility of that. Somewhere around there. So this is just going to help us breakup itself a bit more. So if you see on the keyboard, let's see base color, you can see how this is kind of broken up some more. You can see some patches of breakup in there, which is precisely what we need. Some redness also in a few places. I'm going to select this my basene and then take that. Let's see what we get. Okay. Take it down, stick this down slightly. Alright, so we can continue on. Now, based on the main reference, we have, we're not going to go overboard in here. Just enough kind of creates this texture or skin tone texture in here will be just fine. Okay. So now that we have this in here, I think I would need to duplicate this again, then get one just below this red tone in here. Most likely, darken this even more. Like so. Yeah, so it should be fine. Okay? Then we're still going to go in and then start breaking breaking this up by using some butting some paints in the more like some unpaint india. So far, this should be working just fine. You can see some breakups in there. She's fine. Okay. Let's compare this to our main reference again. Yeah, I think the skin tone is kind of more or less close to what we need it to be. So we just need some breakup here and there. Okay, so I think we need to do some better naming in here. M. Let's use base dark tone or maybe darker instead. Let's use darker instead. Okay? Let's rename this to base. Okay, base dark. Don't want the first not to darker, then this should be Let's see. Can we name this s? I'm not good with naming, though, so don't mind me if I bread or use weird naming conventions in here, but it should be fine. So based like dark. Baz dark No. Let's use light instead. Okay. Then I'm going to create or duplicate this. I'm going to name this to light brown tone instead. So let's rename this. So move this base. Light brown. All right. Light brown. Then I think we can remove this base base base we have in here. And put brown in front. All right. Name this so. Okay. Brown tone. All right, just to keep things organized. That's some kind of naming things in here just to keep things a bit more organized. Okay. Yeah, what Mina like to do also in here would be. I think I should have done this first was to change our light scene to Tomaco studio instead Tomaco studio has a better neutral light setup for this. So, of I need a more neutral light setup. The previoust we had more orangish orangish tint to it, which is not precisely what I want. So in that case, that means we need to kind of darken some of this a bit more. Let me turn this off for now. I think this based tone, I think I would let's start with this first. Let's darken it some more. Okay? Select this, darken this a little bit more. Let's see if you go all the way black. Let's see if there's any major difference, okay? There are some differences there. Okay. Let's do this also too. Let's darken this a little bit more. It's just way too dark. I'm creating some weird shape in here also. Let's check this. Let's see what all of this does in here. Let's say we darken this, let's see what we get. Okay. Maybe too dark. View is way too dark. I think somewhere around the nature of around where to before should be fine. Alright. Move our light around. Let's see. Okay. I'm seeing some seeing some weird issue for the leap. And this has to do with the normal mapping here, so this issue is from the normal map. So we can easily fix that. So we can just go to normal map a bit for this. Go to normal map. Let's drag this into Photoshop. Come on now. Okay, so let's drag this in here to photoshop. Its a new documents in here. Play this. Let's zoom into the leap. Let's find the leap in here. So this is where I wish is coming from. So we can use the clone stamp in here and then just fix that. Okay. Out, grab these parts and just use it to clean this up. Grab the parts. Easy to clean this up, grab this part again, clean this up. Just tap in there to clean that. Grab this. Let's clean this up. All right, so I'm going to go trough shift to save this Save this. Let's name these 22. Save this. Okay. Then I'll go back to Stan spin and then import that back in. So it's almost done saving. It's almost done saving save now. Let's drag this in here. Did I think I'm in the wrong place? Let's go over here. Well, let me make sure I'm using the correct matte Dg no matter. That's the correct one. Okay. So I'm going to go over and then bring this back to substance painter, drag and drop this in here. Let's use textures, imports. Okay. Let's go over to normal map, remove this normal map, then drag a new normal map in there. Okay. Yeah, much better. This This will work just fine now. So not so much happening in there. But I think there's a darkness in there that we need to remove probably coming from the ambient elusion I believe, yes. So you need to kind of make a new ambient clusion for just the head alone. So select the head, turn off everything else apart from the ambient seclusion. Okay. Well, let's bake coverture map also, too. I think we need new covature map for this, Covture map to be generated from the normal map. Alright, so yes, this should be fine. Then we can run this again, Bk selected. I shouldn't take time. I'll baking for probably about two in here. For two, that's done. So we turn back to painting mode. Yeah, this should be fine now. Okay? Yes, we can definitely work with this. So we're going to set this kind of leave this as our base texture in here. These are our base textures. In the next lesson, we're going to work on, let me rename all of this down here. Put all of this in a group, and I'm going to rename this to Bizetne Bie dark dark skin. Tone. Alright, I can always save this as a smart max, also, too. So let me let me just put as in front. Let me show you get how to say what smart material. So you can always reuse this later on for project just to get a base to start with, so I'm going to write lik in here and I'm going to use save or rather create smart material in here. So I've done that now, you can see this in here. So I'm doing this because all of what we did in here just using procedural textures, kind of creates a base texture for the character before we start adding layers of painted painted textures or coloring in here. It's kind of break up the uniformity of this a bit more so. That's that, so I'll see you guys in next lesson by for now. 4. 03 Semi Realistic Dark Girl Top Skin In Substance Painter: Hello, welcome back guys. So I'm going to continue from where we left off. In the previous lesson, we kind of worked on creating this B's skin tone. So in this story, I'm going to start working on creating some additional tone to this. And also keeping in mind, I'm not going to go too extreme in here because it's more or less like it's moreles like a semi realistic kind of character in here, not entirely realistic, but some of the major structures of the face are not actually in there. It's going to give you that distance realistic look to it. So let's show an example. I go to compare this to another female face, more realistic female face in here, these are some expression in the less use more neutral outputs you can seem most especially on the eye, you can see, there's not so much of the realistic detail in in on this. So it's more or less in between stylized and then semi realistic. So that's a general idea for this character in here. So moving on so that being said, so I'm not going to spend so much time making the skin texture look more or less like a very realistic skin texture in your I want to make it look a bit superficial kind of. I want to make the skin look a bit superficial, although imperfections there, but still superficial to some extent. So let's jump right into it. I'm going to select this. I need to change the color for this. It's a more light skin toon so I can pick more brighter skin tone around the top part of your face somewhere around here. Okay. Maybe that's way too much. Let's speak somewhere around here instead. Like, so I'm going to add a black marks in there. I'm going to go over to my brushes in here, so brushes, clades. So I want to use mats or rather desk brush instead. I need to use the dead brush. Let's use the dead brush one. Dead brush one is always a good one to use in here. I'm going to take down the floor, take down the stroke opacity, and now it's on the keyboard to go into my base color. Then I'll start painting this across. Let's take down the visibility on the floor, clear this out again. Or maybe not. Let's put this back. Flow should be down though, this should be fine. It should be fine. So I just need to kind of brighten up some part of the fast. But let's use this as our guide instead. So we know which area of the fast need to brighten up, so you can see a good portion region around here, giving us a clear idea which part we should kind of brighten out nose around this part also. So all this part like so should be fine. Okay, I am on the keyboard. Let's see what we have in here. Yeah, you're obviously too bright, but that's fine. I'm going to ing this a bit. Let me come in here and more or let's change the colours. Let's duplicate this as a backup. Let's pick the colour from this instead. Yes, this is a better one. It's actually a better colo to use. Not a better colote to use. Kind of blends a bit more properly with the entire skin instead, sort of the older one. So moving on, so we can see some part on the lower less easy on the keyboard, increase the bro size a bit more. As a part on the lower part of the chest knees be brightened up with this symtne. So let's add. Let's add that also in the scale this out. Let's take down the stroke paste for this. For this part needs to be a bit lighter lighten this part out. Do the same also around here all the way to the neck around there, around here also. Okay, I'll use the bro sides. Let's do some breakups also in here some slight breakup around these parts. Okay. Let's hit M on the keyboard. Let's see what we have. Awesome. So this is working just fine. Just that kind of I'm coming a bit close. So I need a few more need a few more breakup around this nose. Saving up, let's give you a moment. Okay. So I would like to brighten this part up also a bit more lightly. Okay. Let's reduce the opacity a bit more and lighten this underpre just a little bit more. Seems around here. Around there also, just to get some more even out tone around there also. I'm doing this with asymmetry ton down, so just to get more unique get some more unique feeling around there a bit more. So let me increase this opacity now and pints across Okay. It's aim on the keyboard, let's see what we have. Okay. I feel more like parties around this. So we need to work a little bit more in the or rather. We need to blow this out so much, so it blends more tightly across the surface. So let's go back to this. I think this should work. It should work. So we can go in and then add let's delete this now. Don't need this anymore. So let's delete this copy we have in the Okay then for the max, let the max and then let's add a filter. For this filter, I'm going to use a blow filter because you need to blow this out. Let's see on the keyboard. Let's see what we are blowing out. Make this quite soft because it looks quite soft on the surface in the on the keyboard. So we've kind of soft in this out. Maybe went overboard. Let's take this down a little bit more. I think somewhere around there should be fine. And I can see some redness across the face on the nose, it's a bit of redness in there. So you can also introduce that introduce that redness in. That should be like the ice nand the cake for this. This is by no means perfect, but based on this semi realistic look we're going for. So this should work just fine. This will work just fine. All right? So moving on, let's see, she still has some measure of makeup around the face also, so that we're adding a bit. Okay. So, one thing I need to add the darkness around the eye. Todd some darker shed around the eye. I'm going to duplicate this at the black marks. I'm going to darken the shed a bit. Maybe we won't pick most likely pick the color from the eye. Okay? At the black marks. Let me name this to dark darken. Calves. Let's use darker dark high. So in here, I think I can use symmetry in here now. Let's use symmetry in here for this to get this a bit more accurately, let's reduce the bro size. Use the brow size, get in there. It's on the keyboard. Let's dark in this these needs to be a bit darker around here. It's on the keyboard, dark in this more around here. Zoom out some more. Yes, this should be fine. So obviously, we also need to kind of think I should brush this off here. Okay. You need to kind of add a filter also in here, so blow filter in there. Let's spread this out a bit more. Okay. Let's see. I think we went a little overboard so let's turn off this blow and let's clean things up a bit more. I'm gonna use x on the keyboard to kind of clean this up, clean up some more Okay. Now, let's blow. Yeah, it should be fine. It should be fine in so she a more darker top part is a bit darker, actually, so we can turn of the blow, use a smaller blow size actually, and not so more dark do that. Eat eggs on the keyboard. Let's add some more darker shade. On these parts, this needs to be a bit darker. Okay. You see you can do that. Just on the lining of lining of it needs to be a bit darker, increase the opacity. The lining needs to be darker, so a darker lining around us even working, it's working the darker lining in your Okay. Darker lining. I'm doing this with cemetary tons, that is fine. Let's zoom out. Let's see what we get. Okay. Okay. I think it should be fine as a base. So I'm going to create another one, also. Let's blow this out. No, no, that's way too much. Blow is way too much. Let's go in, take this down some more. Okay. I'm going to duplicate this for this, I'm going to add a black mark, and I'm going to darken this even more. Let's drag this down. We can also use theS code in here if you want to. Let's darken this down. So more go into the This is going to be like our eyeliner, I guess. I'm not into makeup obviously, this is going to be like our eyeliner. So I think I need to increase this increase the flow a bit more. So this is going to be a liner. So let's get this darker. Okay. Let's do the same for the top. Block size a little bit more. Okay. Okay this darker is called mask car. I have absolutely no idea. I'm into makeup, obviously. It shows right. I'm not into makeup. But I believe I'm doing the writes in indie so Okay. You should give it a bit more smoky high to it. So I'm going to blow this out a little bit more to make it feel soft. This is darker eyeliner. Okay. Darker eyeliner. All right. Yeah, it should be more less like it. I'm going to add a black or add a filter to it. Blood filter. Yeah, this should be more less more less like it should be just fine. So I think I'd like to add some metallic property to it just to make it feel more like a little bit metal in there. Something like so should be fine. Just a little bit of metallic property to this. Okay. Let's see, this should work fine. The most interesting thing about this is actually I. This is like the most interesting feature around this, but all of this kind of works together to make it look a bit more unique. Okay. So before we add this could I just add this in here? See this kind sea varishblush around here. So let's create that around the eye. So I'm going to duplicate this at the black marks. So for this, I'm going to be using a different type of brush in here. This dot brush would be a better one. So I'm going to double click on that. It's small gonna add like a spray turn to it, like so. Is this spray turn also to what's it going to use for this ss around this? Maybe she even use that now actually cause seems like a right brush and the right collaton to also use for the frackle dark fracles around our face. So let's turn off symmetry for now, let's do this asymmetrically. So I'm just going to spray. Let's get in a bit closer. Let's see. Let's take down our take down the bro size. But this seond these are the smallest let's see, come back in here, take down the bro size. Let's paint around there. Okay, that's fine. But to increase the spacing. Increase the space in a bit more. So it paints more like this across. Let's see the sizing for this. Can use a bigger brlow size for this. Let's undo that. Let's increase our brow size a bit more. Okay, increase the brow size a little bit more. All right. Okay, reduce the brow size now. Increase the brow size, do a bit more around here. Okay. Okay, increase the brow size. Let's work on the other side. I think the spacing is bit too much let's reuse the spacing. Let's see what we get a few more around the nose around here. All right, go to the other side. Reuse the brow size some more. Use the brow size. All right. Yeah, this seems fine. Except we need to use a more brown now, push it towards a more brown now skin tone. So let's get this towards a more darker darker brown skin tone. Yeah, something around here should be fine. Okay? Alright, guess I should do a few more around here. Oh, that's way too much. Well, maybe a smaller bro size instead. Let's get smaller ones in there. Okay, that's fine. So let's name these two fracs, or fracs keep pronouncing this wrongly, I guess. So fracs, that should be fine. Then let's duplicate this layer. So this is going to be a silver mascara. Yeah, come after me. I'm sure I'm getting this wrong. So anyway, let's add the black marks that. So this mug is supposed to be more like a si vars tone, so let's put it towards the whites. Towards the whites. Get some more metallic property to it. Maybe that's way too metallic. But let's go and change our brush size to that brush one. Let's come in close. Let's blush. Whoa. That's a bit too extreme. Let's take down the flow, take down the stroke capacity. I think we need to do this symmetry turned on. Let's do this with symmetry turned on. Duce bro size a bit more. So something like so. Okay. Then I'm going to obvious, isn't it blood is out. Blood is out a bit more. Let's get close. Let's see what we have. Okay, no, no, no, no, no. At the black marks. I'm supposed to still use the same dot brush in there and kind of spray. Feels more like a spray in there. I think my frocks are way too big. So let's go quite small. Yeah, perfect, perfect, so Okay. I think that's way too broad. I think we moved. Way too broad for that. Okay. Do that. Top part we added. Yeah, I think this should be fine. I think I can add a little bit of blood to this. Let's see what a little bit of blood does to that, completely blows it out. Take this down, and I'm going to take down the opacity down a bit more. I shouldn't be too obvious in there. Just enough. Just enough so should be fine. Take down this row opacity even more, take down the flow, and then just add a few more around these parts. I kind of fiels out sort of more or less like so. Okay, maybe take this down some more should just be roughly around there. Okay? Yeah, that should be fine. So now let's add some more red tone, some more reddish tones. I'm going to duplicate this light brown tone, duplicate that at a black marks. Let's see if we can pick out that red tone. Let's see if we can capture that red tone in the more or less like so put this towards the red bit more. Okay, then use the t brush. Let's see where we can paint this in this redness like so. Some reds with symmetry turn on. So more redness. No tour this off. Let's turn off symmetry for this actually for the nose. And I'm going to add some more redness around the nose. This we're going to see blend down. But let's just add this in there. At the lights. Okay. Add a bit more around here around here also. So what we need to do now will be to blend this down. Blow and blend this down. Maybe we start by taking this redness down a bit more like so. Then add a filter in the blow. Okay. Then take this down. Just slightly there, so it should be fine. Something that in there should be just fine. Okay. You can see I can see this silver ridge line in Ida top of this. So let's take this down, take this flow down. Turn on symmetry. We're going to I think my brow size is way too so it's kind of on top of this around here. Do that still smaller brush size, so you can get a bit more precision in theres a lot sharper in there. All right, so this should be fine. Get in closed. Let's see. I think this goes across. This goes across all the way here. Okay. That should be fine. Kind of blocking since in the way it should be. Bring this out, take down the opacity. Use our broad size a bit more. Use your opacity a bit more. Let's get this use my broadside. Let's get this faded around there. Okay? Yes, that should be fine. This should work just fine. All right. I think we should be a good place already. So next we need to do will be to kind of create for the lips. Let's save this first, and let's create something for the lip. Okay. Let's finalize by creating textures for the lip. Already have a dark more darker shade in a more brighter tone out reference in here, actually. So I think we can pick you can pick this from in here. Let's pick this color tone instead. So for the leap, let's go all the way. I'm going to duplicate this and I'm going to name this leap. Okay. Then I'm going to use let's pick this tone in let's use the more dark dark spots instead. I'm going to add a black max. Okay. Then let's go in to the lip, increase the brow size. So symmetry turned on. This needs to take down the metallic to make this a bit reflective. So, increase the opacity, increase the flow, reduce the brlose size. Oh, I think I'm making this rough insta let's get this to the opposite side, like so. Okay, let's continue continue painting things on. Reduce the bros size significantly, a bit more so we can capture the edge of the lip, a bit more. Try to capture the edge of the lip. Okay. I think this should be fine. All right, increase the bros size, and then let's fill that part up. Okay, I think it needs to be a bit cleaner. Let's. Let's go down take down the bro size. Let's create something a bit tighter at the edge of the lip. Okay? All right. Okay. I think maybe more rounder brush size for that. Let's use the default brush instead. Let's use the default. So defaults are hard. But I'm going to soften this. Let's soften this take down the hardness, take this down. Let's reduce the brush size. Okay. Yeah, this creates some more. Is create this with more precision to it. Okay. I it's X on the keyboard. I think I need to clean the part out some more. Okay. Reduce the bro size, it's X pints in. Okay. I think that is actually way too sharp. A way too sharp. But I think we can blow that out later though. Le's blow that out later. Let's just do some painting for the top part of the lips also. Okay. I think this should be fine. All right. A bit more capture a bit more around the air. Okay. Let's add a filter to this. Let's add some blow filter. Let's just blow out the edge some more so you get some soft edge to this. Maybe that's way too soft. Take this down. I think something more or less of this nature should be fine. Okay. I see some kind of breakup in there also, too. So let's go back to the silver fractus in here. We can break that up by using the dirt brush. Or a dot brush. Let the dot brush. Yes. Let me duplicate this instead, actually. Let me duplicate this instead. Let's use silver leap. Silver leap. So I'm sure I'm not making of spooling since gues tins go south. I always have it back. Always have things cleaned up. Clean this up a bit more easily. So let's drag this up. Okay, reduce the bro size. So I'm basically going to splatter this across this. I think we can actually let's use increase this some more. I think we can use this instead. Let's add this like an ankle point to this. Add ankle points, ankle points, ankle points at ankle points come in add a few layer. Then I'm going to use this ankle points. Then I want to use this extract Alpha, no, no, no. Keep Alpha instead. And I'll go in, I'm going to add another new few layer. Then I'm going to do a multiply. Then for this, I'm going to use spots in here. Let's use spots. Crystal randomness. Come on. Show us some preview. Let's see what we have in there. Now, D little of this actually typing spots. Should show something a bit more precise now. Okay, that's a good one. Let's see if we can find something. This is a good one. I'm going to increase the tiling. Let's trap na mapping, increase the tiling. A bit more increase the contrast with a more sharper contrast to it. Okay. Something more of this nature should be fine. Let's add a bit more metallic property to it. Add a bit more metallic property to that. Let's go in balance. Let's dig down the balance. W this speckled across the surface, but not too obvious in there. Okay? Tile this even more. Okay. Let's take this down. Come on. Wrong one. Okay. You can take down the entire outing down a little bit small. Okay. Maybe we won't go in and do some and painting instead. Do that at a paint paint paint. At a paint layer. We can now manually add some more in the ton off symmetry. Let's do a little bit more on the front that's way too much. Wed the broad size some more. Let's bring this out, take down the flow, take down the stroke opacity. Okay. We have something that we do increase the spacing. Spaces with too much. Usually browse size. I'm not sure I see anything happening in there though. Let's turn these two off so you can actually see what you're actually painting in. Electronic keyboard. Let's remove some of this. Think I went way too much. Bring everything back out. Okay. I feel like this lip is a bit should be a bit reddish. This lip glow should be more reddish. Yeah, something around this nature, like so, maybe not as glossy as it is right now. Okay. Yeah, I think this should be it. Yeah, this is roughly where we want it to be. Let's go back to the redness. Skin redness, redness. Oh. The dye will name this. Okay, let me name this to red skin tone. Okay. In there now, let's go to the dirt brush. Go to the death brush for this. Then I'm going to add some Come on. Add some redness on top of the nose around the E on the keyboard, add some more redness around the ear. Okay. Its eggs clean that up a little bit more. Yes, this should be fine. Okay. Maybe add some more redness. Let's take down this row capacity, take down the floor, add some more redness around here. Same for the other side. Okay. This should be fine. All right. Save this, so I'm going to continue on the next lesson. I'll see you guys in the next lesson. Bye for now. 5. 04 Semi Realistic Eye Texturing In Substance Painter: Okay, welcome, bad guys. So I right on from where we left off in the previous lesson, kind of worked a lot on the face, creating on fracles, lip detail, eye makeup, painting in there and then, yeah. So let's carry on. The one, I like to do this kind of figure out or I create some clothes kind of make the skin kind of work on the skin a bit reflectivity of the skin precisely. So the lip all of this should be on top. So fracosFm so I'm going to create a new fill layer in here. So this is just going to be skin roughness. Let's use your caps for this skin roughness. Okay. So yes, moving on. Oh, I can see the detail for the live doesn't feel all the way to the back. Le feel this all the way to the back. Select this. Let me crease this all the way up actually. This also feel this all the way to the back. Get this back part filled up. Okay. You need to do the same for the perp will be just fine the way it is. All right, so skin roughness, let's turn off hollow, metal, normal height. We only need the roughness for this. I'm going to add black mark. I want the roughness to be driven by my curvature map. So let's do generator. Generator, let's use au virtual generator in there. It's see on the keyboard. See again, see again, roughness. Let's see what we get in here. Let's open up the curvature. That's okay. Let's go in and then not the curvature mode. Let's see cavity instead. Cavity for this. I think it's supposed to be like there covature there's actually a Cvturetding here, so we can either use this or let me invert this or use something else. Let's use this p. Let's add levels levels. Add levels adjustment to this. Let's see if we can crank this down kind of get those detail. Now, we're not seeing anything in here. Collab these IDs, add a few layer. Add a few to this. I'm going to use the texture instead for this. Let's type in the curve virtual. Let's delete the spots. So we need to cover of for the head instead. So map. As for the seats. As for the head this is for the head itself. Let's select this. This is what I need. What I need. So I'm going to add a few layers, yes layers to this. Then we can tweak this a bit more. Can get this tighter, so it's on the keyboard let's see what we get. I'm going to go back in and then try roughing this up. You'll be getting something like so. I'm trying to march this closely, a bit more. Trying to march this a bit more a bit too extreme. Since somewhere around here should be just fine. Yeah, it should be fine. This we can work with, so I'm going to leave that as it is. Let's go to the hair. I just use the normal black material for this. But this is just like a place odor. Just a place odor just to get the feel of this. Okay. And now let's jump right into the high. The high already have materials that we can use in here, so I shouldn't be a major issue. Let's go into the iris. Let this. Add a few layer, then I'm going to bring in the textos in there. So let's close this let's go to the filter. Let's say this to textures. Let's type in iris in there. Alright, so this is the base color for the iris. Getting a bit close. Yeah, we need to mix do some and just main in there, no doubt. Then the normal map, you need to make the normal map. I'm not sure. Let's just drag this in let's see if we can just make the normal map a bit more intense. Roughness, drag in roughness. So on it is certain though, we need to make this eye bit brown. So you can actually pick the color in here and then paint that in. So let's create a new fill layer. Let's pick the color first. Se more bright, tone for this. Let me capture this. I think it's somewhere around somewhere around there, so it should be fine. At the black marks. Okay, I'm going to just paint that across and do that. Take this down, take this down. Just going to lighten basically lightening that up a bit more. So going to pin this around, so Okay. Let's zoom out. Let's see what we have. I'm going to duplicate this. I'm going to add the black marks. And I'm going to increase the brightness for this more close that. Go back to the marks, paint some more sharper ones across this. Okay. Alright. Oh. Oh. Is this working symmetrically? Yes, it is awesome. So this is working symmetrically. Since they're sharing the same sharing the same UV, so it should be fine. Okay. All right. I think this we can work with. Yeah, that's fine. So now let's go over to for the minusculs we need to use need to kind of change the shade out for this actually, so not Alpha testing Alpha blending instead. So select this alpha PBL metal of alpha blending. So you can use some kind of glass material for this to go back to texture sets at a new channel. Opacity channel. Let's add that. Okay. Delete this add a new few layer. Make this transparent, increase. Make this a bit more reflective. Now, the kicker for this to make this more realistic is to use the metallic increase the metallics. It's going to feel more like a tear.in there. So this will feel a lot better. As a bit more. Like, so maybe take this down some more increase all the way up. That should work. Then I'm going to go over to the outer eye. For the outer eye, we already have materials in there that should work also, too, but we need to add the Alpha channel also. Opasty channel, so let's add past channel in the create a new fill layer. Let's type out eye. Of the eyes the texture. So base color goes in here. Then we have the normal should go in normal, roughness, roughness, Roughness should go to the roughness. The unlike opacity, you want to bring in this max. Opacity, dragon drop is in there. Okay. Now, I see some issues in here that we need to fix. So issues in here that we need to fix. W to be extending the eye, making the eye slightly bigger than it is right now. It's completely fine. Issues like this usually occur, so it just to go back and then bring this kind of scale this out and then bring this back in. That's pretty much what I'm going to do. So let's save this let's go back to Maya. Let's go back to Maya in there and then do a quick fix for this because here is more bigger eye restore, which is fine. So let's go over Maya. So this is the one. Get this up. Okay. So we're extending two things out. Let's go to the iris. Wire frame and shaded. So we need to kind of scale this out individually, actually. Let's start by scaling this out this way. Now let's use the phase mode instead. Use the phase mode, let's go into were on the attribute dittle. I'm just going to scale, this is a bit more precision. So I know when I scale for one side, it's affecting the other side also too. No properties in there. So we just have to separate them out to separate Okay. Go in select the first one. So to make things actually easy for us. Make this is actually easy for us. I'm going to select this. I'll hide this for now. At this I'm going to bring in the texture. I'm going to bring in the texture for this. Let's open this up. Let's apply a new material to that. Let's use a new blink material. Let's name this to eye test. This is the pass kind of gets kind of test and then import this back to sbt and spinter. So eye test also. So for the color increases, let's bring in a file node in there. So let me go and find this for my texture in here. Come on. Okay, open this up, open this up. Let's use this instead Iris base color, copy the five parts. Let's use the five parts in a risk based color. Open that up. Let's turn on texture in a Okay. Now, it's not dark enough to at least see what's happening in the bot. That's fine. I think we can select this now. I need to see the transformations for this. Okay, you already separated out, so we can select this center pv. So you should be able to see the scale values rising for this. I need to scale this out a bit more. Let's look at our reference in a bit more then push this. So we are scaling this at 1.3. Push this back in. Maybe I scale this way to more scale this down some more. Okay? Okay, clear this out. Let's see what we get. Maybe scale this down some more a little bit more like so. Select that. The scale values, let's copy the scale value and paste the scale value on the other side. Tab, paste tab pastes Oh, do that. Undo that. Let's center pivot on that first. It's very important. Center pivot on that. Now we can paste that in the past a paste, Enter. I think I put this back in. So let's copy this also copy. On the Z axis paste that value in the Okay. I think this should be a good one. So let's turn on the outer eye. Let's make sure there's no interference in the getting close. Yeah, that should be fine. So you need to export everything back to everything back again. So I'll select these two. Let's eye this again for now, select these two actually let's give it existing material Iris. Yes. Save this, bring back the outer eye, select all of this again, save this let's spot this out as a new FBX. I I'm going to put in front. Let's put in front. A spot selection. Okay. Yeah that's fine. Oh yes, let's go back to Subtan Spencer. And then we're going to go to edit configuration, select this. Let's select the Let me see. No, this is direct wrong directory. Pace this in here. Okay. Let's click okay now. So kind go through and repute all this. She go through and recompute. Okay? I think we still still need to make a few more corrections to this. So this should be down a bit more. Should down a bit more. Let's at least start. Let's see. There will need to be some moving of things around also in here just to get this to work a bit more accurately as we need it too. So I'm just checking Okay. Yeah, this definitely needs to be a bit bigger than it is right now. Let's go back in there to make some correctis after I get the idea already. Let's set this right as they should be. Scale out a bit more. I'm going to copy all of this. Paste it in here too. Turn on the outer eye. Let's see what we have here is actually up. This again. Select these two, push them down some more. I'm guessing, let me put them on the same combine them rather. Y Let's use our caps for this. Okay. Bring back the outer eye. The out I think I'm going to move them down also. Move them down slightly a bit more. So I'll save this, select all of this again, export them out. Replace that with the two. Let's use three instead. Let's use three instead. Back to sobtan Spencer. Let's import this back in again. Okay. D3d girl. Come on. Let's do click on that's equal. La div Ah. Okay, okay. Yeah. The only thing you need to do now, I know what to do now. What we need to do now would be let's go to the outer eye, outer eye. I'm going to clear out this clear that out for now. Let me bring that back in actually. Let's go to Let's see if we can manipulate that as this if knows always going to do something else. No, I think we have to. We just have to manipulate that, I believe. Let me move this from here first. Let's create a new feel layer, turn everything off apart from the apart from this opacity, then drag this marks in the yeah. Okay. You can work with this issue in here that, it's just a major issue in here. We try to scale this out. I'm going to be having this continuation around there, which is not what we want. So I'm going to remove that. I'm going to add a black mark. I'm going to add a few layer. Then I'm going to go over to Alphas. You just need this circle alpha, actually, for this circle should work just fine. So circle, drag and drop this in here. Then let's turn something into off. Repeat to be unknown. Scale I can't even see what I'm going to scale down actually, like the circle. Can't see nothing in there. Let's come in here darken this. So now we can see this hold down shift. On do that, go back and select the circle. Hold shift. Okay. Let's create a bit more space in here so we can actually see this actively in here. Okay. Way too big obviously. So down she scale this down some more. You just need to get the perfect scale for this. Okay. Getting something in here now. Okay. You should sit roughly around here. Just trying to get this out a good. I think this is way too big. Let's scale this down some more. Get this where it should be. Takes a bit of moving things around just to get it where we need it to be, so I'm going to duplicate this at at mirror this anyways. Let's just do duplicate instead, duplicate effects, drag this down. So now we just need to march this a bit more accurately on the other side of the eye, getting a bit close. Okay. You should be up some more so should be fine. Okay. Maybe up. So more move the first one up a little bit more also. Okay. Here, pretty much pretty much there. So I think we can go in. Let's test some things out. Let's drop some shadows in there. Let's drop some shadows in there. Let's see where we get. All right. This we can work with in here. Okay, so I think back in here, I think I can turn on the metallic for this. It's also metallic property for this, I guess. Okay. This is completely cut out. Let's add something like so. Add some roughness to this also. Let's turn on roughness for this way too rough. Just to get that reflectivity on the around there. If move our light like so, you should be getting something like so. I think this is right place. Let's save this. Save this up and then let's go out of P set this back to three D. Okay. All right. We are getting something interesting in here that we can work with move this out a bit more, save this out. So we can finalize this by creating some silk material for this bowl. The teats. Let's do this in next lesson instead. So let's call this done for the eye. I'll see you guys in next lesson. Bye for now. 6. 05 Teeth Gum Texturing In Substance Painter: Okay, welcome back guys. So kind of kind of rounding up on this. So let's go over to the teats teats mats. Let's go over that. I think I like to solo this out also too, so we can see this a separate piece. I see the numers. Numers actually flipped for this. We are flip numers for this. Let's go back to let's go back into Maya and then fix that. Flip normal for the teats. Let's go in Oh. Oh, I think it's actually fine. I think I still have my shadows in the lesson of shadows. I think this is from the Bk. I believe it is from the ambient seclusion, I believe. Okay. I guess not. Guess not, so we need to flip. This will need to flip. Ah, let's give this a default material first. Let's see, Blink I actually looks good here actually. I don't know why. It actually looks good here actually, so not entirely sure why it flipped inside of let's move this, okay? Okay, thickness. Well, it's not going to matter that mode, though, because it's actually inside. So we're not gonna be seeing this. This file is not for animation, actually. Well, let's go. I think I have I believe I have a smart max for Ttther for gum to gum. Yeah, Tet gum. I have a smart material for that. Let's drop that in. Nothing seems to be applied. Okay. Um, we have to mesh in here. Let's select this. Apply this on here. Come on. Let's use the objects instead. Not that one. Let's delete that. Think I have another fool that they're not supposed to have. I believe this should be the one. Yeah, this is the one, so we need to turn some things off. Turn this off. Off. Okay. This is way too bright. Let's take this down. Let's make this a bit darker. Darken this out a little bit more. Okay. We can delete these two. I think I also need to save a new maybe we delete this delete delete. Let's save a new one. Because what we have in there is not it so delete this. I think this is basically all we need. Let's drag this out you have an arch Let's drag this out of the group. Put this on top. Let's save a new one out of this. Delete this. So I'm going to save a new one. Let's rename this to KC, Ted gum or caps. Carbs for this. Alright. This should be fine. Let's go in add a new fill layer. You only need roughness for this. So you just need some roughness for this. I think this should work just fine. I work just fine. Okay. Now, let's do. I think I have one for the teeth also India, but let's save this smart material. Very smart material India now. And I believe I have one for teats. We have one for teats in here. Preacher seats. Yes, I have one in here. Though this is supposed to be clean because character we're working on is king at it, so let me just show you guys actually. This is going to be more or less liketh or something. So yeah, seems to work better for creature suits in here. Though we need to kind of change something to trpenamping, though, so I'm not going to be using this. But I have that in here because I believe I created this I believe I created this yes. So yes, let's just use Let's get this down, get some light brown seats in here. Here somewhere around there, it should be fine. Let's make this more shiny, more shiny set of teats. It should be fine for what we need it for. Save this. So this is how we can create **** and goma, so let me I'll see you guys in next lesson. So where we're going to work on the bow on the neck bow and give you some sik material. Give some sk material, right? I'll see you guys in the next lesson by for now. 7. 06 Silk fabric Texturing In Substance Painter: Okay. Welcome back, guys. So let's go over to the I think the final piece of this show. Final piece of this. I think it's actually too white. Let's get this two brown. Somewhere around there should be fine. Alright, so let's go and then finalize with this bow in here, so uh we have let's close. Let's control, select this, delete this layer in here. Go smart materials instead. Let's type in silk. We do not have any SEC material in there. Let's go, smart material. Let's see, silk. We do not have SEC material also in here, so I think we have to create oneself. That's fine. Let's first look at our reference in here let's see the fabric in here. Oh, just like a normal almost like a regular fabric in here though. Let's go back to materials in here, type in fabric. Let's look for the one that kind of matches a bit more accurately with the fabric pattern. Let's kind of zoom in. Zoom in, so we can actually get a better idea using kind of checking this out to see which one is closest. I. Wo, definitely not. Then the closest one fabricating here, let's see what we have in here. Yeah, no, definitely not. The closest is this, Let'agon rob this in here, you need to make modifications to this. Let's start by creating a more tight out in there. This is the value of seven instead. It's more title. More tight tie. Let's go and then set this to four k resolution. So you can see this is a higher resolution and see this better quality better in the yeah, that's fine. Now let's go in and change the color in there. So we have the ware few ones in here, we have the dark blue demi biicoldmi Also need to take down the intensity, open the attribute again. Channel rather pimePerimeter, perimeters in there, go to channel. I need to take down the intensity for the technical parameters. Let's see. Uh we should be one of these. I believe it should be the ight range. Let's take down the height range. Just a little should be just fine. Not intense, but just in the Okay. So let's go to the color and change the color in here. So this is a darker tone and a brighter ato. Let's start with dark atone. Let's use a more darker black tone. Loading up. Okay. Then let's use a more lighter dark tone. It's quite black though. I need something way darker than this, actually. Something quite dark. Let's say this way to black. Okay. Yeah, we can use this as a bit. So let's roughness, roughness, roughness. Let's get this a bit shiny. Slightly shiny, like, so a bit shiny. A bit shiny. Maybe almost there. Let's add a film. Let's use 0.3 instead. 0.3. All right. But we need to make this a bit it needs to be a bit darker than it is right now. So lumosity let's come down the lumosity. Yes. Lumosity. By using this instead, increase the lumosity a bit more. I think this we can work with except for the reflectivity is way too high, so let's add some more roughness to this. Let's do 0.5. Let's do 0.5. Let's see what that gives us. Now, that's completely reason it, so I think the value of it 0.4 should be a good one, 0.37. Okay. 09 to take down even more will be normal intensity, also, let's take this down. Take down the height intensity again. That's something more like, so Okay. One thing I can use to make this kind of sell this out a bit more would be to create a new fill layer. And then I'm going to tone off using the color alone for this is a more brtleT something like at a black max. Let's use the let's use generator for this. Let's use the cortual in here so let's get this global inverts invert this. If you turn this off now, you're getting something like this, then we need to reduce the balance for this or increase the balance. Let's see which one. Okay. I should be inverted actually. Let's reduce the balance for this. Okay? We need to blow this out some more. Going to create some feed effect on let me blow this out even more. More or less like some kind of fresnel in there. Let's get some parts lightened out. If we go in and then we brighten this color some more. If you brighten this some more, you see something like so. Don't wonder so I think the previous one we used is just fine. Alright, so it should be fine. So let's bring in some shadow into the mix. It is Let's see if we can match. Let's see if we can march the lighting in there a bit more. Let's try some other light to pine. Let's use this soft one front. Nah, it's terrible. I think there's one other one here, studio six Studio six looks interesting. I think the best one based on the reflectivity of the eye would be still the Tomaco Studio. We also have another one in here. This is Studio Black Soft. What does this give us? Nah. I think Tomaco Studio seems to be the perfect one for this. Alright. This we can work with. Okay, that's basically it, so I'm going to see you guys in the next lesson. So that'll be I don't know when, but definitely see you guys again. So bye for now, take care. 8. 07 Exporting Textures In Substance Painter: Okay, welcome back, guys. So just let assume we're going to be exporting out our textures. Okay? And then we're going to start doing some scene set up inside of Maya. It's going to get gen going in there, okay? So let's get right to it. So I'll go over to fi export textures. Okay, so we're going to spot tech shows for dark gel mats. We're not going to spot tech shows for the Air mats. We have spot tech shows for iris. We also spot text shows for the neck boo, torn off minuscules that we can use the glass material. Okay? We are these need text shows for this also, too. Let's specify we're exposing it to. Before that, before that, I should be at four k resolution. Let's put it at four k resolution. Default is fine. Dilation infinite dart is fine. Let's move out to the dark skin mats. See, we need metallic, need roughness. We need normal. We don't need ice. Don't just normal off. What we need is normal Ling gl, ton off AO, Iris, ton off metal. I don't think we need roughness, but let's just leave roughness in there. Let's turn this number off of I ton of AO. Okay? I think in May, I might have some s fabric material, though, but anyways, let's just get the metallic roughness, to turn this off, ton this off, leave open G, turn this off. Okay? Outer eye, ton of metal, leave roughness to this normal of ton of yes, leave opacity, ton of open AI, or rather ton of ambient seclusion. Turn this metallic off, ton this off off. So before we export, let's go to the iris and make this rough. Don't know if this is rough enough. It's fine the way it is. Go back to export textures, crap. We've lost all our setup in this. Let's just do this again. Let's just do this quickly. Of off off. Okay, Don this off off off. Okay. Metallic is fine. No ton of metallic that's. Don't just off off off. To this off of the last piece. To metallic, To fight and this normal. I open geo normal, to this off. Set this to four resolution. Let's set our directory for this. So that is pretty new fp textures. Okay. That should be fine. Open this up, select folder. Then let's export this out. Et's give the Magic spot out. Almost done. Okay. So once this is done now, should be able to see should be able to see it. Let's go into the folder P textures. So we have our textures in here now. E spotted out accurately as we would want it to. Yeah, no issues here. This work just fine. Close this. Close this. Let's bring everything back out. Then I'm going to save this. Save this. You can actually make any modification you want to this though. Whichever modification you want to this, you can make especially on the skin. You can if you need to. But I think they should be fine. I maybe I'm just looking at the face now and then. Let's go back in here textures. This light skin inhale on this off. So if you duplicate this, actually kind of lighten up the skin a bit more so. So you can say, maybe probably let's use a more lighter skin tone if you want to, but it still comes down to your creative ability to kind of figure out which one works best for you. Okay. Just keep that in mind, you can make modifications to this as much as you want to. All right, so in the next lesson, we're going to be opening up Maya and then try to set up our sin for of the pasen use for creating Egen in there. So I'll see you guys in next lesson by for now. 9. 08 Lighting With Arnold In Maya: Okay, well comb guys. So let's jump into L development. But before I do that, there's something we need to do to kind of set this up also too for Egg, when we're kind of done with at least look development for the skin and some other setting here before we start creating the air. So that would be setting up a project for this. So go to New, click on set projects. So I'm going to set my project somewhere. So I'm going to use the same folder for this. So going to put a new folder and I'm going to name this to dark DG Maya in here. Okay. I'll copy these five parts. I'll paste these five parts in here. It enter. I'm going to select the Dar ga Maya. Click concets okay. Location does not contain a project destination. Okay. Let's let another one. Double click on this. Let's create something here, dark Kale. Oh, yeah, yeah, yeah, supposed to. I think I'm making a mistake. I'm supposed to use Projet window instead. So, click on New. That was actually looking for a polar fold that kind of sets with bots. There's no funny any, so let's pase this in here now, place the same director in here. We select this dark girl, then click on Select. Dark girl Maya click on Select. Then click on Let's rename this to dark girl. Folder. Okay. Then click Accept. That should be set if you go back into directory, we should find that folder in here now, so that get folder. So if you're creating egg gen it's going to work properly with that folder in case you want to kind of save out some because usually typically Egg gen kind of saves out some fires needed to make Egg gen work properly. So you always want to kind of recall back that file. So I think the direct kind of save out those five for you to be able to recall it whenever you open up your sin. So that's important, so let's carry on. So I'm going to select the head. I'm going to make a duplicate of that. And I'm going to use this duplicate for Later. This duplicate is going to be for later for the scalp, so I'm going to hide that. Let me just type in scalp in here so I know what is used for, and I'll hide that. Let's create a studio in here. I already have one I can use, so I'm just going to drag and drop this in here. I'm going to be giving you guys the file if you're watching this from Skillshare. So backdrop should have one backdrop in here, no edge backdrop. So this should be the one, no edge backdrop. I'll drop this in here. Okay? Obviously quite large, maybe way too large. But this should work just fine, so I'll just move this back. Okay? This should be fine. Something as bigger, this should be fine. Yeah, yes, this should work. This should work just fine for what we need it for. Maybe bring these clothes a little bit more around here should be fine. Okay. Let's scale this down a little bit more. Yeah, for the most part, this should work just fine. I want to save this. I've saved this. And I'm going to select the entire character in here, save this again. I don't need this anymore. I delete this right? So, select the entire character. Let's give this one default material. So the material we're going to be giving this I just basic of kind of creating some, yes, that will also work. So we just kind of add an annode material in there so you can actually see this properly using the Annode render. But once in though, on single. We're still going to come back and then reuse the same textures across this thing you can change out of the miel rather annode material instead. But for now selecting all of this, they just apply one material, so we can work a bit faster in here. So I think you should have favorite material. Should I a standard surface. This like a mi or it is like unannod material in here that we can use. So that the sets all good. So one thing you need to do B two, because it's quite reflective, as you can see, it's quite reflective. Let's select it and then just roughen things up a little bit more so. So I'm using a roughness let's do roughness of 0.5 instead. Alright. So moving on, so let's set up a light in here. So set up our light we need to go to no tab. Let's go to no tab in here. Then think center pivot on this again. Center pivot, then back to the node tab. So I'm going to start by creating an Azure light. I'm going to use the same Azure light from from Subtan Spinter which is like Tomaico studio light. So let's go in and create an ARI Skydome Light. So it's called Create Skydome Light here, let's select that. Let's go to the setup in here. So for the color, let's click on that, select file. Let's find that section now. So I'll go over to my computer in Local digs program fis so under Adobe, Subtan spinter should be under resources. Then shelf, shelf, shelf, shelf, shelf. Self should be somewhere in there. I think I'm not seeing this Come on. Self, shelf, shelf, shelf. Okay, under starter assets rather. Start her assets. Yes, then we can sit in under environment. Okay, so it should be under interior, I believe. Okay, guess not. Let's go back one step studio should be Tomaco studio, TomacoTmaco studio. Studio Tomaco, select that. The sa I want to use, click on open. Okay? If you zoom out now, you should be able to see this kind of wrapping around this more like a sphere around our skylight. And then based on the way our lighting ease, I think I saved out a few a few of these do some render little render of this. So based on a light setup, let's look at the eye. Let's see where the main light angle for the light source is coming from. So this bigger light is coming from this angle from the right angle instead. So using this asma reference guide, this is the light itself in here. Let's say the light at the back, a bigger light at the back, so we need to select this and rotate it this way. So she let's rotate this this way, a little bit small. So she's coming directly from this angle because our head is the head in here, so she'll be coming from this angle. So let me just kind of see if I can draw out something in here to better loss rate. So the light should be hitting it from this angle, eating the eye from this angle. And that's where we have our light source in. So that's precisely where we want it. So it's in this from an angle like so, right? So as fine moving on, let's go in, Let's increase the samples for this. Let's set the samples to three. Okay. Then before we run a test render, let's go over to our render set in there. Let's Let's set something in here. Let's do Let's the Wk set for this. So basically on our common, Wk setup for this. And coming here, I already have some preset I can use. So if you're watching this from Skillshare, I'll be sharing this. I should be sharing this render render preset for you guys to use. So let's do import render settings. So user always like to start with the med. So with the meds like mesetopna. You can always use Setopn also too. If you're watching this from YouTube, you can always setup in here. So, so you should work. So let me close this. Let's turn on the film gates. Not film gates. Should do resolution gets instead, yes, resolution gets instead. So this kind of shows the resolution we're using for this. The backgrounds kind of graded out. So let's apply a new material, AI standard, AI standard surface. So this is going to be a backdrop. Let me just name this to AI bag drop. Okay, so I'm going to darken this a bit more. So now we can see the resolution gets a bit properly. Add some more roughness to this. That should be fine. 0.8, five, four, that should be fine. Let's just kind of set this around here, like, so Okay, so let's just set this around here. Kind of get the angle for the camera setup. And I'll go to view and go to bookmark. I did bookmark. Great new bookmark. So this is going to be like our main camera angle for this. So let's do main came Okay, apply, close this. So if I go out of view, I can always go back to view and snap this back in. Alright, so let's select our dome light in here. So don't need intensity to use yet. Save this. So let's go to node render, go to render view in here. Okay? So it's wondering something out now, right. Let's compare this to our main reference. Let's see the angle for this. Let's see how this light is affecting this and the angle for this also. The other part is brighter, that's fine. I think we need to kind of rotate our light bit. So I'll just space. Okay, let's go in multiple views out of this. I'll zoom out on this view. Let's get this here. Zoom out on this view. I will say Zoom light. I need to root this a little bit more. Okay, that's way too mot less. Trying to get some shadow in the edge. More or less like some deep shadowing around this edge. So eating the light a bit more. We get more shadow depth on the left side cheeks. So we get something something somewhat like so, maybe a bit more. Okay? I believe this should be fine. Yeah. This looks fine. And it's upbeating quite fast because our s is not I would say our s is not too densed in terms of pull count for this. So let me save this. All right? I think this is a good place. We can leave these a cities. And I'm going to stop stop the render. Let me over to view test resolution. Let's do 50%. Let's render this at 50% so we can get some more faster renders out of this. T should be ranging out 512 instead of one K. We should ranging at 5:12 because one K we have is at 10:24. So this kind of slashed us into half. So you should be having 512. So this is fine. I think this is fine. We might not necessarily need to add any other light source to this, this is working just fine. But maybe we can go in and reduce maybe reduce the intensity of our light to something around zero point Let's try 0.8. It's less just to get a more not too bright light setup in here. So this should be working just fine. So we're kind of marching this now matching this now with the setup we have inside of Subt spinter. So it should be fine. I'm going to stop this for now. Stop this for now. So save this. So this kind of kind of set up a light setup in here. You can also use other light also too to help if you need to. But based on the reference we have in here, I don't think we need any additional lights to this, so this should be working mostly just fine for what's needed for. Yeah, this should be working just fine. Alright, so moving on. So moving on to the next lesson, we're just going to go in and then start applying individual textures and inputting our textures inside out of subtanspnter into May then setting up our sin properly using some shade as in here and then tweaking and getting better results out of this, okay? So I'll see you guys in the next lesson, bye for now. 10. 09 Skin Look Dev Arnold In Maya: Okay, welcome back guys. Previously kind of set up lights inside of Arnold. Okay. So now we're going to go into the skin or each individual object in here and try to get some get some materials going on in there. All right. Let's jump right since. Let's start with the Let's hide every other thing first. Let's start with the main skin ControgeH to hide that. Let's start with the main skin in here. So let's see let's see where we get out of this. I'm going to select this right and existing material daga mats. Yeah, I know this is understand this is not nod material, but that's hold up a bit. We're going to add nod material to this by going to type, and we're going to select AI standard surface to select that now. That's fine. Then we're going to go down. Let's see what we having here everything is fine. Everything's fine here. Let's just rename this to A AI Dark girl. Okay, that is fine. So now go over to Window render italipashad. So we need the iPashade for this. So the iPasad selected now, is the AIG rightly on this graph network. So once the graph network for this, then we're going to import in the skin textures for this base color Okay, metallic, normal. Then we have the roughness. We also we also need the displacement map, though. Displacement map also for this. Or maybe let's just do this one step at a time. I think make better sense, we do one step at a time. So let's start by using the displacement map. We be out of Zbrush start with so let's drag and drop this in here Okay. So this should be fine. This is what we need. Let me bring this around here. Okay. So we need the Shader node for this tab on the keyboard. So let's c on displacement shed. It is the AI displacement shed. I'm not entirely certain now, let's select this let's search for this again, AI displace. Okay, this is the one. This is the one we actually need. So now we have this in a surface. You need to delete, delete this. Don't need that. I'll bring this closer. Let me extend this out a bit more. Extend this out a bit more. So let's drag this input to the output of the displacement sheder bring this around down here. Okay? Now let's set this up. I want to select this, put this around here. But before we do this, there's something we need to do first. Let minimize this so select the head itself and make sure you're on dark gil shape under no, I believe under no, scroll down under displacement attributes and open up subdivisions also, too. So to get this to look right, we need to kind of set this to catclark so we can subdivide this a bit more the render to kind of get more sharper. Sharp it when we kind of import in our displacement map. So iterations. Um, iterations for this. Let's see, uh, let's say this to two. So not to subdivide these two times. Then the height kind of controls the height of this controls, high intense. We want you to a more like an intensifier slide, kind of. Then if you spotted your map out of zeb, the scale zero value should be around 0.5 because the background for the detail is a gray value of ativate at the grad value and the gray value between full white and full black. So the value should be like half of that. So that's setting this around 0.5 instead. So in between black and white gray, which is like 0.5 isn't like an intensity or measuring unit of zero to one. Okay. So yeah, 0.5 should be fine. Auto bump. Not really. Let's just turn that and perhaps that will do something for us. So I've set this up now. So now if you go back to our iPast, now we can plug this in and we can see how this is being affected. So let's select this first, set this to row should be on row very important and set the outcolo too. And the outlo should be merging this correctly. Yeah. Okay, it's supposed to. This is a black and white map, so it's supposed to be on the arrow value logged into displacement. So that's a more proper way to do it. That's more proper way to do it. Okay? So that's fine. Yes. Now, let's test this out on our render. So let's go to our render for this. Let let mesh. Let's use the more darker, more darker sheet. A little more roughness to it. Then let's getting close up. Let's see how this has been affected. Okay, so you can see right off the bow. You can see right off the bat. Okay. You can see let's use our render region for this grabbed leap. You can see based on the render region we have in here now. You can see how the detail of the leap is way too intense. It is for the leap is way too intense. So to out don't need to go back G shape. Then to figure out, we need to tune down. We need to tune down the in, so let's tune down the Is. Let's tune down the s. So let's use a smaller vales not Let's use 0.3 instead. Ten on that, right, so we can see how getting something way better now. Okay. So this is good in here. Maybe too intense, actually way too intense if you're aximately we ten. So let's down to around 0.1. 0.1. Okay? 0.1 seems like a good one. Let's go out of this render. Let's render more regions out of this. And let's see. So keeping in mind, I want to add into It's going to wash up most of these details. So I think we should cram this up a little bit more. So let's use two instead. Okay, I think two should be fine. We can work with two. I'm going to stop this stop this, and then let's go back. Let's go back and then see how we can make the others work for this. So now we plug in displacement map. Let's plug in Let's also plug in the normal map for this. You can see how this is working with the normal map in there. Let's go over Ptextos. Then we can bring all of this in a drag and drop this in. Let's arrange this are a bit more accurately. See metallic wrong wrong one sled to drag this out. I think there's one more we need to get out. This roughness map, bring this out. Okay. Let me make sure I'm not ruining something in here, select the girl face again. Okay, that's fine. Okay? So the normal map should come down here instead. Roughness map should go up here instead. Let's plug the normal map in or let's see what we get. So to plug the normal map in, we need to kind of tab AI normal. So the eyes on normal map in yes. Let's bring this out, right? And then letlog Let's blog this input to cool out value to normal CAM. All right, this should be fine. Okay? This to work just fine. Let me select move this out a bit more. So let's get this down and let's render this let's see what we get. So we're kind of blending the displacement map intensity also with the one mistake. Let's stop this one mistake. You need to set this normal map texture to roll. So come into utility, set this to roll. So this should be working just fine now. Okay. Let's render this now. We should get better result out of this now. Let's give this a moment to calculate. Oh, stop this something I skipped. Make this render out faster. Let's come in here. Let's turn off auto converts texture textures to Tx. Let's turn that off. Turn this off also, too. The reason why I do this is just to make sure render a bit faster than come in here set this to zero. Come on. Zero. Okay. I think I should have done this before now. Zero, not working. Let me see. Let me close this first. Close this. Um, it should be at I would like to say this at zero. Fantastic. Not align met that at zero. Though, we're going to gun faster renders though? Maybe say this too. Maybe we can use Zero. Let's use 15 instead. We cannot Okay. I will need to go into this and delete these too. That's the map is kind of creating actually in use. Actually in use. Okay. You know what? I think I will need to end this need to end this be fine. Okay, be fine. Let's log on the materials in there first. Let's look at the materials in there. Then I'm going to end this and then come back. So let's just set this up. So this is render when we kind of apply our normal map in there. This is where we are getting, which is actually quite nice. But we can always make some adjustments to that. Let's stop this. So we can come to the A normal. We can take down the intensity to around zero point. Let's do 0.5 instead. Okay? And apply this again. Yeah, I think this is a good one. Let's do render region. Let's do run region for the lips. So it's not the lips detail like our anchor point for this. That's fine. Let's stop this now. Let's stop this. Let's come back in here and let's plug our maps to the necessary slots. Okay. Yes. So we can go into let's start with the metallic property first. Let's start with the metallic properties. Let me move this side. So we need something to drive the metans. Let's increase the metans first. So we need something to drive the metans for this. I'm going to open up this out cool. Let's drag this. You can use any of the channels, though, so let's just drag this to metallic. Then out color, base colour to base color anywhere. Okay. We can do this though, but I don't actually be an issue, but the more preferable way to do it would be what's it called again? Yes, would be two. Let's see. Let's come back in here first, and assign let's assign a pot lar preset to this because the preset we need to use will be skin. So I'm just kind of testing this out before applying the skin textures, especially for a displacement map on normal map so. Let's replace this. So we want to be using skin in here. So if you go down to soft was scattering, we'll be getting something in here now. So for us, I'm going to kind of tone this down. For now, do this down for now. We don't want any contribution we subsidize scatter in India for now. We don't want that for now. So I'm going to leave that as it is. Let's go over making sure everything is the sets the way they should. So set metalness. Let's say the roughness for this. So our channel should go to specular roughness in here. But let me show you guys a trick in here. The more preferable way to do this would be at the way we to do this is to add this roughness on the clay coat to add another additional level of roughness to that. So usually, the first roughness, spectacular roughness we have in here, I like to kind of set this roughness to around the value of 0.8. Okay, then I'll go down to my clay codes or atoi codes. And on these codes, let's get the weight all the way up. On these codes, I can set my exported out roughness in here. So from sometimes pinter so I'm going to set this channel to code roughness in here. So these are always preferred kind of settings up. Just to get a bit more accuracy to it kind of at least my way of setting these things up. So with this inner now, let's come down. Let's zoom out a little bit more, go out of this render region, save our file, then I can do render for this. Black, white because kind of set this to roll. So select this texture. D some space in here. Utility row. Same also for this set this utility to roll, that's fine. Now, if you go back and then render this out, you should be getting something better now. Let's see. Okay. See I'm missing something here. And mostly come the metallic iron. Mostly coming from the metallic material we have in here. So let's remove this metallic, go back to the metal metal metal, zero, and this out with the roughness applied. Just with roughness in here, let's stop this for now. Okay. And then I shade let's lighten this a bit more. Let's lighten this a bit more. So let's increase this this weight for the fourth color in here. Let's increase that. Let's render out. Let's see where we get. Okay? I think that should be fine. Let's drop in our metallic material in the Let's see where we get. Okay? It's still in real time. Let's see. Now, I feel like I need to kind of tune down the intensity or maybe when the but not yet. Let's add subsurface scattering to this first. And then we can work on that. Let's stop this for now. Okay? So stopping that now, let's go back into our IPA shade. Okay. Let's get in here. So more better way to kind of use a base color would be, like I said, just turn this base back to zero because we already have subsurface scattering in here. So I'll increase the subsurface scattering, increase that. Set this to random work V two, that's fine. And I'm going to set this skill. Now, this e actually affects how the light passes through the skin. So since we're using something close to a more realistic scale, so I'm going to use a value that's a bit more realistic for this so somewhere around maybe somewhere around. Let's see. Let's use a value of let me get this a bit closer. Okay? This is a value of 0.06. Is the value of 0.06. Then we need to kind of plug, no, wrong place. Undo that. Do that. That's wrong place. So I'm going wrong place. So let's make sure I'm on subsurface scattering for this. Yes, subsurface scattering. Make sure I'm on the right one. So yes all the way up. Yes, so this is the value I'm supposed to change. So scale 0.060 0.06. Okay? Usually for an E that is around 25 25 " there about so you should be getting something around 0.01 around the value of 0.1 and below is kind of a usually fine. If you're using reward skill for the head. I think 0.06 should be just fine. So now for the subsurface color, I need to plug in a material in there. The material we exploded out of substance painter, so we can just do just get closed. So the out color should be logged to the soft surface color in here. Now for this, don't need to kind of set this to roll. SRGB is just fine. RGB is just fine. So select this back again. Now let's do a render for this. Let's see what we get. Let me save our sin, and let's render this. So one thing we definitely need to do use our lights. Intensity for our lights in here. So let's set this back to one. I think made it way too actually made it way too dark. Okay? Let's increase this even more. Let's do it off. Okay? Just to see this a bit better in here, yeah, right off the bat, we're getting something quite good. This is actually good. This is actually a good one. This actually a good one. We can definitely work with this. Except we just need to kind of rend out a bit small. But for the most part, you can see how we're getting really good, really good in here. We need to allow this to kind of sit for a while and render out for a while. Once you get this to render out, we're getting something good with, but as you can see, we're getting really good since skin texture as it becomes a bit clearer. As it becomes a bit clearer, we're getting really good skin texture out of this with the SSI in there. Okay. Yeah, this is nice. So yeah, so you can slide this round out. You see is calculating in here. Slide this to round out for a while, and then you come back when this is done. But I think for me, for the most part, looking, this is looking quite I can see some skin posing there will actually quite good for more realistic look.This works just fine. It actually work just fine. Maybe just maybe I need to kind of take down the height intensity, which I feel I should do so. Select the mode again. We can go down to Arnold displacement attributes, set this down quite low. So I have one or two set this low and increase the subsurface catching scale. So let me reduce this actually, let's set this to one. I'll over to the scale for this and I'll set this to a value of eight, 0.08. Give us a softer. That create a more soft look for us. You can see it kind of washing out. I kind of washing out the impordity we have in there. Okay. And it's kind of moving that on the lips. Skin detail for the lips. Oh, yes, the displacement displaced on the lips now is not too obvious as before anymore, but stay in the stay in the you can see drinks in also too. Okay. This actually coming out quite nice. It's coming out quite nice. The way I think this is fine. So it's just a matter of preference in actually, just for you to kind of manipulate and change and just the way you want it to be, just the way you want it to be. So it's absolutely completely up to you. That's why I think I think this is a good place. Actually I think it is actually in a good place. This we can definitely work with. This we can work with. So you also have the leverage or privilege or options, speak this every you want, kind of get more better result out of this, but I think this should work for me. All right, so I'll see you guys in next lesson, we're going in for development of the T Bye for now. 11. 10 Eye Look Dev Arnold In Maya: Okay, welcome, by guys. So I've done a render for this just to see how this looks. So I render this out at one K resolution. So I went back to the view and I changed this up to just change this back to 100% from 50%. So this is what we get. So we get the cleaner anden now. I think this should be just fine. I'm going to snap this snapshot of this. I'm not going to click on this camera icon in here to the snapshots. So this is one with 500, 512 pixels, then one k, okay. That's difference in there, so I'm going to minimize this minimize also. Let's carry on. Now let's work on the eye model itself. So I'm going to temporarily hide the head and let's make the eye visible. So outer eye. Let me drag this up. There, let's start with the Let's start with the Iris first. So make this visible. No, let's just put this somewhere around the zoom into one of these. Let's see which one has. He let's zoom into the zoom into the one on the left hand side, on the right hand side. I'll select this existing material Iris. Okay. Then let's go in and change this Iris to AI standard surface. I'm going to rename this to AI Iris. Okay. That's fine. Then I'll need to go to my IPA shade. Let's make the iPashaet visible for this. So we're looking for Airis in here, so AirisGraph network. Then let's go in to our documents in here, select no SP textures. The iris, Iris base color, Iris normal, Iris roughness. Yeah, should be fine. So I'll drag and rob this in. We don't need displacement with this. Let me bring this up. Okay. Something is rendered in let's stop this render for now. So we can work a bit faster with roughness. In B color should be at the top. Normal, set this down here. Then it's the AI normal map out inputs a value to normal CAM. All right. So just open this up out to specular roughness, then out color to base color. I want to set this roughness to increase some more space in here, set this to roll the roughness map, then the normal map, open GL, set this also to roll. Should be fine. Should be fine, so let's bring this out. Let's do a render. This is what we get. This we can work with. Maybe maybe take down the null. See an issue in why are we having paints in the center? You can see some paints in the center parts. We're not supposed to be having paints in the center parts. Let's go in and then let's stop this. Let's go in and then check our texture, so let's open this up. Okay. I'm seeing issues in here now. That we need to fix. I think we can easily fix this inside of Subtanpnter issue shouldn't be an issue. Let's open up substance spinter in here. Let's just go to a directory in here, go to the directory and then open up subtanpnter again and then we'll fix that. Okay, so back in so let's jump into the low that's. Okay? So let's make sure ItopRnder in here already, so let's clean this up I see it now. We need to clean that up. So let's go in. I'm just going to, let's just create a new fill layer actually. Let's turn off roughness, metal, leave lei, follow in a dark, hollow in a Let's do a black mark. Take down my brush size. And I'll just paint in here. So just basically paint in here, that's pretty much it. And then I'm going to spot out the texture again. So let's save this quick save. So it's more or less like a back and forth ten in here. So I think our thinks modify the face a bit more in zebush. It's going to modify that a bit more. But for the most part, this tera is mostly just for substance bena and then nod. ArndRndering, and then creating gen A. So basically sbtanspnter and Maya. Okay, so yes save this. Let's spot out the textures again. So for this, we need to export out the iris and just the base color itself. So exports spot this out, so exported now. Let's go in there and let's check. Let's confirm if this is in the right list now. I think this has been updated, so it's in the right list now. So let's go back to let's go back to Maya let's run this again. It's not updating the texture in here. So we need to bring this in again. Let me just make sure. Let's make sure it's actually exported in. Confirm this again. Let's delete what we have here. I'm going to select the base color. Is a load here. Lo not sure. To this off. Guess not. Let's import it again. Let's see if that updates. Still still very much in still very much in the select this to delete it. I need to go back in here to delete this. I think we need to export this out again. Pot text shows spot now the B. Let's see our directory for this directory is fine. Export this out again. Exported. Let's check our folder. Okay. Let's go back and then go back to Maya and then get this back in. All right. Let's stop this for now. Go back to our folder and then drag and drop this in. Let's get this way, should be, put out color to base color and let's run this render again. Let's see. Now, now, something does not feel right in here. Something doesn't feel right. Something doesn't feel right. Let me zoom out. Let's check the the other eye. It's pretty much the same thing. Which is kind of strange because I already fixed this inside of Softnpna Let's stop this again. Are we generating any TXT material in there? So you need to make sure you're not generating any TX material. We are not. Now, this is actually a strange one. Fixed in here, but exporting we get the same issue. Let me paint more a bit more in there. Okay. Let's check the other eye. Pretty much fixed. For some reason, it's not updating. For some reason, it is not updating. Let's try exporting this to a different folder instead, let's export this outside instead. So exporting the eye with base color alone. Export again. Okay. Let's go to the outside folder. This new just exported Okay. I still looks very similar to the previous one we had. It looks very similar to the previous one we had. Close this, save this. Close this also. I don't think I need that anymore. If it doesn't work me, I'm not going to lose my entirely and then restart this, maybe that should fix the issue. Delete this. Let's bring in a new one in. Sometimes issue like this just occurs and then it becomes a bit of a pain. Let me close this not render, actually, open up the And render again, fire this up, let's see. Run this again, you're working now. So I gusse close the not render and run this again. So it's working now, she's fine. This is precisely what we need. Okay, so I'm going to stop this now. Then let's go and then work on the outer eye. Let's make the outer eye visible in here. Select the outer eye, apply the material for that outer eye. Okay, that's fine. Okay. Set this down. Select the ready. Let's go in. Let's change this to AI standard surface. This is going to be a out I outer I. All right. That should be fine. So next we're going to do is to is to kind of go to our eye pie and then bring in the textures for that to outer eye right click on that graph network. Okay. And let's go to think I need to at least I know we know where it is, so yes. You know what? Let's go back into is absolutely fine. Since we know where we cannot plug them in, so we should be fine. So yes, let's go over expert already. So let's import the outer eye. So normal opacity, roughness. Yes, drag this in. Just to kind of arrange this way we need it to be base color should be up here, open gonormal here. Opacity, let's just put this here for now. Roughness, drag this say this here. Let's plug the out color to the base color and roughness drag this all the way to specular roughness, then AI normal. Here, normal, in here, plug this log the input to out coolorOvalue to normal. That is fine. So once now we need to do now will be to change things up in here. So can really change things up in here but kind of creates a new material in here. So the material I need to kind of create would be two. So let's start with the first p. Let's do under AI standard surface. A standard AI standard surface. Okay? This one is going to be like a glass material, so we need to rename let me name this in here, AI. Four cups, AI glass. I. All right. So letting this now. Let me move this to the side. Let's change the presetting here to a glass material. So let's set this to glass replace. That is the glass now. So now let's put a new material a new shader. So A mix A I mix shader. All right. Let me move this this way. Basically what we're going to do now is to let me get some more space in here so we can see this a bit accurately. So I'm going to select the eye Shader now. So you Shader two, I'm going to drag I'm going to middle mouse click drag this outer eye and drop this in Shader two. Okay. Then I'm going to drag this glass and drop this on Sada one, right. Then now the mix for this is going to be our pasity map. Well first of all, let's select this normal. Let's say this to roll set this roughness to roll. That should be fine. Close this. That should be fine. Then I'm going to the mix now, let me select this two right in here. The mix is going to mix, I'm going to open this out color out and I'm going to drag out the mix. So our pasity map is what's going to be controlling where the glass is going to be where the glass shear is going to be, this selected now, let's move this down. Let's select the outer eye. Select the outer eye. I. Okay. And I'm going to let's zoom in here which one I wish supposed to apply? Thinking this one, guess not this one. Right a node, we use select, apply material to viewport selection. So do that. That is what we need. Let's run do our render for this. You can see how we immediately get that accurately. So that's basically all we need to do for that. They set up the way we want it to be, so it should be fine. It's in All right, so that's fine. That's fine. So we can bring all of this back out. Let's back the head. Let's bring back the head. Let's stop this, set this view test resolution to 50%, 50%. Save this also. Then yes, we can bring back the Yeah, let's make the minuscule visible. Let's make minuscule visible. So I'm just going to apply the material for this. I'm just going to use a water material actually for that. So minuscule, okay? S this here, let's change this up to And Let me create a bit more space in here for to see. Let's change this up to AI standard surface. So this should be A minuscule All right. Then we'll go over to presets. Let's use water. Media is water up. It should be watered up, preset, yes. Okay. No pieces in here though. Oh, yeah, I see clear water. So replace, right? So if we should run this again, let's run this again. You should be getting that son of water material in there. That's fine. Stop this for now. Let's go and bring back the head. Okay? So the head in here now, let's get a view in here to render it. Save this, save this again. Then we can do a render for this. Okay? So just going to give this a moment. Let me just zoom in a bit more. Okay. Let's see. The eye is not entirely clear. It's not really clear. We want something quite clear in there, like very clear in there. So let's do a render region for the eye. Then let's come back in here. This is for the other glass for the minuscule then just put this here. For the glass material, let's go in there put this here. Let's see what we can do in here this selected AI glass. Under transmission, yes, but it just looks too rough. It looks quite rough. Specular already. There's something else you need to do. Something doesn't entirely feel right in there. Let's see. Okay. I'm not sure if the IO for that. Let's change the preset instead to clear water, replace. Let's see. Mm. Not really. It doesn't do much doesn't do much either because I need something quite clear in there. I need something quite clear. Okay. Let's take this down. Let's go to IOL. Let's see what we can use in the glass. Let's drugs all the way up. Let's see if that makes any emergence. No, it does not. It's down. So basically need to find the, that's not even looking right. Let's go. Maybe just maybe a lighting. Probably our lighting in there. Or maybe let's see them check your past map for this past map for this. Oh, I see. I see. I see. The issue is from your past empate map is kind of gray. It needs to be full black values. They need to be full black values in there. So that's definitely where the issue is from. So let's see what we can do to fix that. Let me open up the map. Can we do? What can we do in here get this full black? You are one of the things we can do, though, we can bring this to photoshop and then just fill out up its full black. But there should be a way to do this in here actually. Why is no updating. See if I can get this to update. See if I try to update this in here. Okay, better still, let's do something like this. Let's do isolate, isolate now. You know, probably not. Let's see tour this down. The glass material. Let's make sure we are using the preset of glass, complete glass in there. Yeah, so I'm having issues in here now because Okay, no, no, no. Let's make sure I select past this so. Now let's turn over this solo for now. So yeah, much better. So now I'm getting something a bit clearer in there now. Feels a lot clearer now. Feels a lot clearer, maybe do it more. You drag all the way to the end let's see what we get darkening the other edges. We don't want that, so set this back around. Somewhere around here seems to be a good one. Maybe this a little bit more. Set it two -1.6. Yeah, 1.6, 1.6 seems like a good one. Alright, so that's how we kind of troubleshoot and then check for the issue in there and then we fix that. Ping around show which part one or which part detras having the issue in there. So this's getting something better now. Yeah, yeah, this feels a lot better now. This we can work with, okay? So I'll see you guys in next lesson. Bye for now. 12. 11 Teeth And Bow Look Dev Arnold In Maya: Okay, welcome, bad guys. So, you just like a review end of what we did last time. No entirely clear, though, but you should work. Okay, so moving on. Let me minimize this. Create some space in here. So I'm going to select select all of this. I'm going to hide this. So let's turn on the teats. Let's just do some look development. For the ****. I shouldn't be too difficult. Nothing special in here actually. So let's just apply existing material, Tit tit, tit, tit, ****, mats. Then we'll just go over to that. I think we need to delete by type in here. Okay, so just the same repetition also in AI standard surface. I'm going to rename this to AI seats. All right. You want no to adjust in here would be this mix shader, let's rename this mix shader. Let's rename this mix shader to AH tau, glass, I supplier. So you kind of know what it is. Okay? Get this down. I've already changed. So let's go to the AIT graph network. Okay. So let's import external maps in. So teeth, tet teeth teats base color, normal roughness, drag and drop this in here. Let's arrange our sin normal map, roughness map, base color. So let's drag the base color, outer color to this color. Open this up out to specular roughness. Okay. Then type anormal map. Okay. I'm just going to plug this in out value to normal car. Select this texture of the normal map, put to utility raw roughness also to set this to raw. Should should be pretty much it. Okay, pretty much run renders in here. For some reason, I think the UVs think the main issue was the UVs. UVs for this are actually flipped. I believe so. Anyway, it's not going to be visible, so I don't matter that much. The main part is that at quite visible, so I like the men's units kind of see. But I strongly believe the UVs in here is going to kind of flip. Flip in there. Okay, so let me stop this. Let's hide the teeth. Then let's go over to Yes. Neck bow make this visible. Zoom out a bit more so you can see this. Let's see if there's let's apply the material in there first. Neck bow mats AI standard surface. A neck bow. All right, so let's see if there's actually silk material in there that we can use. Supposed to be sik material we can use in here. Presets, 666 silk. Okay, we have velvet in here, though. Velvet, velvet Na might not necessarily be what we need. Okay, what let's replace that. Let's see. Let's see what that gives us. Okay? We have this in here. So we just need to kind of change the color in here, change the color in here actually. So I think should be under sheen. Okay? So I'm going to change this to more light sort of shehin in her. So that's fine. Then then yes, then we can go over to Let me increase the base color first. Let's get this up. Not experimenting yet, you can get something that will work just so Let's g Let's bring in the textius in there neck boll. Yes. Roughness, drag and drop this in switches back to fault. This is normal. Let's stop this for now. Roughness, base color. Get this up. Crest moo space in here. Let's drag this to base color outer color, specular roughness, then a normal map, input to out color, out value to normal CAM, set this to utility row, row. Same for the normal map, row. Less fire up the nd the less see what we get out of this. I see. This actually looks interesting, though. Let's see what we can adjust in there. Let's select this. Let's go over to the AI material in there. Roughness, up something for the roughness. All right. I think this can actually work. Do you need to put any IR in here. Let's see. Let's try this oil instead. Let's see. I see are rent out a bit more. Yeah, I think this should be fine. We can work with you can work with in here. Okay. This we can work with. Let's stop this render now. So I'm going to bring everything back out. Just for the sake of checking around here. The teats. Let's go to the teat. Let's go to change the layout to UV Editing. I would like to check solo teats UV let me check if this is one kind of flip. Yes, that's where the issue is, it's actually flipped. Is in here actually flip. Majors where the major issue actually is coming from. So we have this flip. So you can see how this is all blue, but this flips. So we can actually do in here would be to I flip this? Yes. So just flip this this way. Okay. Yes. I think this should work. Yes, it's working now. So I think we can do another render for this. So let's go let's go back to Let's save this first. Save this standard. Okay, we have everything back out. Let me just render out the T again. So let's hide everything else. So we should be getting better result now. So let's run this. Great. So now, is refusing to refusing to us is accurate enough, so I think one of one of two things, let me topically con all of this do a reverse normal yeah perfect. So remember reverse previously when we were kind of trying to take straight inside of SubtansPnter. So go to SaptanPnter actually applies the material to the entire surface without front or back, so not working accurately enough. So out and kind of check if there are issues around sin. Right? So let's bring Gavitin back. Should definitely stop this one now. Please don't crash. Okay. Let's stop this, it should be fine. So let's bring everything back out. Okay? So all of this out. I think we have set everything up accurately as we should. Yeah, this here. Let's just give this just give this existing mats. So we can just do irregular black material in here. Let's just set this to AI standard surface. So a mesh. So just to be a bit more distinctive. So I'm just going to set this to somewhere somewhere around black. Save this. Then let's do a render for all of this. Can see this my bonus. The same material for that can have any sins to it. Let's change that sins. I should Let's say this toll N something around full bla. Let's do full white around the first and get this somewhere around somewhere like this. Then let's go back to view Minkam I think I need to make the bit blacker than it is right now. Produce towards the black and add some more to it. It's quite rough. Let's get in closes. Okay. I'll leave this. I'm just going to leave this to kind of friend out. Let's go over to the view test resolution. Test test resolution at 100%. So that'll be like one for this. And I'll come back when this is done, right? So I'll see you guys in the next lesson. So I'm just going to make some modifications to the general proportions of the face later on and then bring that back in. Okay, but for the most part, this should be fine. So you should be looking at the hair in the next tutorial. So that is working with X gen A, see you guys in the next lesson. Bye for now. 13. 12 Hair Scalp In Maya: Okay, welcome, bad guys. So I think I kind of restarted Maya in here. Okay? Okay, so why Maya is kind of opening up. So I made a correction to the outer eye opacity map. So originally we had let me just show you guys the original file. So the original fire is what we had we kind of adjusted. So we adjusted that little inside of Maya. So using the exposure instead of Maya, but at the end of the day, I wasn't really, I kind of worked well, but probably not well enough, so I went into the texture itself, and I made some modifications to this so. Let me just repeat what I did in there So basically what I did was to go over to my magic wand, and I selected, selected this. Then I kind of painted a new layer, filled out with black. Like so. Then created a new layer again, put the layer just below, fill these to whites. So let's make sure the ss on full black. So I went over to select this newly created black circles. And I went to my Goham blow and I just applied Gohamblo to it. So the value I'm using for the Gohambo was around ten. Then I kind of saved that out and import it into imported that back into May Let me just specify is always opened up, sorry, I don't know why. So let me just put this down. Okay, so after let me close, this Okay. So after doing that, I went over to slating the outer eye. Then I think not this okay, outer eye glass. Then I kind of replace that. You know, we add for the mix, we had a texture in there. So if you open that texture file, there is a texture file in here for noticing here now outer eye opacity. So I just saved out this I saved out this new file with the Gausha applied, saved out as a new file, and then connected that to I connected that to the basically just open the file and then selected that in there outer eye two. That's basically what I selected in there. So just keep you guys updated on that. Okay, then also two rats and I did in the let's go back, not this. Let me click out and select this again. Okay, let's go to our IPA shade. This, this is not the iPashade. Let's close this. Piper shed. Alright. So I was trying to kind of match the eye a bit more, the outer eye a bit more. So can say I feel a bit a bit more reddish, kind of a bit darker, kind of the whitish part. So one of the things I did in there was to let's go to the outer eye. This is the outer eyeglass, yes, that's the one. So for the base color, for that, select the base color should be in here now. For the base color, that color balance, I just adjusted the exposure. So I use the value of -1.83, so that's basically what I did. So that should be fine for now. Let me save this. So remember we kind of set our projects in here, so let's set the projects to the correct for the directory sets, okay? That's fine. So now I need to tell you we're going to be working or rather ambitious. I'm also going to be more or less like working working the lights a bit more later on just to get something very similar to this. So I'll be working the lights. But for now, we need to kind of work on the Let's work on creating eggs and hair for this. So I'm going to hide this hair mesh for now, let's hide that. So yes, I also a little made some corrections to the face in here, but not really major not really major correction in there though, just something. Something that may not be too obvious for for you guys to at least see though. But keep in mind that's that ly there. Let me turn of the resolution gate for now. This is new mesh I put it in. So I'm going let's delete swatch name in here. So I'm going to duplicate this. It's going to be a new base mesh for the scalp. So let's let's hide the main head. Select this. So what we need to do first to create our egg gene would be to now this would be to create a cap to create a cap where we're going to have our head generating out from. So that's what we need to do. So to do that, with the head selected now, let me hide this back plate also. We can hide the light also O B, let's use this instead. For this null, let's apply a default lambert material in your favorite lambert. Is a darker shade. Think under diffuse, tick down, diffuse a bit more. Something like this should work. I'm going to hide this. Let's see this only I will duplicate this again, hide that. Let's work with this. So let's grab this cup part for where we want the to be generated out from. Okay. So basically the idea is to select more than what you need. That's general idea. Select more than what you need. So I'll go to my edge mode. Let's Let's do something all the way around here. Double click on this. Okay. Now let's go over to face mode instead. Double click in here. I'll delete that. Delete this here, we can do something like this. Let's grab something for the lower part also maybe around here delete this. Okay? I believe this should work just fine for the head hair scalp. This should be just fine for the head scalp. So let's rename this to head. Let use all caps in your head scalp. Okay. Yes, something like this should be fine. Just something like this to begin with should be fine. Then I'm going to hide this. Let's go to this now. So for this now, we just need something for. We're going to generate for the eyebrow and then and then for the lashes. Let's do that. So I'm going to the idea, like I said before, generate copy more than what you need. So you can get some allowance of space around there. Let's do this. Delete deletes. Let's come around somewhere around the select the loop around the delete. Okay? Then we can select no. Let's select the loop delete that. Select another loop in here. Let's see if we can grab roughly around the same place, delete. Okay. I think we need to delete a few more also. Let's go over this. Delete. Delete those? Maybe we can delete some more deletes. Just trying to reduce this some more. I think they should be fine. They should be fine. We can rename this as Oh, okay, we can see delete. Okay, this one goes across, so there might be an issue for that, but I think it should be just fine. I should be just fine. So let's rename these two. I bro lashes scalp All right. Let's save this should be fine. So now we can generate ours in here. So this will be for the eyebrow and then the eye lashes, then this in year should be for their cap. I think we can actually reduce this a bit more also too. Let's isolate this control one so isolates. Let's reduce this also a bit more. I think we have way too much in here. Delete this, delete I think we're in a good place now, yes. I think this will work just fine. They should be just fine, okay? All right. Yes. This we can work with and I'm going to put these two in a group. Let's put them in a group. Let's group this. Let's name them to scalp. Okay. Now let's bring this back. Let's bring this back out. Let's turn this off. So yes, so this scalp is actually in there is the scalp we need. So yes, just to make sure everything's working correctly. So let me hide this again for now. So this is two. So we have the scalp and then the eyebrow and late scalp. So that's fine. Now in the next lesson, we're going to start working with X gen and generating as on top of this. I'll see you guys in the next lesson. Bye for now. 14. 13 Long Hair Xgen Guides In Maya: Okay, welcome, bad guys. So moving on. So after kind of creating the scalp, there's other things we need to do. You need to make sure the UVs for these scalps. Let's go to our UV editor for UV editing. Let's turn this off. Set this back here. So let's start by selecting this UV shell. Let's go over to unfold, cords creates, yes. And I'm going to let's start unfolding this then do a lot for this. Cause one used to be occupying most of the space in here. Maybe one die this up in the middle the courts select this to unfold. Occupies more space in our UV space in here. So let's do the same for this. So let this unfold out. So occupies more space. So this is actually going to up later when we try to do some painting in there. So quite important. So let's go back to modeling standard. Minimize this. Okay. Let's make sure we are on let's go now to ExGen. Let's change our workspace to gen. Click on gen Ina. All right. It's fine. So now I have some references for longer in here I'm going to be using. So my best guess in here is that the closest reference we have for this would be most likely this, this, for example, we still have something in, so you can see how this shape kind of curves in. We also have something similar inno, so you can see, right? So let's carry on. So let's D the ice cap for now. I would like to bring out this Ash, so Shift P. Let's bring that out. So that's going to show us where our hairs are kind of being generated out for at least just to show us a line, the airline in here where we can start pritting our guidelines for that. So I'll select this. Let's D this for now. Maybe we make a duplicate. Let's make a duplicate of that. Let's send the original back into that group. Select this. Let's give this a different material. Let's give this sibling material instead. Save this. I'll select this calp again. Go to X gen, create description for this here. You description for this would be. Let's use our caps for this add Ensco He underscore DESC for description. And the collection in here is like our group. This is like the group, like the folder instead, whichever you prefer to use. Oh, I'm not naming this correctly. It's supposed to be D for the Ed. Okay. Then it's going to be named as Ed ndc scalp, Undersco collection. Alright, that's fine. The next thing you need to do in here would be to Now, need to use plan. Plan is fine. Random across office is fine. They need to kind of place and shape guides where we need them to be, so let's click on listen and shaping guides. So this should be fine. Let's click on create All right. That's created in here now. So now let's move this out, move this out. Select gen, gen, gen tab in here. Middle mouere drag this all the way to the end. I don't know that's gonna mess in so because I actually going to convert the splines to polygons. I don't want that, so, so let's now create guides in. I want to read the plus sign. Let's create our phase guide. So with this reference on the side, this reference on the side. Let's create our phase guide here. Okay? That's our phase guide. I want to skill this out this way. Maybe a bit more. Okay. Maybe there's a bit too more XO should be fine. Okay? What I'm going to do would be to bend this. But before I bend that, let's create some more guide. So basically at this stage, I'm basically just basically just blocking things out in here. I'm blocking things out in her. I need to select this now and then hide this. Go back to the scalp, lay the scalp. Let's create another guide around somewhere around here. Okay. Now let's give that up also. Add that up a bit more roughly around the same size as the previous one. I'll create another one around here. Okay, schedule this out. Okay, this should be fine. Yeah, this we can work with soon. What I'm going to do next is kind of bend all of this. But let's select all of this first. Select all of this first and let's do primitive let's turn this off. Because new dies will be generating everywhere, not just where the camera is kind of visible on to turn that off. And then in here, let's make sure to rebuild Let's rebuild all of these guides in here. Let me edit this for now. Let's build all of these guides. Rebuild Let's use ten for this. Let's build this sets ten. Okay? That's fine. Save this. So next, I would like to do maybe to set the settings for the hair, especially for the weight and for the taper. So I have a setting I usually use. Let me go to my desktop and bring out my notes. I got my notes part for this. So for the setting set setting I usually use for this would be let's see, yes. So for the weights, keep losing that. So for the weights, is going to be 0.01. So let's say the weight is 0.01, 0.01. Okay. Then the taper 0.71 taper 0.71. Then for the taper that I'm going to be using 0.76. I believe that's a setting for it, so 0.76. That's fine. This is like setting I usually cannot use in here. You can see a generating in here now, so let's increase let's add some more and let's make sure Auntie Allison is done on Auntie Allison. Is that the one? That should be it. Yes, until Listen. Just so you can see the as a bit better in here. Okay, so let's ide that for now. So let's start let's start moving this. I'm going to use this coped brush. Okay, would be scale this out. And then let's start bending this in place. So basically, what we need to do here let's just to bend this in, just to bend this in. So let's try to get that bends in. Let's get in a bit close. Let's see should be down a bit more closer to the scalp. Okay. Get this out. Okay. Let's bend this inward. Let's increase the bro size a bit more, get this out. So more. You should go in. Okay, you need to leave this part up some more. All right. I think that should be fine. This we can work with. So you can actually copy this now. You can copy the movement for this or the shape for this. Select go in right let's use Copy guide, select this guide and go in and paste in there so we can use the rotate too and then just rotate it, you know. Rotate it this way. Yeah, pretty much do that. Let's use a scoped brush and then move this outwards. So more this way should be fine. Then we're going to copy this pace the same thing also in your ist Okay. Rotate this this way. All right. I think I need to eat on the cube. Come on. I think I move this. Let's move this this way. Then let's use Scope two. Get this down out a bit more. All right. Let's save this moving on. I think that should be in a good place now. That should be a good place. And let's do something else. Let's create another. Let's create another one. Let's create another guide. So let's go in and then create a guide around here. Okay? So this guy is not supposed to follow. He's not supposed to follow the others. Let's extend this out some more. Okay. Then go to cotin two. Just sculpting. So this should be the longer part of the. So let's get this. Let's get this this way. Let me first of all of straighten this out to begin with. Straighten this out to begin with. Leave this up. I think I overextended this. Let's shing this down a bit more EG to go back to our sculpting too. So based on the way this is in here, you should kind of, maybe I push this way too. Let's undo that a few more times. So no, common perspective view. I'm trying to kind of get a proper angle to this. This should flow down here. Okay. Let's see, it's covering the front up out of the air, get this in front. Okay. Well seeing kind of straighten this out some more, but let's just kind of get the general shape in place first. It should be a bit closer. Okay. Then I'm going to reconstruct this. Lets go to our selection to select this. Let's do a rebuild. Rebuild this at ten, click Okay. Okay. Let's go to normalize normalize again. I think we need a few more. Let's build this again. Let's do a value of 14. Let's get better resolution around there. Okay? I think might even need a bit more. Let's build this again. Let's use a value of 20 instead. Okay. EG to go back to our scoptin too. All right. They should check in. I think around there should be fine. Okay. Let's get this covering the most part of the year. We straighten this out a bit more. Okay? Yeah, I think they should be in a good place. Let's check this from the side because you always want to kind of check this all around. Like, make sure you're checking this around the entire me just to make sure making sure everything is working correctly as it should. Straighten this out a little bit more. Okay, let's get this part out. All right. Let's compare this main reference in here. Let's see what we get. So it should be should even be even closer around here. Closer. Like so should be fine. Okay. Then carrying on, maybe get a little twist to this. Okay. Let's see. Yeah, I think that should be fine. Now let's go in and then create another guide. Save this. Let's create another guide around a bit more space around here. So good thing is kind of following the shaping for it. Let's go and use move Guide. Move, leave this up, bring this forward. Okay, that should be fine. Guys get a bit of twist in here, straighten that out a little bit more. Maybe elevate this out some more. Get this up a bit more. All right. So continuing on, let's add another one. Going to add one roughly around. Okay? It's kind of making sure it's kind of following the guides for that. Leave this part some more. Get this in, straighten this out a bit more. Okay, this should go in straighten this out some more. Yeah, so it should be fine. Let's leave this out a bit more. Let's see what we have in there. I should come out some more, like so out a little bit more around there also. Okay. Then let's continue on. Let's create another one around here. Okay. Let's leave this part up, get this up. Let's look at the reference we have in here. Let me just kind of tilt this this way. Stick over in the A. Okay? Maybe get this down a little bit more. Right. Lift this part up some more out a bit more. Let's create another one. Let's create one in here. Okay. Go back to our scope tin to bend this in in here maybe undo that. Let's get this out a little bit more straighten this out some more out. Let's generate some as in here. Let's see what we get when we generate as in here. So it's not really following this why because our modified CV count is quite low. Let's say this to a value of let's say 40. So that you can follow it now some more with a bit of accuracy in here now. Okay. So this is working. This is working fine. You can see how you getting longs around this already. Let's add this for now. Okay? So we need kind of break this up by creating let's just go around this first. Let's make sure we get around this first. Okay? It's add more guide to this. Let's go over in these parts, drop over here. Go to scotin two, get this in. Okay. You should work, leave this out a little bit more. All right. Let's add another one around here. Okay. Move this out, out some more straighten this out a bit more. Get this down. Okay. Lyte get this out. So more elevate this. Alright, so then I think we can let's see. I think it's actually almost almost like it's on both sides. Okay? Let's kind of finalize on one side before mirroring this to the other side. So let's add some more out one here. Okay. This one seems to be pushing out way too much. Let's straighten it and take down the scale. Okay. Still in there. Let's get this down. All right. Let's do another one. Basically trying to fill up these gaps in here, now, one year. I think I'm going to leave that as it is. Let's do one year, one year or so. No undo that one. Let's do it slightly higher around here. Okay? Yeah, around there should be fine. Then the ones we're going to create down here are going to be slightly shorter. So let's scale them down. Should be some shorter ones in there. Add another one around here. This we're going to make shorter. Maybe not two shots. Something like so should be fine. Let's do one around here. We're going to move this this way, Spetting this out a bit more. Setting it out a bit more. Maybe scale that out some more like so. Okay? Now let's come into the front parts. Let's Let's add one here. I think we can need to kind of drive this a bit more to kind of make it a bit a bit tighter. So just to kind of give the air some more directionality, so it knows where it's supposed to be in. Let's scale this down. Out a bit more. So just basically kind of force the air kind of obey the guides in here. So that's why we need to kind of add a bit more. Just to force the air to be where the directionality of these guides are flowing in. Is that what I'm trying to create now? Let's create another one. But there's a lot of gap around this part, so we need to cover that up. This is way too long. Skew this down. Leave this up. Okay. Bend this in needs to respect what you already have in here. Get this down. Okay split some more one down here. To long, scale this down. Scale this down. Okay. Then force this in you kind of follow this a bit tightly. Get this in. Okay. Let's do another one. So come down, that going keep adding downwards and then scaling them down just to force it to re pet let me scale this down some more. So generated a kind of follow a particular direction to it Okay. Let's do one more around. I think for the most part, this should be fine. Okay, we have space in here. Let's do one around here. Okay? This should be forced in some more. Okay? You need to do one extra one. Let's do extra one around here. Scale this down. Make sure this is flowing in. Okay, you should be fine. I believe at this point we mirror mirror this to the other side. Let's first generate some maze in here. Let's see where we get. Obviously, we need to do some cleanup in there, but for the most part, we noticee see we're capturing the essence of this very much, which is fine. Okay. Then I want to go to my selection too. Let me select all of this. I select this. Select this select this also. I need to kind of leave them out a bit more like so and run this again. Right. I think this will be fine. We can make this work. This is fine. Let's mirror this to the other side. Let's select all of these guides. Let's do a mirror to the other side. Let's run this again. Okay. So, obviously, we need some airs on the center part, but for the most part, I think this is working absolutely just fine. We want it All right. Let's hideide this. But I think we need some se force this down. On this lower part, need some se to force this down. Let's just see. Let's see. Let's create some more down here. Let's do you have guides in here already, so I don't think that would be absolutely necessary, though. Except otherwise. Let's create guys in here that flows down some more let's get the directionality of these exhibits off. Let's just get this up first. Then let's use our scale two. Let me extend this out some more. Let's use our scoptinbush two. I'm begin to deform this and get this in place where we need them to be. Okay. Get this down, right, get the bend this way. This way should be fine. Get this up. Alright. Need a bit more. Let's do a bit more. Let's do one around here. Okay, maybe not. Can do on one side and then mirror to the other side. Let's just do one on this side. Then get this out. This should be longer than it is right now. Extend the lens. Okay. Let's see what we're getting in here. Okay. Straighten these out. Pull this out some more. All right. So let's keep going down. Let's go down around here. Okay. I think that one kind of takes a good spot. That takes a good spot. Let's extend this out a bit more. Extend this this way. Okay. Let's add another one down. Yeah. I kind of respecting everything down here also. So let's go to our selection two. Let's select this Okay, and select these two also. Let's mirror this. Okay. Mirror to the other side. Yeah, this one is just way too close to themselves. So I need to delete that one. Let's add some in the center. Let's get some in the center, especially somewhere around here. Get one in the center. Let's use a sculpting brush to elevate that out. Then we're going to scale this out some more. Okay. Get this down. Get this down. Straighten this out a bit more. I think we need to scale this out some more. Okay. Let's straighten this. Let's elevate this out some more. Okay. Let's give it some direction in here. Maybe move this this way, this way. Go back to add some more guide. Set another one around here. Okay. Even though this is not going to be visible on our camera, we just need to kind of make sure at least we get something interesting in there at the very least. Let's move this this way instead. Okay, out. Then we just do one last one around here. Okay? Let's bend this. Let me straighten this out. Bend this this way. Straighten this out. Get this in some more straighten this out. I think pretty much like so should be should be fine. Maybe one around here just to break the uniformity of it. Okay. Get this out. So this should break in the directionality of it a little bit more. You should just break this. And I'm going to mirror this to the other side. Let's mirror it to the other side, just the selected one. Is it mirror to your other side? I believe so. Okay, so let's generate let's see here. I think I need a fewer one in some fewer ones in here. So I don't want this to kind of look messy. Let's bring back the air mesh. Come on. Select, why can't I select Object mode. That's strange. I'm unable to select any of what we have in here. Can't set anything on my outline right now. That's a bit strange. Okay. Okay. Anyways, let's just carry on. Maybe if I close, it's an opening top again, I should be to select that. Yes, yes, may I remind you Egens quite buggy, so we might be experiencing some weird stuff happening in there. So it's completely normal actually, normal. Weirdness in there, completely normal. Egen can be a pain sometimes to work with. Okay? I need to mirror this to the other side. Alright, so let me save this. No, no, do that. That's our selection to save this. Let's generate some as in here. Let's see. Wow, that's just great. I can't even generate as in here anymore. Not even sure what's going on right now. Let me take this down to that instead. For some strange reason, I can't generate in here. That's awesome. That's just awesome. So like I said, eigen is quite boggy. It's quite boggy, sometimes can be really annoying to work with. Let me save this out now. Just like absolutely nothing's working right now in here. I don't want to select any of this. I can obviously coped in here. Okay. Strange. Anyways, let's save this. Let's see if you add modifiers in your if that will actually jump start it to work. Generate. I can't even see preview show you now. Save. Generates. Absolutely nothing is working right now. Fantastic. Anyways, I want to save this lesson for now, and I'm going to close this and come back in the next lesson. I'll see you guys in next lesson. Bye for now. 15. 14 Pt 1 Long Hair Density Mask In Xgen Maya: Okay, welcome back guys. So in the previous lesson, we kind of worked on creating the air guides. Let me say this to EX gene. And then we run into an issue where weren't able to visualize the air generated in here. So I kind of restarted Mayer, so after restarting, you want to go over to five set projects. And set the project on that same folder sets. Then let's run this again. So now you can see how we can see you can see the s now being generated in here now, which is precisely what we want. Okay. So except to fix some areas in here as you can see. So that we need to fix. So let's mouse drag this to the end, right? Let's see if Let's see if we can select a few of this or we can better let's create Let's create new guides in here. So creates a guide that comes across you are not there. This should be Let's first get this up. That's a bit weird. Okay, let's just use middle B and the middle mouse screw to drag this out. This is the scoptin to scop this out, should be out instead. That's quite short. Let's extend this out a little bit more EG on the keyboard to go to the previously used to. I should be directly in a Okay. Let's leave this up. Get this in here, something like this should work. Something like this should work. Let's create another one. Next one should be around here also. Okay. Let's scale this out. Then use this scoped brush. Scope this out. That's way to, pull this down. I think it should be on the other side. So let's rotate this roughly towards the middle. Your so should be fine. Eg on the keyboard. Let's get this out. Make this wider kind of longer instead. Push this down. I think we're getting something in here. So let's extend this out. I think I need to push this back down. Do we have get this up? Okay. Like so up a bit higher around the air. I think it should be quite higher than the rest sort of, somewhere around there should be fine. Okay. Bend this this way. All right. Maybe this way, stretch this out a little bit more. Let's add another one around here. I think I can just rotate this this way. Okay. Let's get this up a bit, up a bit more. And let's run this through. Let's see. Come on. We're having the same issue again. Why why does this keep doing this? It's not pvaling for us in anymore. This is quite annoying. Still not updating the airs in here. No updating the airs. Doesn't really make sense that I have to kind of close this every single time just to get airs generated across this Okay. Though I believe this should be mostly just fine now. Except maybe we create shorts. Let's create some short as around there, actually. Scale this down. Let's just see how much you can do before closing this and opening it up again. Because this is not making working with Eg gen enjoyable at all. This kind of rare kind of experience this particular bug though, as not being visible. It is actually a fest for me. It's actually a fest for me. But at least you know, once we restart this, should they should start generating as across this, it's quite frustrating to have to close the software and open it again just to get as running up in there. Okay. Restaurant again, absolutely nothing. I don't know if there's a way to even kind of troubleshoot this just to make this work. Great. Now, we can't even select. We can't even select in year anymore. Fantastic. Save this. Let me try something. Let me change my workspace to something else. Maybe that should help. But I think the entire layout is frozen actually. Entire layout is kind of frozen. I can't even change my I can't even change my workspace in here. It doesn't isn't fun at all. Anyways. Anyways, let me save this and close this soft and open this up again. So I always have to use the tax manager to kind of shut this down completely. Show this down completely. Okay. I've opened this up again, and then as much as we're gonna getting cooler heads around the other parts. Center part still needs something. Let's see some issues we need to fix in here, for sure. Let's check that in. Let's go back and then set this project again. Let's set this again. Okay. That's fine. Let's go back to egg gen. Let's go back to Egg gen I think I think I'm going to leave the sttes actually. I'm going to leave the sttes on this preview. Let's add some shorter es around there. I'm going to scale this down by lots. Let's go back to egg gen tab, drag this. We lost we lost I can't really see the egg anymore. Let just hope it's not giving us the same issue. Let me leave this up. Okay. Like so kind of figure out the endpoints for this. Okay, that's fine. Leave this up a bit more. I can see some gaps in here that I need to fix. Run this. Good. Now, I kind of getting something in here now, except I need to rotate this this way. Then I think I can mirror this Let's mirror this to the other side. I'm going to mirror this to the other side. Update this again, can see how we're filling up those parts now. Those parts are getting filled up. Let's do one around just around. Scale way too much, scale this down by lots, rotate this up or out, whichever one you prefer would prefer to use. Okay. Get this down this way. Okay. Bend this down, get this up, stretch this out. I think I need to mirror it to the other side. Let's mirror this to the other side. Okay. Let's run this again. Okay, fine. Awesome. We're getting something in here now. Let's do one in the center again around there, scale this down, down some more. Let's lift it up this way out, shredg that out, kind of feel this down. Okay, let's run this again. Fantastic. It's not updating anymore. That is just great. It's not updating anymore. Let's see this again. Let's see if there's something we can actually do too not at all. Okay. Okay. Okay. Good. We have something uniu. I think this should work just fine. Save this again. So the next we need to do is to draw out would be to draw out our density marks for this. Basically, our density map is basically all just drawing out regions around the head around the cap to tell Egen where we want to be generating out from. Just 16. 14 Pt 2 Long Hair Density Mask In Xgen Maya: Save this again. So the next we need to do is to draw out would be to draw out our density marks for this. Basically, our density map is basically all just drawing out regions around the around the cap to tell gen where we want to be generating out from. That's just basically it. So I'm going to let's go over here SIDs come on. The s are not even hiding anymore. What is going on? What is going on. Okay. Can I just get this to just walk. Let me select all of this. I would like to get back in I would like to get this back down. None of this is updating anymore. That is just great. Just get this down. Okay? I think I also have to close this again. It's not really a fun way to work, though, but what can I say? Egg gen, quite boggy. Nothing is updating any here. Let me save this again and then just foreshot this again. Okay? And tags. Back in again, let's set the projects. Okay. Set this to Egg gen. Let's go to our Egg gene tab. Right, open this up. Can we hide? Can we review? Yes, we can. Now let's pin max for this. I'm going to hide this for now. Hide that for now, then I'll go over to my max. Let's open this up to create map. So let's name this to long I like to use all caps in here. Let's do long so DE NS unders MAX. That should be fine. So I want to be on full block to begin with. I'm going to set this to 30 M resolution 30. Then I'm going to click on Create. So this send us to a black screen or black shedar aside for now. But that's completely fine. Now we can come to the options in here, double click on that. Set this to solid brush. So that solid brush. We want to paint full white. Painting this on full white and then also on that stroke. I want to paint this with symmetry tone down. So for this, you turn on reflection. You can see how we can paint symmetrically also in here. Okay, I need to take down my bro size. Think there's a way to take down this browse size. Yes, it'd be with the left mouse click to take down the Brose size, us IB and then drag take down the Brose size. So let's paint this symmetrically. Let me use this as my reference guide to kind of paint this a bit more accurately. But for, you know there's a center points to this, I'm going to create undo that. A center point should be a bit far out somewhere around here instead. Okay? Then let's continue this on down here. Let's do this wife machine I can see where the air is. And I'll do something like so. A cross a cross downward like so. All the should be fine. Okay. Then I can increase the bro size now and do more bigger paint inside of this. Let's paint paints a bit more inside of this. Okay. Like so. Let's fill all these parts up. Okay. Feel these parts. All of this. So almost done. Okay. Yeah, this should be fine. Now what you need to do is to blow out the center part. So let me first reduce the brow size by lots. Come in a bit close around this. Let's do something a bit tighter around here. Maybe coming a bit close. Okay. Coming a bit close around here should be fine. Then now let's go to our block under dispense too. Let's go to block, blow, blow, blow, blow. Blow, so turn on blow. I want to blow this out. Sit should be one full white, I believe. Let's take down our brush size a bit more. And then let's just blow out the edge. Just blow out the edge. This way should be fine. Okay? Blow this out. I think we need a bigger brush size for this edge. Let's blow this out. Blow, because we want to smooth out transition on the edge. So kind of create some kind of feed effects around there. Let's blow this out also. Okay. So I'm basically blowing out just the edge, the edge, Jane blowing in there. You always have this issue in there. I don't know why. But we can easily fix that. Let's go over to of the reflection, and I'm just going to blow out the center parts. Okay. Maybe even repaint that actually. Go back to paint paint for white in there freeze my browst a little bit more. Okay. Go to blow and blow this out. I think I might need to blow this out, maybe a bit small, but let's see let's see, there's an issue in here. Let's blow this. Okay. Checking around just to be sure everything's looking correctly. I think this should be fine. Alright, so let's save this, so let's go in and then we'll just click on this save. So you should update us quickly. Then we can go in and turn up this wifi on shaded. Okay. I'll come over to assign textures. That's way too much. Let's do fk assigned texture, close, safe texture. Let's go back to selection to click out. Let's temporarily hide our guides. Let's see what we have in here. Let me close this. I think for the most part, this should work just fine. Except maybe except maybe you might need to let's see. I see an issue in here actually. I need to select let's bring back our guides. I need to select all of these guides actually. We can just rotate them out a little bit more. I'll do the same for the other side. Rotate them out a little bit more. Then run this again just to update that, that should be fine. Okay. Well, one thing is certain though, we need more heirs in here, so we can crank this up. We can crank this up. Let's do a value of CTT multiply the as we have in here something like this, should be fine. Okay. I can see some issues around here. Let me hide this for now. Let's dd this for now. I'll select Let me select want to be careful not to add too many, because it doesn't come too hard for you to adjust to basically these three I think I isolated more than I need. Let's deselect all of this. Let's do this do that. I need to just leave out, leave this out. So more. Come on. These three also leave this out a little bit more. Run this again. Yeah, I think we should be fine now. Okay? This seems to be fine. Okay. This this we can work with. Except one sing though. I can see how it kind of bends. I kind of bend out. So basically, I'm going to select this. Let's go back to let me move this out of the way. Let's go back to this. Brush, increase the brush size. Let's just get a bend this way. Basically like this, select this, a similar get a similar bend in your soak. Okay. Do for the last one. Get the bend in here. Okay. Let's run this again. Let's see what we get. Yes. That makes better sense. Getting a bend in there like so. I'm going to select. Let's select this also too and get that bend in. Get that bend in also. Okay. Run this through. For goodness sake, it's no longer working anymore. Fantastic. Fantastic. That is just great. Let me use MC this. I'll select this, select, No, select this, no, select this. And this, no this 17. 14 Pt 3 Long Hair Density Mask In Xgen Maya: Museum save this I select this, select No, select this, no, select this. And this no this, come on. This I'll delete them, and I'm going to select these three. And I have an internet and selected, I'm going to mirror this to the other side. Let's run this Oh, finally finally Oleting now. So yeah, something like this should be fine. Let's go. It should be fine. So yes, in the next lesson now, we're going to go to or rather begin to use modifiers in here. I have some pre made modifiers in here that we can use. But let me add our guides for now. Let me just visualize this alone. Okay. Let's see how this works with the entire body. Let's back the entire body. Okay. That's not the one. I think it should be this DG three. Let's hide our scarp for now, do that. Let's hide this cap for now. Okay? Need to turn off. This is visible through this, so I need to turn this off. The s is kind of visible through this, so I think we don't need this anymore. Let's that so this is what we are getting. I think we need to make some corrections to this. Let's make the guides visible. This is the one. This is the one that we actually need to pull out select that. And then I will just rotate this out a little bit more. Okay? Run this through. Fantastic. It's not updating it. It's not updating anymore. That's just great. Any select this Let's just extend this outwards. So more. Okay. Can we run this through again? We cannot. It's no longer updating. Okay, updating now. No guide for. Come on. Okay, it's updating now. All right. Then we need to kind of extend this out of the skin. Csa is kind of intercepting the skin. We need to extend that out. I think I also let me just look at our main reference actually for this, I think, we need to bring some things forward also a bit more. So it's just a matter just the back and forth Until you get this to look right, this, for example, needs to come forward and all of this means pull out instead. Let's fix that. Let's fix that. Freeze br size by lots. Bring this forward. Okay. We have some other parts selected that we don't need. Let me deselect that. I Okay. I can do this off screen, though, but let's just do this on screen in here. Let's just do this on screen, just to get everything looking nice. Let's see, I think this. Let's do one at a time, actually, just to make things a bit more organized in here. Let's do one at a time. Keep selecting something at the other side. Let's get this at a better angle and then select that shade this down some more. Let's leave this up around the air. Let's bring this forward. Do that. Let's bring this forward around the air. Okay. Let's see, leave this up. So this should be a bit forward, get this down here. So it just takes a little bit of time just to properly get all of this where we need them to be. We select that Okay. Get this up. Move this forward some more. Alright. I think you need to bring this for the other side also. We already have one forward. Let's select this and bring this forward also. Okay. Like so. That should work. Now, all of this for all of this kind of interpenetrate we need to fix all of that. We can just come in here and select all of this down here. So you are one of two ways of doing this. You can actually push this out. I think pushing this out is way better. I need to deselect and do that. Go back to the selection too. I need to deselect this, select this select this, H down control and select all of this. Okay. Then we can easily pull and push this out, right. Okay. Now there are a few that are still in the need to adjust also. This, for example, let's get this out. So it's not really a major issue to kind of fix, though, just to select them and get it out, select and just get them out. Okay. Select this to get them out right. I think this should work. Okay, there's still one in here. Select this. Pull this out. Move this even this way. All right. Still some step penetrating into the body. Let's select this they select do that they select this, they select this. Pull this out. Let's see, I think we should be done. We should be done. Let's run this come on. Come on. Oh, finally. Finally, we get something out. All right. I think some of the as not following I'm not really following this. Not really following this, so we need to select these three, bring this forward some more. Run this again. The need to follow up. We bend this forward. So more. Run this again. Same also in they're not following up, so you need to make them follow up. Let's move them forward. So more. Run this again. All right, believe in a good place now. So the air should be to be completely covered. So let's get this completely covered in the air. Okay? A bit more in front. All right. Let's do the same for the other side. Let's get this covering the rather move this closer this again, maybe close around these parts. Okay. All right. Bring this forward. Now, this one need to lift up some more. A lot of corrections everywhere just to get this to look right. Okay. So you need to do this before we start adding modifiers in here, very important. This needs to be in place before the modifiers select most of this and bring this kind of at a good angle, get this at a good angle, push this in closer Run the again, extend this out a bit more from this again. Okay. Almost done. All right. Run this again. Okay, I think we're in a good place. Live in a good place now. All right. So now let's add this guide. I don't know if I need to increase the density of the issuing here issuing here, let's bring this back out. I will select all of this and push them down some more. Let's get them down some more. G on this again. No, I think that was way too much. We just need this on the edge. Let me reduce the blow size. Just need this on the edge. Okay. Run this again. Come on. I think I'm grabbing more than what I need to. Let's just grab this in front. Okay? I get this down. Run this again. Here's much better. Let's do the same for the other side. Now, I think all of this you can actually do offscreen boots. Let me do this on screen so I can do that, that is moving something else. Okay. Run this again. Let's do just one, especially this. This one needs to go in some more. Let's pull that down down a bit more. Run this again right. Okay, I think this should be fine. Save this. The next lesson, we're going to go into creating modifiers for this. I'll see you guys next lesson, bye for now. 18. 15 Pt 1 Long Hair Modifiers In Xgen Maya: Okay. Welcome back, guys. So the previous lesson, we kind of worked on the des DMX, and then we started making some adjustments to the guides also, too. So now let's work on modifiers in here, so I already have a pCT of modifiers to use in here, so I'm just going to use that to speed up the processing here. So yes, so let's go over to modifiers. Let's open this forwarder icon load user. So I have one in here. I'm going to start with the clumping, so Asian Long clump one. Okay? Let's add our guide in here. Like guides. Let's see. Alright, so I think this should be fine. Then I'm going to go over to set maps. Already I have a preset in year. I'm going to generate that Click conceive so that should run through and create something like this, which is actually quite scanty everywhere. I think I may need to adjust this actually. I need to adjust this. So this is not giving me the precise results I'm going for. So let's adjust this a bit more. So this is the root. Let's raise this up. Let's raise this up. So more Like so something like this should be fine. I think we have you know, we have some issues around here. Let's see if there's something we can do about this. Let's hide all of this. Add this also. Come on, now, come on. Okay. Ah, great. Let's review this cow. Okay, so you can see a few of these popping out. Let's select otter selection to select them. Okay. Yeah, yeah, this is pulling out. Let's select this. Come on. Is out, it's select just one. Okay? Leave that up up some more. It's like there's no end there's no end to fixing this. Just necessary fix. We need to kind of get this working accurately as we need it to. So let's just make sure Let's just make sure we nail the correction for that. Select this, get this up a bit higher. Okay. All right. Feel like we need more in or something or more guides. Let me select all of this. See the something we need to pull up, push up. Let's give all of this a boost up, some more run this through again. Yeah, much better. Definitely much better. And I think all of this in here, you need a little push up. Just a little push up would help. A little push up. All right. That's fine. Alright, so moving on. Save this again. Let's go in and add the next. I think this needs to be flowing a bit more anyways. Let's go in and add. I feel I should lift this tip up a bit more for lumping, you, not way too much, way too much. Let's get this down a little bit more. A bit more. Okay, a bit more right. Let's guides. Okay. I'm seeing some penetrations in here that I need to lift some more like this for example. This for example, I need to get up runs again. Okay. Let me go back to my reference in here. Okay. I feel like there's a need to add more to make this a bit more dense. Let's go and add more density to this. Let's do 90. Let's run this again. Go back to our selection two. Let's run this again, generate. Okay. All right. Now let's go over to local user. Let's add a second clumping. Set up, generate, run this, save this. Okay this is actually a bit much. It's actually a bit much. We need to adjust this a bit more. I feel like I should don't scale. All of this year, I think I should scale select this. I feel like I should scale this down. Scale this down again. Okay. Hide this for now. I think we need to select a few more. Select this on the other side, scale this down. Some more. This, for example, I need to select this. I need to move back inwards a bit more. This needs to push inward some more. Undo that. This leg, this on the other side. Okay. We need to definitely repeat the same thing across here. The leads. Okay? Scale this down, no, no, scale this down. Undo that sets in what I don't need. The select this, they select this. Scale this down. Okay, select select this selects selects Come on. They select this. I Okay. We need to scale down. Let's scale this down first. Scale this down some more. Then fold that in. Fold this in a bit more in here. I'll select this scale this down. Push this back in here. This needs to look as accurate as we possibly can get it to be bend this in. Okay. Feels like somebody is not of going in. So let's leave that up. See here also. Oh crap so many issues in some places now. I think we should be fine. Okay, save this. Save this. All right. So for this clumping too, I'll need to leave this decide the guides for now. Okay. I see feels like there's an issue in here. So articular piece spicular piece. 19. 15 Pt 2 Long Hair Modifiers In Xgen Maya: Et's get this part out. Okay. Run this again. Okay. Forward. Is like a never ending process of trying to get all of this to look right. We have the same one, the same one. Okay. Yeah, I think this would be slightly better. All right. I think to actually kind of force this to follow the part a bit more would be to go back to the primitive and then let's upscale this. Let's use the value of 50. Okay. See some of this pushing out. There's something here I'm not supposed to have not supposed to have this pushing out this way. So just to figure out where that is. Something is making it push out that far. I guess I you select this, select this, delete that less sing. Sometimes it can be quite difficult just to get this. Just to get their kind of follow. Follow our guys a bit more accurately. So it probably just be in a position whereby start fighting it and try to figure out where diminish is coming from. Because from the way it is right now, the guys actually where they need to be. This is just scaled that way too much. Let's see. Let's select these two. Select this. And I'm going to shrink them down by lots. And then let's run this twig. Let's see without fixes. It doesn't fix it, so you can still obviously see's pushing out this way. It's pushing out in directions. We're not supposed to have them. So it's either one of two things going to create more guides, of force that to follow partar direction. So I think I'll need to do that instead. Let's force that fully particular directions. I'm going to create one not as big as this or as long as let's scale this down. So basically now trying to force the to follow particular parts by using guides to kind of make sure it's full on a specific parts. Basically parts we want you to kind of flow through. Okay? I see an issue here. Get this down. Okay. Get this done at the tip. All right. So we need to definitely create some more guide just to force it force it in respect. It's a particular path in the scale this down. Okay? You should undo that. I think my scale is way too much for the bros size. Let's force this down and going to test this to see if this is respect in it. Okay? Still not respecting it. It's probably an issue, though. Okay. Let's see. I'm trying to figure out where that major problem is coming from. Because for the most part, it is actually short. It's at least short, so it's not kind of interp kind of pushing outward on this edge. So not entirely sure now where that major issue is actually coming from. Because I think a base going to force this to be in a paler flow in a butler direction. For some reason, it's not. Let me delete this. Maybe that's just the one. Let's delete it. Run this through again. Let's see. Okay. We still obviously have that in here. Though there are a few ways of fixing this. Let's try. I was not supposed to use this method. The boiler just use this method kind of kind of force it to kind of follow this a bit more, so I'm going to go over here and let this believe select primitive. I'm going to select all of this. Okay. I select this also. And I'm going to click on this to kind of delete that delete that Okay. I All right. Let's hide this. We still see more a similar issue around here also, too. Let me select this. Let's go over at selection to select this. Select the incident on the other side. Use the tat two and kind of rotate this in a bit more. Let's select this also, select what we have in here. Use the Scope two. Kind of scope this in. Let's update this. Let's see what we get. Now, no work. We're still seeing this issue around there. Fantastic. So let's just go and then use select primitive and then just select all of those and lead that Hold Shift select this. Hold Shift select, are disecting a few moneybs clickous. Let's select all of what we need around here. Let's delete those. Get a bit close, select this, delete those. Okay. I think we can continue on Go back to modifier. Let's add guides. Okay. All right. Let me add this for now. Let's bring out the points. Let's see. Okay. Let me see. Let's add one long points in here. Let's make this quite long, as long as the others see if by chance, if this is going to actually force things to be in place. Let's update this. Fantastic. There's no updating anymore now, for some reason. Come on now. For some reason, it's no longer updating. Great. Now, we have to close this and open this up again. Would this do anything? Nothing is updating anymore. Anyway, let's save this let's close this and open this up again. Okay, load this up again. So let's go and set a set project for this. Okay. Then I'll just finalize and then add some motor modifiers to this. So egg set eggen in here also middle mouse drag this to the end. Let's add the guides. Okay. Let's go over to modifier. So next modifier I'll need to add in here would be let's go over this longer. You need to add coil in here though. But that's clumping. That's clumping, so I don't think this needs any coil, so let's add add noise. Let's add noise to this just to make this a bit noisy in here. I see issues around 20. 15 Pt 3 Long Hair Modifiers In Xgen Maya: This for now. Let's bring out the points. Let's see. Okay. Let me see. Let's add one long points in here. Let's make this quite long, as long as the others see if by chance, if this is going to actually force things to be in place. Let's update this. Fantastic. There's no updating anymore now, for some reason. Come on now. For some reason, it's no longer updating. Great. Now, we have to close this and open this up again. Would this do anything? Nothing is obten anymore. Anyway, let's say this let's close and open this up again. Okay, load this up again. So let's go and set a set project for this. Okay. Then I'll just finalize and then add some mod modifiers to this. So egg set eggen in here, also middle mouse drag this to the end. Let's add the guides. Okay. Let's go over modifier. So next modifier I need to add in here would be, let's go over this longer You need to add coil in here though. But that's clumping. That's clumping, so I don't think needs any coil, so let's add add noise. Let's add noise to this just to make this a bit noisy in here. I see issues around here. There's always just one issue to fix. There's always one issue to fix in here. That's where is the issue coming from okay. This is where the issue issue is coming from. They select all of this. The select this. They select this. Just leave this up just a little. Robin you should get those parts filled up. Okay. Maybe lift this up a little bit more. Okay. Yeah, that should be fine. Now, freak me out, so. Let's see. I think it should be this particular piece. Let's use a brush and get it out some more. Okay. I think there's one more selects selects. Let's get this two out. So more let's run this leasee, please don't do this. Oh, great. Finally. Yeah, I think this we can work with. All right. This we can work with. I think the noise for this is just fine. Noise for this seems fine. Let's our guide. The guide for this. Okay. And let's see what else we can add in here. Let's go in. Local user. I think the last one would be Long CT A some code modifiers for this most of these are notes on the same lengths. Something pretty much like this should be fine. Something bugging me in here. This is part low.This is bugging me in here. Although we have something that's kind of forcing this part here, force it to kind of conform to the shape. Should probably do one more. Let's do one in here. We length of dt, continuous length of darts, scale this out, rotate it this way, use this kind of make it conform to the shape actually in there, leave this up. Okay. Get this down. Let's see what we are through. Thion't do much. Maybe, probably not. All right. Let me this again. This part feels like it's something is missing in here. So let's do one here. This I'm going to scale this down by lots and then move this up this way up a bit higher. Let's run this through again. Oh, come on, please walk. Please walk, please, please, please. Ah. Oh, not again. Not again. Can you please walk? Man, I guess we have to close this again. Great. Great. A great. Save this round this again. Nothing. Anyways, let's save this let's close and round this again. So back in again, set projects. Let's set this to the folder. Okay, so EgEgggen drag this to the end. Let's hides Let's hide the guides. Okay. And then what else can we do in here actually. So let's do Let's add scalp. Let's make this visible. Okay. I think this can actually work. This can actually work. I just feel like it just feels like something's missing. There's always something. Looking at this now, I feel like something is definitely missing. Something is definitely missing. I can't just seem to just let this go. Forgive me. Probably I'm a perfectionist. I want to get everything to look perfect in there as much as I can actually, as much as I can. I don't see if I can get this to look absolutes in there. Anyways, I don't see this I can push down, no doubt. Okay. Maybe just maybe at the very least I can get this to look as perfect as I want to see. Okay. Let's side this. I'm sure you guys get the idea. You can keep working on this and then get this to look right the way you want it to. So I see an issue here. Las for this get this down through. As for the most part, I think they should be just fine. For the most part, they should be just fine. All right. Okay. I feel like I should be covering the air for this feel like I should be covering the for this way we can make this work? Simulate this again. Okay. Hi, this save this. I think that's pretty much. I don't think there's anything else you need to add. I think I messed this part up again. Let's see. This piece, let's get this out run. Okay, at the very least at the very least get this back out and up some more on this again. Okay, that should work. All right, so let's check modifiers in here. So that's basically everything in here though. This is everything we need to add in here. So next we're going to work in will be the eyebrow and then the eye lashes. So you guys in next lesson, buy for now. 21. 16 EyeBrow Xgen In Maya: Hello. Welcome back, guys. So carrying on from where we left off, so we're supposed to be working on or rather, we're going to be working on the eyebrow now, okay? So let's go right into it. So I'm going to, first of all, hide my main hair. Then let's hide this. Let's go back to a scalp, make that visible hide this scalp, bring out the eyebrow lashes scalp, okay? And I'm going to turn on this air mesh. Then I'm going to actually separate this out. So sheet right like old. Let's do separate. I'm going to going to hide this at the back. This is all we need. So this is what I need in here, right? This is fine. All right, so I'm going to select this scalp. Then we'll go over to primitive. Then on that description up here, click on create description. Okay. So should This should work just fine. This will work just fine. This we can use. Okay. So I'm going to rename this description to I. Let's do a caps in I Brow underscoe DESC, I description. Then I want to create a new collection for this. This collection should be I I underscoensco, ahs collection to CLL. Okay. Probably is a no name for this. So let me just name this to I Scalp instead collection. That should be a better one. Put on DSC in between. That's a better one. Spline, randomly across surface and placing and shipping guide. Click on Create. So automatically, you should get a new collection in here. I still bringing back ASCAP rodder. So let's go back into the cocicalp collection. I'm going to turn that off. Let's go back to the IS cap collection. Okay. So this selected now, let's go over, click on the art guide. So these are the reference we're going to be using for this. Let's getting close. So I already have a blockout based on this mesh we have in here. So this I'm going to use, kind of set up my guide. I'm going to click in here. Okay, that's one. I'm basically just going to block this out around here, so, do that. Let's go a bit higher around there. Then at this point, let's do something somewhere around here, here, also at this peak. Okay? Then we can go around here. Then lastly, yeah. Okay. No worries. Once we're done with this part, I'm going to flip it to the other side. I think this should be fine for now. So now we can go in and then hide let's hide this now. And let's work on moving our guide just to make sure it's in place. So let's go to the sculpting too. I think I need to take down my brow size. Take down my bro size for this. Okay? I think my browsiz is way too small. I don't know if I should make this longer, though. Let's first bend this in place. So the idea was just to bend this in place. No, not this. Let's make sure we're selecting just this for now. So it needs to be closer to the skin by a lot, like, very close to the skin. So let's make sure we're getting this close to the skin as possible. Okay. This one should be let's get this around here closer to the skin. All right. Let's go to the next one. E g on the keyboard to use the previously selected two, which is ascope two, move this this way. So what to make sure I cannot fall in the same directionality for it. Move this closer to the skin. Okay. Bend this over, like so. Select the next one. Let's bend this this way. Get this at an angle. This should most likely bend this way. We should be closer to the skin. All right. Let's go to the next one, select this. This one should be looking upward this way. Get this closer to the skin. Okay. Let's get a bend this way. Like so should be fine. Okay, go to the next one. The would bend similar to the other one. Let's just get this roughly on the skin, cove this way. All right. It somewhere am just should be fine. Okay. Now, for the top ones, the top ones needs to even be shorter than it is right now. But anyways, let's just get this in the directionality we need it to be. Okay, closer to the skin. Alright. Next one. Let's get this bend this over this way. All right up a bit more up a bit more. This way. Okay. Bend this way, make this closer to the skin. Right. Okay. Somewhere around there should be just fine. Okay. Next one. Was going to add new ones in between though? I think I was going to kind of shorten out most of this also. But let's make sure we're kind of capturing the direction for it. O bits. All right. All right, so the last piece. Okay. Let's get this way. Close out to the skin. All right. I'm going to select everything. Let me start by selecting the top piece first. The top piece. I'm going to shring them down a bit more a bit more. Get them out some more. All right. That should be fine. Now, select the slower ones. Select the slower ones, select this. Okay? Let's scale this down a little bit more a little bit more. Like so should be fine. Okay? You're into the skin way too much. Let's leave this up a little bit more. Like so should be fine. Let's make sure we're saving our file. All right, so, move on. Yes, let's now add a few in between. Let's add a few in between. Let's do one year. One year or so. Okay, this should control. Let's go back to our sculpting too. Let's bring this out a little bit more. It's way too into the skin. Select this. Bring this out. Okay. I feel like it's way too short. Feels like it's way too short. This bend it this way. Okay? Select this teat it this way a little bit more. I'll select this too. Let's scale it out some more. Alright. Okay. Let's add one around here. All right. Okay. So let's mirror this to the other side. Let's select all of these. A guides and mirror to the other side. Alright. Okay, maybe add a few more one year, that's in bit too much. Let's get this out. Okay. Let's add another one roughly around her, roughly around year or.Rpeat the same on the other side. I too much, leave this up. Okay. Let's add one, add one. Now let me leave that as it is. This we can work with. Let's go to our scoptinTG this out a little bit more. Now, this one is just directly buried under the skin, so let's create some space around there. Okay? Select this, move this towards the skin, pret some allowance in here. Okay. I think this should work. Let's save this. Let's generate some as out of this. As all over the place. Let's make some corrections to. I think this should be 0.01. Then this should be 0.71. Then this should be 0.76. I think I hit something. Let's put this again 0.76. Okay. Nowadays all over the place because there's no marks to kind of make sure we kind of get this where we need it to be. Let's just see where we have IDs for now. I should create some more guides in one year. Okay? Okay. I think we should be able to work with this. Now, let's paint some density marks for this because we don't want this appearing all over the place. We want this to appear on specific region specific region. So let's go over to density marks, create map. So painting this a full black starting starting points. Let me say this resolution to 40. Then this should be I brow underscore DNS density underscore Max creates Okay. Let's double click on this. Now, why is it not going into that? Supposed to be getting something in here. Something doesn't feel right. Something doesn't feel right in here. Let's go back to selection. And let's go into the paints. Yes, better now. So going into the paints to now we can Fantastic. Fantastic. That is just great. This are first scratch, though, but that's fine. Let's just reopen. Okay, let's reopen this hope. Let's go back and then set our project again. Sets. Okay. Let's go back let's go to our workspace and change it to gen. Eigen. In a middle mouse screw drag this all the way to the end. Eigen, our description is in the one thing we lost though is the density map we created, that's fine. That's fine. We also lost the setting we had in there because that's like our lasive Let's just go in and then impedo setting again to 0.01. It should be 0.71. Then 0.76. Okay. See if you say again. Now let's create another density map, create map. Black 40 brow underscore DENS underscore Max creates Okay. Let's save this. Just make sure the map is being saved. So save the map now. Come in a solid brush. So we want to paint as white in here first. Let's do this on wireframe on shades so I can actually see more or less like the landmark of this shape a bit more not just full black. Alright, so that's fine. Let's paint at full white. Let's reduce our brush size. We need to paint this with cemetary tundon so let's go over to rock reflection that is fine. Let's make sure our reference is visible in here. But I've already kind of used my guys, my gen guides in here. It's kind of give me an idea where she paints this in, but I need to reduce the blow size a little bit more. So for better precision in here. So let's go Looking at this now, think, let's go up here, connect this down here. Okay? That's fine. Let's go up here. Make sure we connect this accurately as possible. Close this in here. So it's also affecting the other side. That's fine. Yeah, there are some discrepancies in a few places though, but that's fine. Let's turn off reflection for now, so we can kind of fix this without having to mess with the other parts. Okay? Then we can turn on reflection now, increase the broad size a little bit more and fill up the insides. Okay? So this should be fine. Then now we need to blow out the edge. So let's go can actually shift and do that, but afraid afraid to is kind of come in and leg blow instead. Leave intensity are default. So now we can dig down the bros size. Let's take down the bro size a little bit more. You still have sharp edges in the though but let's just blow this out this way. Okay. So you don't get weird edges across this. All right, up here. Okay. This is affecting the other side, yes, it is. That's fine. Okay. All right. I think this should be fine. Let me get in a bit more blow out. This should be more or less fine. Let's see sine textures in here. I don't know if this actually does anything though, but let's just a sine texture and save texture. Let's come in. Let's come back into egg gen tab and then save this. I've saved this now. I can't really see egg generated in here now until we increase this. So let's first save this. Save now. Go to selection. Turn on wire frame and shaded. Let's increase this. Yeah, I think this is perfect. I should work just fine. This is perfect. I worked just fine. So you can come back into let's hide our guides. This is actually quite nice. So just basically I need to increase this a few more times. Okay. Okay, now I see how preview go to preview. Can't see this sees on the other side. Let's come back to preview and then turn off only primitive in view. That should bring back the other side. Yeah, so this will work just fine. So now all we need to do is just to add modifiers to this. Can we do this in here? See we can. So I already have a modifier that I can use my preset in here. I want to use my preset in here. So go on to this local user, I think. Can I use any of this one, though? Any of this will work just fine. Um, let's use let's just use this eyebrow in here. So we have eyebrow clumping. One, select that. So go to set Map generates, sieve. Okay, we get something in here now, which is quite similar to what we already have in here. All right. Except I don't want the clumping, okay? I don't want the cumping to affect. Let me delete this. I don't want the clamping to affect too much of the roots. So let's extend this up a bit more. We get this down, you can see it's affecting more of the roots, but we don't want that, so just a little of the roots should be just fine. I think somewhere around there should be fine. You should be fine. Okay. Alright, so let's go to the next one. Local user clump in two, setup map, generates. Okay, save this. Whoa, whoa, whoa, whoa, whoa, whoa. Feels like a mess. You know, trying to delete this delete this. There's a lot happening in here. There's a lot happening in here. Let me say this to one. Okay? That should feel a lot better. W this affects more of the tip. Maybe not so much back in year should be fine. All right. Get this up some more. Yeah, I think this should be a good one. It should be a good one. So let's go back in the local user eyebrow noise. Yes, let's add some noise to this. Just a little noise reference we have, there's not so much noise in there, so I think we might need to take this down even more. So basically, to do that, just come over to the max and then reduce the value for this. Let's reduce the value for this. Let's use something. Let's even use one instead. So just a tiny bit of noise should be fine. Then let's use CTs. Let see CT Anywhere, so you should have variation in heights in the Okay. I'll save this. This should be just fine. I think this should be just fine. So the next thing is to go over and then go over and then work on the eyelashes, right? So I'll see you guys in next lesson. Bye for now. 22. 17 Eyelashes Xgen In Maya: Hey, welcome bad guys. So in previous lesson, we worked on creating the eyebrows. So today, let's work on creating the eyelashes. So to do that, let's go to primitives. So I'm going to come over to description. Let's do let's create description. Oh, yeah, very important. You need to select this cap first, then create description. So this description should be eye lashes. So let me use your caps in here, eye lashes. Okay. So on description. So we need we need this description to be in the ISCA pection that's fine. So ply randomly across surface, placed in a shipping guide. Now click on creates so we are in now. So next thing to do is to be to create guides in here. Let's go and create a past guide. Let's do something somewhere around here. Okay. I'm going to create one at the end. Let's do one at the end, somewhere around here. Okay. So now we face first, not as creator, let's cut it now. I'm going to bend them in shape first. Let's get them bent in shape. So this one should be I'm going to leave them at this length actually because she has really long eyelashes. Most likely artificial lashes in here, so let's get this bent this way to increase the bro size a bit more. Okay. Get the bend over this way. This is what I'm doing is because when I add some in between, it's going to kind of interpolate in between them. I think I need to add one in the middle, though. But let's select this and then get this up this way. Okay? See, I'm trying to see if I need to extend them out a bit, make them a bit longer. Maybe not for now. So let's go and add one in the middle. Yeah, it's already interplating in in between themselves already, so that's fine. A work just fine, so let's add another one, one year. Okay. Maybe just maybe one in between, or so, something like so should be fine. Now, let's create another one for the lower parts. So I'm going to start from year. Then this to bend need to bend this. So let's create another one also her. Then we can bend this in place. This is not supposed to even be as long as the top part of shrink this down some more. Let's get them in place. Let's get the shape in place first. Then we can and you can easily string them down later on. So they should be bend in this way. All right, so I'm going to reduce the size now. Okay. Let's shrink the size a little bit more. A little bit more should be fine. Then let's clear this out. Let's go and add some more, let's add on in the middle. Okay, down is bending up. We need to kind of force this down, but it's kind of taking up the length now. It's taking up the length. Maybe extend it out a little bit more like that. Taking up the lens, which is precisely what we want. Up a bit more. Right, let's add some more. Let's add one. So you should more or less interpolating between them. This will need to bend down some more Okay. Let's do a few more. Let's do a few more. Do that up here around one around there also should be fine. I think we need to bend this down. Let's get this bent down some more. All right. I think they should be fine. Then let's select all of this. Let me select this, rotate it this way. Select all of this. Let's do a quick sieve before Maya does what it does best. Specially when working with textian. So let's mirror this to the other side. Alright, so this should be fine. Looking at this nasty feel I need to extend the top one a bit maybe make scale them out a little bit more. Maybe. So let's just scale them out more should be a bit more obvious. Like, so should be fine. I'll save this. Let's go in. If we generate some as in here now, should grab them all over the place. So let's adjust the setting for this so zero points 01. Okay? Then set this to zero points 71. Then this should be 0.76. For us ncoetin let's confirm. Yeah, I'm using nottin Nico cetin for this. So let's save this. The next thing to do would be to draw out, let's increase this a bit more. So next step would be to draw out our density max. Let's draw out density mark for this. Let's go in the create map. It should be black, and it should be Is Ilahis underscore DNS underscore Max creates Please don't crash. Okay? Let me start by saving this. So we know I can save that map now. Then let's do wire from a shade so I can actually see the landmark of this a bit more accurately. Then I'm going to reduce the bros size a little bit more. Like so should be fine. And let's paint where we want our airs to be generated out from. Oh, I need to sell this to whites. Go back to set up in a solid color. Let's kind of float feel this with black again. So float paint with black. Drag this. Come on. Float paints. This is a bit strange. Okay. Oh. Oh, my bad. So colours are actally different. This one is just for painting. This was actually where we need to flow feel so let's change this to black and then this should work, this work now. That's fine. So now painting full white in here with a solid color. Get this up here. Okay, so let's take down the browse size again. I think this size should be fine. Then let's paint. Okay? Paint over and across. All the way there should be fine. Oh, my goodness. Okay, fine. Awesome. I thought I was not paintings reflection Tundon so good thing we have reflection tundon. That was a close one. So moving on, think, let's go under this paint for the lower parts. Now, let's paint this again across this way. Okay. All the way, should be fine. I don't necessarily think I need to blow this out, though. So let's save this. Let's turn off wire frame and shaded. Okay? Assign texture if the athlete does anything. Save texture. Go back to selection to click out. All right. So let's now increase this me a bit more way more than we have right now. I'm also going to make this slightly ticker. Let's make this slightly ticker. Let's use sort of 0.0 and let's use 0.03 instead. That's way too thick. Let's use 0.02 instead. Okay. Let's temporarily hide our guides and make sure we cannot crank this up. I think my value is actually way too high, though. Thickness tif is way too high. Let's do 0.15 instead. Okay. Now, the density, we need to crank it up the value is a bit more. Let's make sure, let's start this off. From this again, you need way more than what we have right now in here. Let's double this 200. I think we need a bit more. Let's go 400. I still feel like you need a bit more. Steve, you need a bit more in here. Whereas, let's do 500 or 550 instead. Okay? Yeah, since that feels just about right now. Okay. So now let's go over to modifiers, save this. Let's start using some modifiers in here so. We have, let's see, it's quite a lot in here though Abdo Abdo African male. Abo okay. Let's use this instead. So Elah is clump one, setup map, generates save let's see what that gives us. Need to tighten this a bit more actually. I need to be affecting more of the roots. So let's get this down. Affecting more of the roots, but I think it is way too I think this is way too small though do that. Come on. Okay. I think I need to adjust these numbers in here. Let me adjust these numbers in here. Let's do five generates. Maybe a bit small. Let's do ten generates. I think I need a bit more. Let's go 20 generates. Save. Let's see what we get out of this. Yeah, it's beginning to feel more like it, but we need to let's some of the top a bit more the lower part also a bit more. No, no, you need to get this. You need to remove this actually. You don't need that. Yeah, this seems like it's in a good place, though. But I think once we definitely need this to crank this up even more. Let's do 50, generate, save. Alright. Okay. You need to tighten this up, this, set the marks to one. Set the marks to one. So yes, now you can see it a bit a bit more intensity in there. Bit intense though. So let's spread them out a bit more. Okay. All right. I think I'll need to go back to primitive and then set this back to one. Alright. But yeah, this should work. This should work. Let's see if we can adjust the tip a bit more lighting this a little bit more like so. Yes, something pretty much like this should work. Okay. Now, let's add another one. Let's go over and add a second clumping for this setup. Now, this one, I need to crank up some more, so maybe use a value of 60 generates, save. Something feels. Okay. Okay? This is working now, but I can't really see a major difference in here, though, okay. Difference is not so much, though. Let's break this trying to break this up some more. So I think somewhere around there should be fine. Maybe release, you know, probably let's see let's see what we have in here. This should work. I need to go back to my guys now. I see we're just going to bend this bend some of these down some more. We need to bend some of these down some more. Let's save this. So this should be bending down a bit more, a bit more. Okay, maybe wood for everything. Let's select this also, too. Bend this down more. So more. Okay, let's run this again. Yeah, I think we should be good now. Well, yeah, one more thing we need to actually do is to go back to this and then set this up a bit higher. Let's use twin the CV counts. You can have refine this a bit more. I'm supposed to do that for the eyebrow, so let's go back to the description for the eyebrow. Let's set this to. Let's do 40. Now I will see some issues in here that I actually need to fix. Maybe maybe not too high. Let's do 20. So now we need to go back and then fix some of this. Is it going from the noise? No. Coming from coming from clumping too instead. Let's reduce this. Yeah, that should fix it. That's fine. Save this. Go back to Eyelash' description, our guides. Let's see what we have in here. All right. Trying to take a good look at this to be sure if everything's working accurately. Okay. I think this should work. Let's go and add some noise in here noise can break this up some more lash noise. The breakup is way too much. It's kind of giving us some Let's adjust this a bit more. Should affects the tip also let's make, whoo, whoo. No, it doesn't look right. It doesn't look right. Let's get something in here. Okay. Now, this is just affecting just the pinch on the top. I just way too much. Delete those. Mm. I'm not liking this at all. Fuse a bit of. Let's add this. Let's create default noise in here, so I'm going to add modifier. Let's do a default noise in here. Let's see what the default noise gives us. Feels like a good start though. Well, let's think I'll need to randomize this. I like to randomize this max in here, so let's go over. Let's grab this Randomizer in here. Grab this. Copy that pase in here, Enter to apply that. Okay. So you like nice, this is kind of affecting the tip. I feel a little bit of I shouldn't be affecting the tip that much. The tip is really bugging me. That tip is really bugging me. Alright, um, maybe just maybe we can work with this. Let's bring back the other one. Go to the other one. I think I have way too many in here. Let's close this. Let's hide the top one first. Let's just work with this, clear this out. Move the up slightly. Weird bend, this weird bend. Reserve length. Let's put one in here. Let's see that actually helps. Put one in here, let's see that actually helps. Not really. Probably what makes it worse. Zero that out. Um, let's go back to primitives. Put this to 40. Does it actually help? It does not. Let's say this around value of ten. I think the value of ten is way better. Value of ten is way better. So don't have that strong effect with the noise in there. Turn this back on. And it's actually way too noisy. This two is way too noisy. Let's take this down to around one. Maybe too much. Let's do two. So you should introduce a little bit of noise in there. Okay. I think this we can leave with est on number two. Yes, this week. Let's reduce the effect of two. Just a little bit. Let's do one. Okay? That's fine. Let's go and add cats in Alashs coats. Yeah, I should I think they should do it. They should do it. This should be just fine. This should be just fine for what we need is four. All right. I'll save this right. So this is fine. So next lesson, we're going to kind of do another set of lights in here. Another set of lights in here and then we're going to do look development for the hair in here by using the arn standard hair material in here. So see you guys in the next lesson. Bye for now. 23. 18 New Lighting With Arnold In Maya: Okay, pocuba guys, so let's kind of finalize on this, but I want to start by creating some new light setup in here, right? So let's get right to it. I'm going to let's hide this scalp. Then I'm going to hide this. Let me kind of get this. What is this? Let me get this out of the way, drop this here, I select these two. I'm going to hide that. I'm going to make my head visible again. With the backdrop and Asia, make them visible again. Okay. Then I would like to basically having some material in there. Let's make all of this visible again. Let's get a lot of this back in. But the head itself, I'm going to give this standard material. So let's give it a standard surface material for now. Because I need to capture the lights in a bit more in here. So I'll go over. Let's go to rnd. Let's just put this somewhere around there for now. Okay. I save this. Let's bring back the mesh. Let's bring back the mesh just to have something in there. I'll save this. So basically trying to merge the lights in here as much as possible. So I'm going to temporarily hide this GRI for now and I'm going to create a new lights in here. No less create a rectangular light. You should be down there. Scale this up, leave this up, move the this way, trying to merge the lights in here. So I know certainly that half of the face this part of the face is way brighter on the other side, so the lights kind of casting shadow on the opposite side. So I will need to recreate that similar effect in there. I see some of the light on the forehead also, too. So let's go over to Panel, look through selected. So now I'm looking through the light source now. I'm looking through the light source. So I want to get the light source roughly on this angle it's roughly somewhere around here, so it should be fine. I'm going to go back to my outline now, select my perspective camera, then look through selected, okay? So this is where my light is now. I'm going to select these lights, move this backwards. So more. I think somewhere around there should be fine. Maybe out a bit more. An don't want this to be visible on my camera, so I think we can come in here. Let's look for camera visible, camera visibility is already at zero, so that's fine. Let's go back to our main came. Okay? Like, so until lights set too in here. Okay, let's render this out. Let's go to render and not render in here. Let's render out this out 50%. This out 50%. So we can't really see any light so see here now. The light in here boats not bright enough, so I think I believe I turned off normal lights, you should be able to see something in here now. So putting this to the side, try to merge this as closely as possible. I'm going to increase my let's see. Yes. Let's increase my light a bit more. This is a value of four. Let's use the value of four. Let's see how that captures the frankreds dark sheat on this part I think might need to move my light a bit more. So let's go to the other tabs in here. Let's say this here, S this here. So it's a light source, I need to move. So moving the light. Kind of create this dark shadowing on this side. I think I need to rotate it a bit more and move it this way, some more. I'm getting something in here now. Kind of catch capturing this shadowing on this part a bit more now. Okay? Maybe there's a little bit too much. Let's rotate this a little bit like soap. Okay? Bring this forward a bit more. Okay. I think this should be this should be just fine. Okay. If I scale this out let's see what happens when I scale this out. Kind of capturing more brightness on those parts. No, no. Move this this way. Okay. I need to capture the shadow in there as much as possible. Getting on this view. Move this down. I'm looking at this eye around there. It's going to capture some shadows in there. Let me scale this down some more. Scale this down some more. Okay. All right. I think we're getting something in there. Let put this around somewhere around here instead. Trying to see if I can march it as closely as possible. Get this down, maybe up a bit more up a bit more rotate this down. Let me use this rotation instead, down a bit more. Yeah, I think we're getting something now. I see so more shrouding around this part now. Okay. Let's use the scale two. Scale it out. This way some more Okay. Yeah, I think this should be roughly around there. Let's go in and then turn on my environment lights in here. The environment light is I would say way too bright, so let's take that down. So the dome light, let's say this to one. Let's say this to one. Let's see what we get out of this. So it's kind of completely ding out our shadow in there. Um, that shadow needs to be more visible. So let's see what we can do. Let's tune this down a bit more. I'm trying not to go overboard those. Let's see if we can actually rotate the AsiaI lights instead. Let's rotate the Asia lights instead. Okay. Let's go over to the light lista in here. So under Arnold, utilities editor here. Let's temporarily hide or disable the let's disable the area light for now. Okay? Disable the area light for now, minimize this. Recei area light for now. Let's just work with the environment lights in here just to capture something close to what we have in here already. So let's just just said this here. Okay. So I think, yes, we're getting there. Put it easy this week. Okay. If I move it this week, let's see, we're creating a bit more, yes, yes. Yes, something like this. I'm going to create a bit more shadow in here. Let's see if we can do a bit more. Okay. Let me repeat some more. I need that reflection on the eye, kind of. I need that reflection on the eye. Okay. Maybe something like so. Let's turn on the area lights. Let me make sure the area light is closed. It's nearby. Let's make the area lights visible. Go back and light a dittle. Let's turn on the area lights. Okay? Let's see we need some more shadowing in there. Think I'm going to take down my area light intensity. Let me take down my area light intensity, some more. Get some more dark sheds in there Okay. Maybe it was way too dark, let's now let's bring in Let's see increase this. Okay. Okay. Almost there. Though we're getting something interesting here now. The final piece would be to final piece for this would be definitely to bring in the skin, and let's see how this works with the skin. So let's select think I can delete this now. Let's set the Let's apply the skin texture in here and let's see. Let's see. So existing material, dark gel to apply that on there. So now, this is going to start taking taking some time to actually render out, though. I'm seeing that this is quite dark. Let's lift up the ambience of the scene a bit more by increasing the light dome light, the dome light a bit more. Let's say this to three. Let's see what we get. Okay? Getting something in here. I feel like I should brighten up this opposite side, so let me stop this for now. Let's stop this for now. Okay, no, no, no, no. Let me not stop this for now. Let's come in here and then just t and just route the lights. Let's route the lights. Towards the opposite side instead. So she brighten up the other side instead. Move this bit more. Okay. Rotating this a bit more. Yes, I think strongly believe this is where I need to be now. Strongly believe this is where I need to be. Because now I'm getting the shadow on this part now some more capturing that shadow on this part a bit more now. And the reflection on the eyes rough around the center now. So, yes, I think, Oh, I'm supposed to be saving this mixture vn. Very important. Let's make sure I sing. I feel like the eye is a bit too dark, the outer eye is a bit too dark. So I'd like to brighten that out a bit more. Let's brighten the white part of the eye a bit more. Sm does make that a bit brighter. Okay. Yeah, we can also do something. We can also do something a bit more interesting in here also, too, by kind of creating a block a light block around the top of the head just to cast a bit more shadow on the top of the head. We can also do that. So if I should, um, let's do that. If I should let's stop this for now. Okay. Then I'm going to create more like a light block one, right sheet right. Click on hold. Let's create a plane. I'm going to draw out that plane somewhere around here, like so, and I'm going to leave that plane up around here. It's measly just going to block out the light coming from the top part. Let's see what we have. Let's do a snapshot of this Okay. Snapshot of this let's render this out again. Let's see what that gives us. Basically trying to use cat a bit more shadow on this. Let me move this forward some more. Maybe even rotate it this way. Just to cast a bit of shadow. Let's see more. Let me move this forward a bit more. Allow this friend out. Now it's kind of casting way too much shadow. Casting up way too much shadow. But that's fine. I can always let me rotate this again this week. Let's take this from the side. Let's see what we are from the side. I'm just going to pull this up. Basically show you guys different tricks you can use to control the lights a bit more in your scene. Then we can go back to the sky dome lights, crank up the intensity a bit more. Let me cranks the way up. Let's see. Let's just see test to test this out. Okay. Let me take this back to where it was. Let's use the value of third. This is a value of four. Then on the area lights, let me crank this up a little bit more, let's use a value of three. It won't do anything. Let's increase to the value of p. Do you see any major difference in there. Put this to the side. The disclosure, let's see. Let's see how this is being affected in here select. Let me create a bit more space in here. Okay, select the plane. Okay. Is the plane in here. Yeah, I think I think I think we're in a good place. I believe we're in a good place now. So yes, let's go to the hypershade. Let's save. Let's go to the hypershade. Hypershade, hypershade. Um let's see. Hypershade, but rendering. Then let's allow slowed up. So gal I need to go to the Aiteri, select I I. Let's get in there over replacing here. It's a leg. It's actually the Abdo mapsil so let's go over to no color inside. Okay? Let minimize this Under the color balance. For this color balance, I'm just going to brighten up the eye. So let's do let's actually getting close. Let's getting close a bit more. Okay. Let's do render region for the eye. I think, let's brighten this up. Not too bright, though. I think somewhere around there should be just fine. Somewhere around there should be just fine. Okay. I think this should be fine. Okay? Yes, this should be just fine. So I'm going to go out of this now. Just check in the light and see if there's something else I need to do in here. Okay. I can't really see the effect of the I can't really effect of, so for this teeth now, I don't want the gia to be affecting the gia light to affecting the teat so to exclude that out, I'll go over to window relationship, light linking, light. So I'll select the dome lights, and I'm going to go over to the main character group, and I'm going to exclude that from the teats exclude that. So she ran out again. So you should have the light not affecting the teat in this. You just to get a bit of dark shade in those parts, something somewhat like so. If I need to bring it back on, I can always go on then turn it back on if I need to. So for now, let me leave it off for now. I shouldn't be affecting it that much, or even, not at all. So I think this is fine for now, this we can work with. If there's anything else, the next three is going to be about just sheding the air, be about shedding the egg and air in here. I'll see you one more thing. Make sure for your light you have enough samples in there, so select the area lights at some samples in there. So for this, I'm putting this a sample of 33 should be just fine. Okay, so I think that's fine. So we'll continue on in the next lesson, bye for now. 24. 19 Hair Shader Arnold In Maya: Okay, welcome bad guys. So now let's work on Bathing shed as for the hair. So before I do that, let's make the hair visible in here. So let's go over. Let's hide hide. Control H to hide darts let's turn on the scalp. Okay. Click out. Let me get some space in here. Let me move this here instead. Then go back to gen. Let's make the back visible. So add Hey cap collection. That's visible in here now. So what you need to do is to go to primitive, preview output rather, come down here, render. That's fine. Renderer, let's say this to rnd. Let's go over to the eyes cap collection. Let's This is for the eyebrow now. Let's say you render out to rnd. Go to the eye later description. Set you render out to rnd. Let's fine and push this to the side. Move this to the side. Then go over. Let's start with the heads. Let the description. Let the description in here. Okay. Then let's go over and then move this to the side. Let's go over and then select let's select the the description is already selected, that's fine. Someone who rightly can hold, go to apply, assign you material node. So let's do AI standard hair, select that. Okay, so right off the bat, we are having black hair in white because let me put this aside. So we can talk about that briefly. AI standard hair. Let me just rename this to Ai hair. Okay, that is fine. So we're coming here now for the setup for basically the major set in screens now is just in years the Melanin year. So only the fault of one, which is what we already have here, which is one should have the hairs full black, having the full black hair. We don't need we don't need any redness. I don't think we need any redness in there. So for the melanin redness, sorry, Mellone redness is down here instead, come over to melonine redness. So for the melonine redness, depending on the values in there. This is a value of zero, this is a max value of one. Then in between. So we have this now at the in between, but I don't want so much of that, though. I don't want so much of redness in there, so I'm going to dig this down to around the value of there's the value of 0.1 instead, okay? That's fine. Roughness, I'm going to leave that as it is, randomizer. I think the default should be fine. Yes, default should be fine for the randomize. Melonie randomized, default is just fine. And now I want to make sure it is like a dark African hair in year. So African American should be for the shift in here, for the shift in here because this is what we have in here for the shift. Ready have a value to use in here. So African American or still African instead. So 2.3 should be fine to simulate the more realistic black hair. So 2.3. Let's say 2.3. That's fine. Move this to the side. That work just fine. So we need to kind of apply the same material. Have we bring in here I don't think we're rendering here, so we're not seeing moving a bit slow. Let's go to the eye collection, select these two description and apply retic node and apply the same material. Let's apply the same black AI here, apply that in there. Okay? So now we need to render this out. Let's get this at a good angle. I will save this let's get this at a good angle. Let's turn on our resolution gates. Resolution gate for this. Okay. Coming a bit close. I think somewhere around there should be fine. Okay, let's turn of this render region. Let's do snapshot of this. And then let's render this out. Let's see what we get. So it's kind of calculating now the head out this dark together for the we just added. Give this a moment. It's calculating now. Okay? All right. Okay. Now, on stands out in here, but at least stands out in here, the fact that I think we need a bit more hair generated for the eyebrow. The eyebrow will need more hair in there. Definitely need more hair in there. So I think let me zoom in a bit more. Getting a bit more in the so let's just put a focus on the eyebrow in here. And let's see. Yeah, we definitely need more hairs in there. Definitely need more hairs in there. So I just allow this render out for a little while so we can see compare this with our main reference in here no doubt need a bit more. Need a bit more in there. So I'm going to stop this for now, but still on the Egen tab. Still on the Egen tub. Let's go over to the eyebrow description. So at this point, just basically just trying out, just making little modifications to this just to get this to look right. Let move this down. Okay? Probably do a bookmark for this. What's the bookmark for this. New bookmark. Come close this. I'm going to crank this up by double the amount, so 80 sicario says at 90 so let's do 180. Or let's just do 200 instead. Let's do 200 instead. I'll save this. So I think at this point, I can let you guys just go in and then just decide whatever you want, kind of get better result out of this. Maybe in the final chapter, I'm going to show you guys the final rundown in the final sets in use for that. Okay? So I'll see you guys in next lesson. Bye for now. Yes, definitely coming out now. Definitely coming out now. T should be just fine. Okay? So I'll see you guys in next lesson. Bye for now. 25. 20 Conclusion Arnold In Maya: Okay, welcome back guys. So, there are a few changes I made. G to show you guys in years. Let me stop this for now. One of the changes I made in here was to go to Egg Gen on the eye lashes. I kind of extended noticing extended the eye lashes out a bit more. So that's one. That's for the guys, I selected the top guys and extended them out a bit more. Came into the weed and I adjusted this from 0.1 from 0.01 to 0.015. One last thing I adjusted that make better sense for the eye because the eye was not looking the eye wasn't looking right to me, looking a bit too weird, noticing you're looking a bit too weird. Reason why we have that here because there's a reflectivity the eye on the iris itself. The iris has reflectivity in there. So it's kind of conflicting with the reflection of the glass in between. So you' really giving us that realistic eye result in there. To fix that, let me show you guys how to fix that. So I'm going to select the eris in here. One of two ways of doing that. I go to the attribute editor, and I'll go over to this is roughness in here. So I can do one of two things. Remove the roughness imported in here, then make this completely rough all the way to one or go over or rather go over to the texture itself, and then just extend the exposure all the way to the end. It's one of two things. So let's do I'm not showing you guys the two sets of those. Let's just do the one of increasing this all the way up. So let's increase this all the way up. So let's do snapshot for this eye we have in here. So you guys to tell the major difference in there. So I' snapshot now. So if I should render this out again, as you render for this, you should be getting way better eye and ear. So let me go back to the camera set up a new came. So just allow this kind of render out a little bit more. Then we should be able to see major, major, major difference in there. Yes, you can see, you can see how we see how we're kind of getting a lot more realistic looking eye in here. So if you compare to what we had before, before kind of selected this snapshot in here, if I turn that off now, you can see you can see the major difference in here now. You can see how this looks way better. Okay? So kind of make the eye a lot more realistic in there, right? So now, if we do your final renders, let me just show you guys way to do your final renders for this. So all you need to do is to go to set in in here. We have setting in here. So that the renderer all you need to do is presets and then set no Imports render setting, the preset can use this skin I render setting. So once you set that up, then you can do better for this. You can render it out as two k resolution if you want to a lot of resolution in f42, so I just to find that and think, yes, that should be pretty much it. Should pretty much it. So I'll see you guys later, okay? Tea. Bye for now.