Zbrush 2021 for Absolute Beginners

1. Introduction: Hey guys, Are you a beginner 3D student who wants to learn ZBrush with our intimidated by the interface and process. If that is the case, then they welcome you to next to the educations, ZBrush 2020, one for absolute beginners. My name is Abraham Li. I'm a 3D artist and producer and I have nine years of experience in the industry. Currently, I lead my own studio critical hit, where with a sign and produce projects for the entertainment industry. At the end of this course, your fear of zeros, we'll banish and you'll be able to use the super-rich Wikis and create stunning stylized characters. In this course, we will be covering sculpting principles, DynaMesh, subdivisions in topology, see remeasure, hard surface tools, Polly painting materials and render. I will start the course by teaching you the basics of ZBrush while covering several exercises and tools that will then jump into creating our stylized character, as well as all the props and weapons were Wills called every part of the character inside of sucrose by using all the tools available to us. After that, we will texture or a character using several of my favorite polypeptides techniques to find a license, create a small lighting scene inside of ZBrush in order to generate our final render pests. I have the signed the scores were absolute beginner students would think C versus a complex software. And for those who want to learn the complete Bible that we use inside of ZBrush for a wide variety of projects. In this course, I will be using ZBrush 2020 1.5. So make sure to have the latest update and stop and start using ZBrush, like never before. 2. First Time Setup: Hi guys, Welcome to see which 2021 for absolute beginners, my name is Abraham and I'm going to be your instructor throughout these series. So let's jump right into it. Welcome to ZBrush. This is the first kind of Windows that you're gonna get the first time you open sea brush. This window right here is just the basic Neil's window where you're going to see tutorials, news all about the updates and stuff. I suggest taking a look every now and then just to see what's up with the CEO brush world. But other than that you can just close it. And this, my friends is the first time you're going to see this interface. Now, the interface in ZBrush eats a rather complicated thing to work with. At first, it's going to be a little bit confusing because it doesn't work like any other software. It's, it's, it's its own unique like a monster. So I'm going to be guiding you through the main windows and panels that we have in this setup, in this interface. Do you feel comfortable with moving and modifying anything in here? So you need to know that CBR, she's of course, a sculpting software. You probably got into this video because you want to learn how to sculpt creatures, monsters, even vehicles harsher for stuff, environments and any other kinds of things. And so we're just going to be the best software to do so. So first things first, this thing right here is called the lightbox, and it's sort of like a navigator. It's like Explorer. It's a Windows Explorer. You know, when you open your file folder and you can explore all your files will exact same thing but for C brushes stuff. So you want to see what the brush looks like, what the models looks like. This is going to be the way to do it through the light box right here. You can pretty much navigate as you can see any part of your Windows environment. And you should be able to find whatever you're looking for. Now, in our case, we're going to be using this dynamic, a 128 sphere to start working. But before I do that, let me show you what happens if we don't select anything and we just tried to sculpt right away. And by hiding or by pressing this button, you're going to hide the light books. And this is your canvas. This is a place where we're gonna be working. Now, more often than not, people that started working with humors, they want to start sculpting and they do this, right? You start drawing it like this. Really, really weird shapes in here. And you're wondering where the hell is my face or my sphere, or how can they start sculpting maya monsters, right? And the recent you're seeing this is because C versus a Software hat that has been built through several years on top of updates and updates and updates. And this thing right here is the beginnings of C versus C, which was originally conceived, I said 2.5, the painting program and need later evolved into a sculpting programs. So this interface right here in this effects that you're seeing right here, they have to do with the 2D, the side of superset of 2.5 D. So all of this painting tools ready, you can see here 2.5 brushes. All of this things will work with this kind of environment, but that's not what we're going to be working. We're going to be working on the 3D side of things. So to clean this up, just hit Control N, and that's going to clean your Canvas. You're going to go into light books and you're going to select your first project, which is going to be this DynaMesh sphere a 128. I'm going to explain what that means in just a sec. So we're going to double-click. I'm going to say no, I don't want to say anything. And there we go. We're finally here. Now first things first, you need to know how to move inside of ZBrush. For this, you of course are going to need a way com tablet. So every, every time I say click or tap or whatever indication I do in regards to navigation, It's going to be in regards to using a tablet, you definitely need a tablet because tablets have pressure sensitivity that you can use to have a better management of your, of your sculpture. So you'd definitely want one of this. It doesn't have to be the most expensive ones. You don't need this antique, you don't need like a super advanced one and it can be even the most basic way com tablet, which should be about 60 bucks. And that should be more than enough for you. I personally am using one of this, which is the intos Pro. And I find that this one really reliable. I've had mine for more than five years. So it's really, really is Giardia and reintegrated durable. There's other brands like Hu Yang. That's another one. You can get these, I believe are Chinese and they're good as well. I've had some students use them and they're actually really good. And there's another one called XP pen. So they are kind of like mid-range or low range kinda tablets, but they worked for the same purpose. The only thing is sometimes the plans need to be recharged or they use batteries or something, but other than that, there were fine. Now, here in regards to my movement, I'm going to move my cursor outside of my object. I'm going to tap outside and I'm going to drag the element. And what this is going to do, you can see them, the little heads right there on the top right corner. It's going to move the camera, it's going to rotate the camera around. So whenever I press, that's going to be kind of like my pivot point and I'm going to be rotating my camera around. Now this rotation is really important because this is what's going to allow us to go to a side view of the character, to the front view of the character, and modify anything or any kind of thing that we need. Now if you feel lost by doing this, you can always go here to the little head and you can move the head around and it's going to do the same thing. So this is like a little gizmo that you can use to to locate the specific plane that you want to work on. Now if you're moving your camera to the side and you want to snap the BYU. You're used to 3D programs having like perfect orthographic views. You can just start dragging, press shift, and then drop your tablet pen and drop the shift. And that's going to keep you on the side as you can see here. So I start, I start moving up, I press Shift, it's going to snap to the top. I dropped the mouse or the tablet rather, and I dropped the Shift key. And I'm going to be on the top view, which is going to be the movements. So those are the two rotational elements. The next one is the pan. I want to move left and right. I want to move the camera left and right and top to bottom. And that one's actually really, really simple. You're going to place press your alkene. You're going to press outside of the interface and you're gonna move up, oop, sorry, up and down, left and right. And that's going to be your main movement. Okay, so again, pressing and dragging its rotation, alt, pressing and moving up and down is panning. And finally, it's the Zoom. How do I zoom in and out of my element, right? And this one is the one that gets people a little bit confused. This is like a street fighter company. You need to do a series of presses on some buttons to make it work. So it's Alt. Click with your tablet. You drop the ALT, but you still click with your tablet and then you'll move up and down, or left and right. Okay, so again, Alt, click with your tablet, dropped the Alt, and then just move up and down. And that's going to be your sum if you do it wrong, What's going to happen if you, if you, for instance, press Alt and then click with your tablet and then drop the tablet and drop the old. Nothing's going to happen. So make sure to press Alt, click outside the object, dropped the Alt, and then just move up and down. Okay, once you get used to it, it's going to be really, really fast and you're going to be able to zoom in and out of the element. If for any reason you get lost, you lose your object. You don't know where the object gets anymore. Press your letter F, as in Frank. And that's going to frame your object in the center. And then you can just like the little head right here to go to the front view or move around with the navigation that I just showed you. If for any reason all of this target cell or a little bit difficult for you at first, don't worry, you can always go to this four buttons right here, which is the frame, move, zoom and rotate. And if you press the button and move around, it's going to be the same exact thing. Okay? So you find the shortcuts a little bit difficult to alter the shift. You can always go to this button right here. Perfect. Now, let's take a quick look at the interface. This video is just an introduction to so you know where to find things. And then in the next couple of videos, we're going to start with our first exercise. The way this whole series is a structure is we're going to have a series of small exercises that should take you about an hour, maximum two hours depending on your skill level. And after that, we're gonna do a full project. But in order for us to get that, we're going to be building our skills up, up to that level. So up here we have S with any software, the main menus, Alpha brush, color, document draw dynamics for all of this, one of the most important ones is this one the tool menu. Now you can see when I press the two menu, this whole bar over here shifts and goes all the way over here. And the reason is this part is actually snapped to this place. So if you press this little white button here on the corner, you're going to delete this bar from here. And you can select any part that you want here. And if you drag and drop this, you can place it exactly where you want. So see richness have very customizable top where we're actually going to be customizing our, our interfacing a couple of videos later on in the series so that you can get the best buttons in the best places, right? So the tool menu is one of the most important tools. I always have it here on the side because it's really, really useful. But there are others that are actually really, really useful, like the light bulbs or the light. You can always drag and drop any of these menus into this sidebar. And you're going to be able to snap them to preimage, position them in this area so that you can more quickly select or modify anything in the menus and stuff we're going to be exploring all of these things later on. So all the menus up here. Next, we have the most common buttons. You can see the homepage is the thing we talked about before where you can see some news. Sometimes they share tutorials or classes. They highlights the best portfolios from artists around the world. So it's a really good place to check out sky, like a social media thing. The light books, as we mentioned, is where you check all the projects, all the tools, brushes, alphas and stuff. We're going to be using it as quite extensively. Like boolean is an option that we're going to be using later. It's a, it's an operation method that allows us to do some harsh surface stuff very, very nicely. And then we have all of these elements in my yeah, You know, we're in 3D Studio Max. Any software that you use, you have your pinky, your scale key, you rotate key. Well, we have the same thing here. You can press any of these things and you're going to see that this gizmo appears on the middle of the sphere. Right now we don't want any of those. So we're gonna keep it in the Draw section. In here. We're going to start talking about the brushes and how the brushes work here in ZBrush. Now you probably seen before if you're, if you're looking to see rush, that this software, it has a lot of brushes. So this button right here opens the brush pallet. And all of these brushes are the ones that we're going to be using. Don't worry, you don't need to learn all of them. Some of them are really, really specialized and you probably will never use them. Like I don't think I've ever used like the hatch brush. I don't remember using it. Or the snake actors. It's not something that I normally use, but they're there for you in case you need them. It's always a good idea to just play around and see if they work for something specific that you're looking for. Now, the brushes, for instance, right now I have this standard brush allows me to modify the sphere that I have here. This is fear is made up of something called polygons. Polygons, if I press this little button right here, are small squares and triangles that make up the surface of this thing right here. So what the brushes do is that brushes will push or pull the polygons depending on how they are programmed in order to create a change in the form and in the silhouette of our objects. So for instance, the standard brush, if I just start drawing, it's going to add a form. It's going to add this nice little squiggly lines of them are painting. I'm of course painting them with my tablet. And this will allow me to pretty much create anything that I want. We're going to be covering some basic sculpting forms and techniques later on. But right now, just be sure to understand that this brush will modify the surface. Now, how can we modify this brush? Well, we have the first option, C, F and C sub c hat is adding volume. It's pushing the surface towards the outside of the objects, grabbing it and pushing it towards the top. If I change this to C sub, it's going to do the opposite. It's going to start carving into the, into the object, right? So we're going to be able to move inside the object and again, do changes. Now in order for us not to be switching these things right here, you can always just press your Alt key and you can see that now my cursor has this little negative sign on the cross hatch, and this will allow me to do the opposite of what I have selected. So if I have selected the SCF, I'm going to be doing DC. So, and if I have selected this E sub, I am going to be doing the CNOT operation, okay? Now let's keep CF intensity very obvious. The more intense you do, the more extreme the change or the modification is going to be, the more or the lower the value the software the modification is going to be. Now keep in mind that this also is affected by the way you press on your tablet. If you press really, really, really hard like this, you're going to see that you're gonna get like a very extreme variation, very extreme silhouette. If you press very, very, very softly like this, you're going to see that we're going to have a very soft transition. So controlling the pressure on your tablet and controlling the intensity of the brush are going to be the two keys to modify the way we sculpt on our objects. Focal shift has to do with the hardness of the brush. Let me see if I can explain it. If you have experienced with Photoshop, this has to do like the hardness. So if I bring the focus shift out, you can see that the two circles are now very close together. So the border of the brush is going to be very, very defined. You can see it right there. And if I move my focus shift down and I have the two circles very far apart, you're going to see that the transition is going to be very, very soft. So it is kinda affecting the size of the brush, but is not the size per se. It's rather like a followup that we have on the inner side of the brush. So again, not something that they usually changed, but sometimes, for instance, for this kind of thing, It's nice to have. And finally to draw size. Now, draw size is really important because the bigger the brush, of course, the bigger the modification or the influence that it's going to have on the object. The smaller the brush, the smaller there effect. So a couple of quick ways to change this things. Again, without having to go all the way to the top and modifying them to change the size. You can press your letter S on your keyboard and then just drag and change to the site. And as soon as you select a new size, this thing is going to disappear automatically. So you can see it's gone. So S moved to the new size. It's gone as moved to the new size, it's gone. So very handy for the intensity. I believe there is a shortcut. I usually don't use it because the letter is really far away, which is the EU circuit. So same thing, you can just change this and it's going to modify it. I personally prefer to use the space bar. If you press the spacebar, you're going to see that we get all of these elements and more things over here that you're going to be able to change. And no matter where you press your space bar squared is going to appear on that specific area. So it's really, really important that we, that we select the proper place, right? So in here, I can change draws isoquant you in focus if I can change intensity all in one single shark, and as soon as you stop pressing your spacebar, you're gonna get this. If you press it just wants nothing's gonna happen. You have to press and hold and then just modify whatever you need and you're gonna be fine. Now, cool thing about Subaru. Once you start the session, every single thing that you've done in that session will be stored in something called the undo history. You can see it right here. So I started right here and I can move this thing all the way to the first square. And it's pretty much as if I am erasing everything. And this can also be controlled with control-C. So if you do a lot of control genes, you're going to be able to jump back and forth. Now let's move very quickly to the next part before we close this video, which is this couple of things right here. Let's start from top to bottom. So in here we have the color of the object. If you are sculpting, I don't know, like a goblin or something, you can select like a greenish color and you're gonna get more closer, look up over the of how the skin is going to look at the end, right? It's not really important. Any good sculptor should be able to sculpt everything with just the basic gray material, but it's good to have. I strongly recommend against using math caps. Now this thing right here is the material of the sphere. Matt gaps are materials that are supposed to imitate in a very exact way, although sometimes they don't the materials in the real world. So for instance, if I grab this shiny material, supposed to be like a, like a metal, but sometimes you can see it right here. You're going to be able to see each individual square and it might distract you from the, from the, from the core principles of sculpting. So I strongly suggest that you use the basic material for now. However, it later on, if you want to change the material to any other material, do it. The only one I'm going to I'm going to forbid is this one the red cat material is horrible. It's horrible because when you start sculpting, you're going to see how we get those very ugly gray lines on every single line of the polygon. So sometimes this is the default material, change. It, just go here, for instance, to basic material. I really like this one. You can just save this as a starting material and that's going to be your material every time you open sea brush, I'm gonna show you later on some other materials. For instance, I have this one which is like a lighter gray, and it will give you a very similar result to what we are going to be doing. But that's going to come later on when we customize the whole thing. Right now, I'm going to work with the basic material so that we're all on the same page. Textures, not something that we're going to use. You can see they're really, really ugly textures. They look like Windows 98 textures. So horrible, horrible. We're not going to be using, we are going to be texturing or characters later on using a technique called poly paint. But that's going to come later again. And we're not going to be using this things, alphas and stroke. Now this is important. These stroke is the way that our brush is being dragged on top of the surface. Usually the brushes are going to be either dots, which is the one that we have, which is a lot of very close dots that create a line. You can have free hand, which is very similar. You're going to see later on how the dots differ a little bit. And then you can have something like the spray brush, right? Lambda spray. What's going to do is instead of doing a line's gonna do like a spray. So again, things that we can use to change the surface and the sculptor off our characters. The two important ones are dragged direct and drag dot. This ones are important because they work a little bit different, differently than the other ones. So let me explain. The rock record works better when you have an alpha and an Alpha. Just to finish this lesson is the tip of your brush. So let's go back to a Dutch real quick. Let's grab the arrow. If I have the arrow selected and I haven't even the dots stroke when I draw, instead of drawing dots, I'm going to draw arrows. You can see it right there. Okay? And this is very useful when we want to do some very specific details like Anna, scales or wrinkles that have very specific shapes and stuff. Well, this having a different type of alpha on the brush is going to give us a very interesting detail that we can use to our advantage. However, if you change this to drag Rick, what's going to happen is instead of doing a line, you're going to drag one single entity or one single instance of this Alpha. And you're going to drag it and define how big or small you want this to be on the surface, which is really handy as you can see, we can draw like a big line. Imagine if we were doing like analyte, like Airbender, the avatar and we wanted to draw the arrow on his forehead. This will be one very easy way to do so because we can just drag and drop the arrow wherever, wherever we want. Now the trick with drag grit is once you decide where you're going to position that the only other thing you can decide is the size of the position or the size of the object. The other drag stroke, which is drag dog, it's a slightly different. You select the size by doing the size on your brush. And once you know the proper size, then you position the thing where you want this to be. So as you can see, they are kind of similar because they, they won't behave like the, like the line or the free stroke, but they will, they each have their own utility, right? So drag, drag, drag, really, really important thing and that's it guys. This is the brushes that we're going to be using. The strokes that are going to modify how the brush, the brush is applied to the object. And then the alphas, which are going to be the tip of the brush. So depending on which alpha you have, your brush is going to behave differently. Of course, That's all you need to know for this first video. This is just an introduction. This is just like the general overview of what we have here in ZBrush. In the next video, we're going to start working with our first assignment, with our first project. And hopefully you will be able to learn. I strongly recommend you take a couple of minutes, probably like ten or 15 minutes, and just play around with the interface, rotate around and make sure that you then get loss, dry all the shortcuts, the movement and rotation depending everything so that you feel comfortable with the movement here in zeros, because that's one of the first things that students struggle with. And the faster you get used to the way servers works, the better you're going to be asked and the sculpture, so yeah, that's it, guys. I'll see you back on the next video where we start with our first project. 3. Our First Model Basic Forms: Hey guys, welcome back to the next part of our series. There we're going to start with our first model and we're going to be working with one of the most important principles, the basic forms. So let's jump right into it. This is where we left off. This is our ugly little ball that we were just experimenting with to learn a little bit of how this works. So I'm gonna go into the light box section. I'm going to select projects and I'm going to select the new dynamics sphere to a 128. Once again, I'm going to double-click it. I'm going to say no, I don't want to say, I just want to start from scratch. And there we go. This is our new sphere. Now, what's our project? Well, what things are we want to be working on? Well, more often than not, whenever you start ZBrush, all the tutorials usually start with a school. Schools are like the bouncing ball of the super-rich world. So there are really cool because you can do a skull and you can practice and stuff. But I want to make it a little bit more fun if your wish. So there's this Mexican skulls that we have here in my country. I'm Mexican by the way, and I really like the decoration. I think we can get away with doing some more stylized, cartoony skulls in order to get like a very, very nice detail. So we're going to use this thing as a, as a reference to what we're gonna do. And the first thing we need to do is we need to create the forms of the element. This you add the main silhouette and the main shapes of our skull. So think about like the movie like cocoa, if you saw it from, from Pixar, that one's a really good movie. So I'm going to first things first, I'm going to select a new brush that we haven't used before, which is called the Move brush. In order to select this move brush quickly, you can use the shortcut, which is B, to open the brush menu, M, to go to the brushes that start with the letter M and then v, which is the shortcut for that move brush. So every single shirk of the in here, every single one has a shortcut. It's a three-letter code. You can quickly tap to get to that brush. How are you going to learn them? The more you use them, of course, but more often than not, it's B2B in the brush. And then the initial letter, for instance, like the standard brush is going to be S. And then you just look at this and see, okay, the standard brush has the T. It's usually either the second letter or a letter that makes sense from the name. So in this case, a, B, S, t is the standard brush, B, and V is the MOOC brush. Now the brush is a really, really handy brush because it will allow me to modify big areas of the element. If I click and drag here, you can see that I'm pulling all of this volume very, very quickly. And that's one of the key things that you need to know about sculpture. We always go from the big picture to this picture. So we start with the big round forms, the big Silhouette, the big shapes. And then we start going into the smaller details all the way until we'll go into the wrinkles, wrinkles, and board, even though there are probably the most fun thing to do, are usually the last thing that you wanted to think of it like a cake. Those are the topics of the cake. This is the foundation, the most important part. Now one thing I'm going to suggest to you is to turn off this thing right here, which is called the dynamic perspective. This is a sort of trick that C, which has to try to gather, it has to try and get a normal perspective here onto the scene. But it usually doesn't work as well. And you're going to see that things start getting really, really the form. And I usually don't cope with this more. Yeah, most of the artists out there one recommend sculpting with dynamic perspective on, but if you want to, go ahead, just, just be mindful though, if you're sculpting with dynamic perspection perspective and then you bring this to another software like Maya or 3D Studio Max or whatever. Things might not look exactly the same. And if you do this without perspective, they're going to be a lot closer. So, so yeah, so the first thing I'm gonna do is I'm gonna make this brush really, really big. And I'm going to start pushing the form here, for instance, on the sites. To start getting this shape right here. So let's see which one is fun. I think, I think I like this one. This is like broad shape and the like a T-shape. I think that one looks, looks fun. So instead of pushing it, I'm actually going to start pulling it. Now it's important that I change views. I need to start rotating my element and modifying it from different angles. Because one of the most common mistakes that people make is they just focus on one side of the object and they hope that everything else is going to look OK. And now you need to modify every single thing. So let's just start pushing this. So on the front here I know That's calls usually have this sort of like curb look here. And then down here they have like a whole word that where the neck connects. I'm going to start pushing this right about there. Now this is a cartoon skull so we can get away with some artistic freedom right here. Now this thing right here looks a little bit ugly. So I'm going to start pushing this up. As you can see, it's a matter of modifying and moving around your brush until you get the shape that you're looking for. Again, make sure to change the camera like Luke from different angles because sometimes it will look good from one angle, but once you turn it around, it will look like really, really ugly. So I like that. I think that's, that's an interesting shape. Let's start adding a couple of more details. For instance, the eyes are going to be really, really important. So what I'm gonna do is I'm going to change back to my standard brush, be esteem. And then by pressing Alt, I'm going to carbene where I want the eyes to be. There we go. I'm going to make the brush smaller so that the whole is a little bit sharper. And there we go, see how we get that nice little eyes. The eyes are quite far apart and I think that's good because that's going to give me this cartoonish look at which we're looking for, then we have the nose. So I'm going to use my brush here as well, the standard brush. And I'm just going to start carving where the nose would be. There we go. And now we can start adding certain things that I know all schools have. For instance, all schools have this cheekbone, which is called the zygomatic arc. So I'm going to use my standard brush to add a little bit of volume here underneath the eye to incorporate this zygomatic arch right here on the element. Now, you might be seeing something here, and this is really important. If you remember from the past video, I mentioned that all objects are made out of squares. And what brushes do is they don't create more squares. They just modify either push, pull, caught, or twist or whatever. They just modified the existing squares. However, we have a problem here. I'm adding more detail to the skull and you can see that the squares are getting a little bit more tense there. They're trying their best to follow what the brush is telling them to do. But we're not able to really capture that element, right? They were not able to, to do that because there's not enough of squares. We need a little bit more resolution. And that's where DynaMesh comes into place. Dynamesh is a way of working here in C rich. And what it means is that the mesh, the polygons that make up your objects are going to dynamically adapt to the new seawalls are the new changes that you add to your object. By default, DynaMesh is now activated. You can find that here on the geometry tab and down here on the DynaMesh element. So here on the DynaMesh, you're gonna see this bright orange square that says that DynaMesh, it's active. And right now we have a resolution of 128 points. So if I increase this resolution. And then I turn off DynaMesh and turning on back again. What's going to happen now is that all the squares are going to recalculate. And you can see that we now have more squares. You can also see the change here on the number of active points. Right now we have three, 43000. And if I do this DynaMesh, I'm going to go all the way to a 188 thousand. So, so dynamic is really, really powerful. It's a great tool. But e is it's like a spider Man's power with great responsibility or with great power comes great responsibility. You need to be careful to not go overboard because you view crank this resolution all the way up is going to be really heavy and it can't crash Sievers. So I'm just going to increase this a little bit. Let's say to like a 168, like that, I'm going to turn down the Michigan. Now, let's say I now start carrying a little bit more things in here. Like there's usually a bone here called the temporal bone, which is where your ear is going to be. And we usually have like a whole there. So I'm going to start adding this volume. And now let's say I add a little bit of like brows right. There we go. So let's say I want to recalculate so that every single square like gets better instead of going all the way to DynaMesh and turning it on and off again. There's a nice shortcut. Control. You press control, you're going to see that you're miles churns, cursor turns yellow and then you're going to drag and drop outside of the element. And that's going to recalculate the thing. Let me, let me do something really extreme so that you can see that this works because I don't think that was extremely extreme enough. So let's say we have this right. So see how all of this falling on super, super extremely distorted. If I do Control and drag and drop outside, they just recalculated and now they have the same density and the same resolution as everything else. So that's, that's how DynaMesh works. Now that we have DynaMesh on, we can start working on a little bit more of the main forms of the skull. So you can see here that we have this very nice sharp curvature going here onto the chain. So I'm gonna go back to my MOOC brush. And I'm going to start pushing this in, create that curvature. And then over here is where we're going to have the mandible. Right? There we go. Now I'm going to show you a new brush. And this new brush is really, really handy. It's a, it's a really nice brush that it's a little bit more aggressive than the standard brush. And the reason I want to use this is because sometimes when you wanted to work on a big shapes, it's easier to do it in a more harsh way first and then polish it to look smoother. So the brush is called the clay buildup. It's probably one of my favorite brushes here and see which and the shortcut is B for brush, C4 clay before buildup. And what this will allow me to do is if I press the Alt key, for instance, it's going to allow me to carve really, really fast into the object to separate whatever areas I have here on the, on the elements. So here I can add a little bit more volume and you can see that I'm creating the separation or the distance in the element. The only problem with this brush, as you can see, is that we get this cross hatching element. And that's because we have this square Alpha, we get this cross hatching element that makes the surface looks really, really bad, really, really ugly, right? So in order to clean that surface, I'm going to use another shortcut, which is the Shift key. If you press the Shift key, you're going to get your smooth brush. And this brush is really, really handy. Because what this MOOC brush will allow me to you is it will allow me to smooth the surface of the object and get rid of any like weird bumps and lumps that we might have. Even sculpting, having clean form is one of the most important things because on top of the clean form is where we're going to be doing all the wrinkles, all the details older, older secondary form. So we're going to be talking about shortly. And all that stuff needs to have a clean surface to work with. The worst thing you can have is a surface that looks like a like a chewing gum or something like that, like a wet paper towel like the ugly, right? So you always want to have very, very clean forms. Now, for instance, on the skull we usually have like a little bit of a canal here. So I'm going to start carving this to make this Scala will more realistic. And if we can take a look at the real skull, you know that the nose usually pushes out right? So I can use my clay buildup to start adding volume here and push the nose out a little bit, just a little bit, not done much as you can see, something like that because this is still a cartoonish skull, so we want something like that. So there we go. This cartoonish scholars looking really, really nice. And, and yeah, we can now continue modifying and polishing the form. So if I see that there's a couple of like lumpy areas here and there. I can switch between my brush, for instance, here I'm going to push where the teeth are going to be like the volume of the teeth. I'm not going to do the teeth just yet. We're going to wait for that a little bit, but I'm going to push the volume. We're either going to be, we sometimes call this the barrel of the mouth because there's this like weird shape. It's like a muscle kind of thing, not muscle lesson. Like your muscle. Muscle would see. I'm not sure that the right pronunciation. I like this curvature. I think it looks perturbation and that's fun. Over here, for instance, we usually have another bone like another rich rather that goes to the back side like this. And we're just going to suggest it and then smooth it out. And then we're just going to flatten this out, scan like less copying. Now, of course this is going to be a little difficult for me to teach. See brush in this way because in other softwares like if we were teaching modeling in Maya earth or the master texturing and substance or whatever. I can just tell you, press this button, uses value, do this thing right here. Sievers is a lot more dynamic. It's a lot more free. So you're going to see that the most important thing that they can teach you is the way I'm thinking in the decisions that I'm making when building this thing. So for instance, here I'm just carving in here, you're going to have to do this and you're going to have to get used to how much pressure you are going to need, how big the brush is going to be, how, how you're going to be modifying your, your shapes and your elements to get the best possible result. Because again, it's practically impossible for me to tell you, oh yes, I'm using this much pressure in my hand and with this angle and stuff, it's a lot more practice-oriented learning, learning ZBrush. So I'm going to define this a little bit more. And there we go. So this is your challenge for now guys. I need you to get to this point. This is what I can see there. The basic forms, so old, the basic forms of my school are now here. They're looking very nice. I have a very interesting school and we can now start working on some more interesting shapes like these, like some extra secondary details. Like again, this is just a drawing, right? We're doing this as a 3D elements. So if we take a look again at the skulls right here, like the ZBrush sculpt. There's a lot of wrinkles, a lot of lines, a lot of texture that we can add later on. And, but in order for us to do that, we need to have a very, very clean base. Now, before finishing this video, I need to show you how to save, because we haven't saved, we've been working on this for about 15 minutes. And it's important to say because she is one of those words that usually crashes, sometimes crashes, and it's important for you to save. Now there's three ways you can save this thing. You can save this. We that QuickSight right here. If you're pressed quick Save, this will automatically save a quick save file of this element. And if you go into your lightbox and you go into your Quicksort file, you're going to have all the quick save things that you've been working on. So that's a good way to work with. However, it will save it on the default Quick say folder. And it's not as organized as the next one, which is saving it as a tool. So I'm going to look here at the tool. I'm going to say Save As, and I'm going to go to my project in this case, this is the next to ZBrush 2020 one. I'm gonna go here to documents and I'm gonna save now it's not document. Sorry, Is she was 21. There we go. See tools and you can see here I have a couple of them that I was using to practice, of course. And I'm just going to save this on top of this one as it's called 000 001. So I'm going to save this. I'm going to say yes, perfect. So this now is saved as a C2. If you open sea brush again, I'm gonna go here to preferences initialized to 0. I'm going to say yes, it's going to pretty much a reset ZBrush from scratch. You're probably going to see my custom interface now. It's not. Okay, Perfect. So in case you need to load your element, It's very easy just going to load tool, select your skull, double-click. And this is the important part. You're going to draw one time you're sculptor, then you're going to press your letter T to enter edit mode. Because if you don't do that, if you don't press your letter T, What's going to happen is this, you're gonna start doing these weird collapse shear. And remember when we talked about the 2.5, the environment here and see, that's exactly what's happening. We're drawing skulls in the 2.5, the elements, so we don't want that Control N to clean the canvas. You draw one school and you breastfeed to go into edit mode. And now you're going to be able to work with this element. And that's it guys. This is it for this video. I'll see you in the next one where we continue adding more details and the secondary forms to our element. Keep working. Get to this point, and I'll see you back on the next one. Bye bye. 4. Our First Model Secondary Forms: Hey guys, welcome back to the next part of our series. We're going to continue with our skull models and we're going to continue, we do secondary forms. So let's get to it. This is where we have right now, this is where we left off. And as you can see, this, this is looking really, really nice, but now we can start actually adding more stuff to where elements. Let's take a look at our reference again. Let's go back to our little like a Mexican schools. Mexicans coal, like the other mottos. And you can see that most of the skulls have the teeth, like very brave prominent teeth like I like this little guy right here. I don't want to go with the full set of features like the 32k liability we have. I want to go with something simple like this. So let me show you a new brush that we can use to start pushing some of them, the secondary forms into a more defined state. And this brush is called the Damian standard. Now the Damian standard, the sugar, these BS in brush D from the e-mail and then S as in standard. This was created by the user, I'll long time ago and it's named in his honor. And the way that the Damian standard works, It's pretty much like a knife. So it will allow us to, as you can see, cut very, very deeply into our objects. So if I want to separate like the jaw line from the rest of the head, I can very, very easily create a line here that will separate the jaw line like this. Again, not necessary, but it's good. It pushes the forums and it allows me to, to be a little bit more intense in the way I start cleaning my forms. I think I do want to add a little bit more depth in here. Usually we don't have as much volume here. The best way you can study this count things like know where to add or remove volume is by taking a look at the, at the normal reference. So if I look at the skull, you're going to see that right underneath the eye. Those are shallow there. And that shadow means that that thing is concave. So you're going to have like a little hole. So that's why I'm pushing this thing right here to make that shadow a little bit more, more intense. Now, I don't want to push this forms into the realistic side of things like I don't want this to be hyper-realistic, but I do want to obey that kinda think a little bit. So for instance, I see that there's a little bit of a of a bone crossing into the nose. So I'm just going to add that there. So that gives me a little bit more secondary form, secondary details that allow me to have a more interesting looking sculpture without having to sacrifice on the cartoony side of things. So again, I'm just gonna, I'm just carving here a little bit to soften this up. Now I'm going to go into my, into my teeth. And what I'm gonna do is I'm going to draw where the teeth are going to meet. So as you can see, it's roughly about here. Now let's make this a happy sculpture here in Mexico. On the, the other mortals, which is November the second. We celebrate the death. We don't mourn. We, we see that as another part of life and we celebrate them. Remember our ancestor. So we see it as, as happy They rather than a, than a sad day and night with my clay buildup or sorry, what do they mean this tender again, I'm going to start drawing the teeth. So I'm going to be very, very careful here. I'm going to do one. And then I'm going to go and do a second one. And then I'm gonna do a third one like a bigger one because it's supposed to be like the what's the word like? Molars. And then I'm going to do the same thing here. I'm going to do 1, 2, 3. And there we go. Now, I, I'm not super fond of this last one. I think it looks kinda creepy, kinda weird. So I'm just going to fill it in with my with my clay buildup. I'm going to erase it. I'm going to stick with four teeth, am going to smooth this out like this. Let's see how that looks. That looks even neglect, right? So we have to find a way to make this work. So I'm going to use my Move brush. I'm going to start moving the teeth around until we find a way they work. I think, I think by making this a slightly smaller would be a nice idea. So yes, something like that works a little bit better. Now one of the issues that you might see here is that the teeth are not looking completely flat. They look a little bit like they're creating a little bit of volume on this. He went and I would like them to be a little bit flatter. Now of course, we can increase the resolution if I do DynaMesh, you can see that it creates new geometry there, but we probably do need a little bit more resolution. So I'm gonna go back here into geometry. I'm going to push, my resolution is slightly higher, am going to do a new calculation like that. And now I'm going to show you another brush is really, really magical. I really like this brush which, which is the trim dynamic brush. The shortcut is B, T, d. The term dynamic brush is kinda like a pebble brush. It will flatten the surface, it will create a hard surface edge. We're going to be using this one. We do a hard surface as well, and it's really good, for instance, two, to make it a lot flatter. So by doing this, I can very, very easily clean all of this area. Now see how we still get some weird areas right there that's worth what they mean. And standard comes into play again, because we can just go back here and give this a little bit more definition. So we'll just do this. We just push this again and we redraw that nice line that we have inside the teeth. Now we can of course add a little bit of like that, like the border of the teeth, you know, we're the T This inserted in kansas calls you usually don't have this or at least not as prominent or as intense, but I think we might benefit from having a little bit of this. So I'm using my clay buildup to add this little element right here. As you can see, it's kinda like drawing and fading it in and then we just smooth this out. Let's see how this looks. I don't want this to look super creepy, so I just wanted this to look nice. So I'm going to have probably smooth this even a little bit more. And there we go. That's a nice looking. I like it. I think I think it looks good. I'm going to use my clay buildup again. And now I'm gonna go here to the brow. I'm going to start adding a little bit more definition there on the browser that we know that that's where the, where the brow. And since we have more geometry and we're working in now on the secondary forms, we're going to start defining this kind of things a little bit better. And we're going to have a lot more definition. So that's a rule of thumb that you need to remember. The more geometry you have, the better your details going to look, the more definition you're going to have. However, it's also going to be a little bit more difficult to control certain things because you can see that we're just a little thing, we mark a lot stuff and trying to smooth that out becomes a little bit more complicated. That's why we work on the basic forms before we jump onto this kind of things. So let's mark the nose gear a little bit very, very lightly like that. Just again then generate a little bit more interest there. Now I think I want to go with my clay buildup and I'm going to I'm going to carve here on the, on the border of the eye because I want to create like a division, like a sharp line division where the eye socket is going to be like that. Yeah, we go. Let's push it in a little bit more. There we go. And smooth, smooth, smooth, smooth to clean that sharp lines that we have. And now we have a nice division. Without a lot of problems. I'm going to use my Move brush and there's a couple of things I want to change here with the overall shape of the skull thing. I wanted to be a little bit rounder, especially if you're on the back like I don't want this to look like I'm like an alien element. And of course it's moved out. And usually here is where we would have the whole for that for the neck, you're going to have to be super, super specific. But just keep in mind that a 3D model has the, the special property that you can see it from a lot of different angles. So it's always a good rule of thumb to make sure that your mom looks good from every single part because you never know if you're like in a game or if your 3D print this and people are going to be taking a look at it, you never know what parts of the mall they're going to be like inspecting. So I went to I went to increase a little bit of the mandible here. So I'm going to use my brush and push this into it like a sharper mind that, well, there we go. That looks fun. As you can see, I'm changing in creating the size of my brush to give a little bit more depth. Now here I'm going to carve a little bit too to make it seem like that, like the whole because we're not usually there's a hole that goes all the way across our face. Of course, we have muscle and the tongue and everything in there, but I want to just indicate that this is the hole from the front, the mandible. Let's clean this div here. Because we're seeing like that, like the backside of the FET. Damon a standard again to to recover that. And there we go. Look at that. Look at this happy to youth. I like it and we're gonna make it even funner. It's going to, it's going to be a really, really nice exercise. Now, if we take a look again at the skulls, Let's see if we're missing any important detail. And yeah, for instance, you can see here on the side where the temporal bone is, which is where our ear is. There's like a whole as well. Like you can see the very intense shallow in there. And right now we don't have that. So we can again use our clay buildup to start pushing this in and creating a little bit more of a change in silhouette there. So yeah, that looks a lot better. And I would just of course, smooth everything out here. Smooth, smooth, smooth. We got here. We modify all of this MOOC. And we're getting a really, really nice happy skull. Perfect. I think we're in a really good position here. There's a couple of holes that we usually get them here. I don't think we need them because we're going to be decorating this Mexican style with all the layers and stuff like all those little lines in and thanks. So I didn't think we needed I like this had maybe we add one. We'll see in the next in the next video. But yeah, this is it guys. This probably will take you a little bit longer than the first one. I know that this video is a slightly shorter, but it might take you a little bit longer because trying to control the form is one of the skills that you need to develop. It won't come easy. It's a lot of practice and you definitely need to put the time into it. So, so take your time. Even if this video is only like 10 minutes long, tried to take your time, take 20 minutes if you need to, 30 minutes if necessary. Because this secondary forms and secondary part of the element is, it's probably one of the most important parts apart from the, from the primary forms. And we usually go in, in order of importance. So primary forms are going to be the most important. And then of course, secondary forms. But i'm, I'm specifically asking you to take your time because in the next video we're going to be adding older, nice little details like the Mexican details. And if you don't have a clean secondary form, all the details that we add are going to, we are going to look really, really bad. And this might not be an exercise that you want to show off. So yeah, take your time, do it nicely and get to this position where we started with something very simple as you can see here. And now we have something like this where there's a lot more detail. Okay, so get to work guys and I'll see you back on the next video. Bye bye. 5. Our First Details and Simmetry: Hey guys, welcome back to the next part of our series. Today we're going to continue with our skull models and we're going to finish it with the details and talk about it a little bit about symmetry. So let's get to it. This is where we left off. This is the result of the secondary forms now nicely polish and nicely laid out for us to work with. And it's now time for us to start working on the details. Now as you can see them, Mexican schools are known for all this amount of crazy detail that they have. So let me show you a new technique that we're going to be using to do this. We could of course, try doing it by hand. Like literally drawing like the little flowers I think it has around the eyes. But as you can see, if you are not really good with your pulse, you're going to have a hard time. So we're going to do instead. We're working on doing instead is a technique called masking. And by masking in certain areas of the element, we can draw this sort of things and then modify them so that we get a very nice effect. So this is what I'm gonna do. I'm gonna start with a very simple detail like, like our little guy here, like it has a circle there and this kinda like droplets on the side. So I'm going to start with a circle right here. From this slightly smaller. And the way we're gonna do is we're going to press Control. And you can see that now our brush turns yellow, similar to what we do when the, when we do re, re DynaMesh. But now if we do it inside the character, what's going to happen is we're going to create this black area. And if we try to draw on top of that area, we're not going to be able to. So what I'm gonna do is I'm going to draw there and then I'm going to draw the little droplet kinda thing and you can erase the mask. This is one of the powerful things about this technique that you can erase masks by pressing Control and Alt. So now this is going to allow me to create this very nice looking element there. And if I invert this mask by pressing control and tap outside of the object, I'm going to be able to add a little bit of volume here with my clay buildup as if I was adding like the sugar coating that this kind of skulls have. Now if I drew, if I click Control and drag outside of the object, you're going to see that we dropped the mass, but we keep the detail and look at that. Doesn't that look nice? That's exactly what we're gonna be doing in order to generate the rest of the elements. So let me repeat that real quick. Let's do like some cute like a mustache. So I'm going to do something like this. Like a spiral. Let's make the brush smaller. So it's going to be like there we go, like a spiral right there, and then weed control, control. I'm going to delete a little bit of the beginning there. So we don't have as much volume, so I'm polishing the mask. We're going to hit Control and tap outside of the object. And then when my clay buildup, I'm just going to have very softly add a little bit of volume. It's like if I'm extruding allele bit of this volume and it looks like it's an, another shape that's on top of the element. You can of course, soft in this, if you want this to be a little bit softer. When we take the mask away, we're going to have this very funny-looking message here for our guy. Now, let's go for the ice. The ice you can see usually have this sort of like flower pattern. And flowers could be a little bit tricky, but not if we use this technique because we can do circle, circle, circle, circle, circle, circle, circle, it's easier to draw circles like this, circle, circle, circle, circle and circle. And now we can delete the inner side of the circles very, very carefully. So that they don't go inside the character and we just have the legged, the petals on the outside. So very carefully there. And it doesn't have to be perfect. And that's one of the cool things about this exercise. Usually, candy skulls are made by artisans and the 80 cave, they're not perfectly, it makes it look like they were made by hand rather than by a machine or something. So there we go. Controlled tap to invert the mask. And now we just very softly add a little bit of volume. It's important that's a little because if you go super intense there, it's going to look really, really ugly. So very, very softly, we add a little bit of volume all around the border of the ice right there. To make this petals push out. Look at that beautiful, beautiful, beautiful. And then we solved and everything very, very self. The, I'm barely touching my tablet here so as to not erase the detail completely. And there we go. We delete the mask, Control and drag and select the object and look at that beautiful mask. Now let's add a couple of more details. For instance, I think if we take a look at the reference here, we have this nice little like curvatures here. Like this interesting looking shapes. Or I think, I think we can just add like dots. Now let's have like a, like a flower here, like this. And then from here, let's continue this down here. And with the masks, like painting the mask or painting this nice little Leto. And then let's do a smaller one like this. Yeah, I like that one. And then following the shape of the of the of the bone, that one's going to look really, really nice. There we go. And again, just a little bit of volume here, very, very softly. We don't want to exaggerate this a lot. You can also do this with your standard brush, then a little bit of smooth to get rid of the ridges and keep only the volume. And when we delete that, they'll look at that. It looks really, really nice. I think I want to go for some like just traditional circles. So I'm going to change the Alpha here for like a round heart Alpha. And then just start adding like a couple circles here. Let's do like five. So 45. There we go. Now here on the inside. Yeah, I think I'd like a cross might be a good idea. So let's draw the cross. Let's make it a little bit slimmer. So I'm going to erase the mask there. And then like this, there we go. That looks nice. And then let's add a couple of race. So we're gonna have like one ray, very soft gray there. And then like a short one. Sure. One. Then like a long one here. Sure. One. Something like this. Then again, we'll just add a little bit of volume, can like extruding the thing soft and develop a little bit. So it looks nice. And look at that mirror effect. Let's add again a couple of Of points here just to decorate the whole thing. And let's go back to the, to the jaw line. So on the jaw line, we can do a little bit more crazy stuff. So for instance, I really like this, sort of like flower diagram on the bottom side. So we can do like the main flower here. And then there's like some weird petals, like this sort of petals. And then we have like a, like a like a nice bell there. Let's lick a secondary pellet right here. Remember, all the shapes here have to kind of like push the form of element like help define the overall shape of the character. Let's draw this here as we go. I like that. I think that looks nice. And then let's have some lines going in here. Parolees, slightly thinner, like this. What else are we seeing? Like a couple of dots, like maybe one there, one there, and you can draw the whole school in one single mask. The issue is if you mess up and you need to go back, this is a kind of stuff that can make it a little bit painful. So that's the nice line there in the mail like that. On the main area. I also want to add like like like this. There we go. We invert the mask and we add a little bit of detail here. There we go. Just a little bit of volume there to push the whole surface out. And that's it, which is soft them everything here. And look at that. Now, if we want to push some of this things slightly or make them slightly more intense, we can always just our standard, remember and just carve into this now I do like the way they look though. I do like that they look soft because usually sugar, it looks it looks soft. It melts a little bit on top of the thing of the skull. So you usually don't get like a super sharp element. Now you can also see that we are already having some issues with the resolution. If we want this to be even nicer, like have more resolution, we can definitely push the resolution up a little bit more. And this is going to be boasts more resolution. So now when we do the lines, they're going to be slightly sharper and we can do like a little bit more detail here and there to push the detail of our skull even more. So if we need to, we can just like go back again there and keep pushing this elements so they look really, really nice. On top of the elements, there's like a couple of circles. So that's one. And then let's once more lightly smaller and then slightly smaller again to create a little bit of a gradient. So I think this is called is looking really, really nice. And you can continue adding as many details for us, as much details as you want. The best thing, I can recommend this lookup reference as I'm doing here, like switch to your, to your tab and look at how things are made in the real-world, how this can the scope. So that you can get a very nice detail. Now I'm going to go up here and I want to show you another tool that has to do with the brush. And then we're going to jump onto the symmetry, which is the final part of this thing. Usually the best thing I should do is I need to cover the whole thing up. But you're really saw how we do this. So I'm probably gonna finish this off camera and just show you that result later on. When we do like painting or something. But there's one thing that we can do now, if I try to do like very nice squiggly lines, you can see that my pulse is not perfect even though I can do like some interesting spirals, it is a little bit difficult to have a perfect Paltz. See where she has a very nice tool called lazy mouse that allows us to draw the thing in a more controlled way. And you're gonna find this. If you press Control to go into your mask pan, you're going to go into the stroke section and you're gonna go into this LacI mouse option. You're going to turn this on. Now when you start drawing, you're going to see a line like a red line that's following your mouse. And that red line is the delay that the element is having. That will allow you to have a more traditional approach to the whole thing. So let's say I want to do something a little bit more intense like this detail right here. So in order to do that, now with lazy mouse, it's going to be a lot easier because I can just start drawing the spiral. I'm going to be way more control. So I like that. It's like a heart shape. Let's make it smaller. And then let's do from here, like another spiral here. Let's select like a leaf or something. Oh, careful there. That C. So that's gonna give me very, very interesting looking element. I think I want to add like a little hardening here. And then we can just add like I'm going to now, the lasing mouse, it's something that gets activated. So if you want to change to clay buildup, you then need to go to great lazy mouse and stroke and turn this off. You can also press your letter L and that's going to turn it off as well. So I'm gonna do like it didn't it should have just turned it off. Oh, that's right. It's br elements. So there we go. So mask there, there, there, there. Let's do like a mask here. Here. Let's do another mask here. Here. Patterns, patterns are one of the most important things. So there we go. We changed this out with my clay buildup. I can just very, very softly add a little bit of volume to all of this new pattern that I just created. And when I get rid of the mask, look at that. Beautiful, right? So this is one of the techniques we're going to be looking at a lot of different techniques to sculpt things here in ZBrush. But this is one of the techniques that we can do to add the detail to our elements, increase the DynaMesh resolution, and use our masking to select and create all of this interesting patterns. So have fun with this guys and do it and add as many details as you want. And now the final thing I want to show you before we close this video is symmetry. Right now we've been working with symmetry all along the character. Every single part of a character is completely symmetrical. And you can see that we've had the symmetry on, for a long time. And the way you activate or deactivate symmetry, if we drew letter X, if you press the letter x, you're going to be able to only draw on one side of the character, are only modify one side of the character. And you might be wondering, why would I need to do that? Well, let's say we have already finished the whole skull and we want to add this a little bit more character. I can use my brush, for instance, and modify the way the scholars looking after doing all the detail, of course, because otherwise it's going to be almost impossible to get this very nice, interesting pattern as an asymmetrical element. So asymmetry is really good to give your characters and your schedules are lot more life as you can see here. I could, for instance, go into my clay build-up and draw like an I here, look like a sphere smoothed out and then draw the other eye over here. And by doing this in an asymmetrical way, I can now have a very interesting, goofy looking, cartoonish looking element without having to worry about this imagery because everything was done symmetrically up to the point where I needed to change it. That's usually the advice I give to all my students when they're asking about symmetry. Like when should you turn it off? Unless the character is asymmetrical from the beginning, like think of a zombie with a huge army and the small arm, right arm is huge and the left arm is really small. In those cases then yeah, you're going to have to work with a asymmetry from the beginning. But then things like this, I strongly suggest you do everything symmetrically first. Then at the very end, if you need to change the symmetry or turn the symmetry off and change it so that you get an interesting result. But anyway, guys, this should be a very good exercise for you. As I mentioned, this is a beginning exercises. We're going to be doing several exercises so that you get to know all the tools and all the processes here inside of ZBrush. And then we're going to jump into a bigger project that's going to be like our final project for the series. So tried to get up to this point M, make sure that you save this. This is always good to have. You're always going to have your first sculpture as a memory of how you started. And everyone starts at the bottom, guys, everyone starts with no knowledge and they build their expertise and their knowledge up. So don't worry if it doesn't look exactly like this or if it looks kinda ugly, if you want to, I strongly encourage you to do this exercise several times, 10 to the 2, 3, four times. Each time you do it, you're gonna get better and better. The results is gonna, it's gonna show for it. So yeah, keep on working guys. Keep on pushing. And I'll see you back on the next video. Bye bye. 6. Zspheres: Hey guys, welcome back to the next part of our series. Today we're going to start with our second project and we're going to be talking about see spheres. So let's get to it. Well, before we jump into the actual says first, I need to do is show you very quickly what they are and how they work. So see spheres are an ancient way. I'm saying ancient because this actually the seeds for your success that before we had DynaMesh in which we can create different sorts of armatures or base meshes for us to start sculpting pretty much anything. So the reason I like to teach see spheres and the reason I think there are really, really useful is because one of the first things that people have an issue with when they first start ZBrush is making sure that the proportions and the general shapes of their objects are as nice as possible. We could of course, to do like a halo, a lead by starting with just a sphere and then just start pulling and pushing the arms, the legs, and everything else from DynaMesh, however, I do think that sees spheres have the advantage of being very organized and they really help us work with this. So, so we're gonna do see spheres. So in order to activate the C sphere, you can go to the lightbox option and then go over here and double-click on this sphere right here. I'm going to say no. And there we are back in our basic 3D view. Now if you remember, we usually turn off this thing right here. Now, if you take a look at the brushes, you're going to see that right now since we're in the seas fair mode, none of the brushes that were used to are going to be present here. We have a lot of other different brushes that probably we're not going to use. Actually. I'm going to be using another more simple technique. So the we see spheres work is you're going to be drawing new C spheres on top of your mothers whose fear that the main C's fear in this new C spheres are going to generate more volume and more mesh product if you wish, from this elements. Okay, so first rule of thumb, the mother's fear should always have one sphere at the top and one sphere at the bottom. And the reason why is when the mother's fear doesn't have any sort of reference point to where the top piece and word about them is it freaks out and the geometry that you generate is not as good as this that work creating. And you might be wondering, okay, how did I create that, those spheres, it's actually really easy. The way you create CSV or C is a Jew. Position your mouse in any point of the surface that you want from your sphere. And then you click and drag. Right now, I'm actually using the mouse. I find the mouse to be a little bit more precise when working with c spheres. And then we're going to jump onto our way com tablet. But if you want to do the webcam, you can do the wake them, that's fine. So again, I'm just going to position my mouse down here. You can see that the little circle turns green. That's important because that tells me that we're in the symmetry line and any CSER that I create is going to be perfectly centered, perfectly symmetrical. So yeah, that looks good. Now, what are we going to create today? Well, I want to create an octopi or an octopus. Octopi is the, is the plural. So let's look for an octopus and let's see how they look. So the reason I want to create an octopuses, because we're going to be showing you a very nice set of tools once we get into the sculpting part. And they also have this sort of weird shapes that we can use as reference for our general buddy. So I'm going to drag and drop this on my other screen. But if you don't have another screen, that one quick trick that I can show you here is there's this see-through options here. You can work with and whether you do something, you're going to be able to kinda have this as an instant image plane. I don't like using image policing in ZBrush, but we're going to look at that later on. So as I mentioned, I'm going to bring this to the other side of that. There we go. Perfect. And now if I take a look at the squid right here are the octopi, you're gonna see that the main volume is this head right here. However, the centerpiece is probably where the eyes are, right? So this part here on the center, that's going to be probably my mother, my mother sphere. And then from that mother's fear, we're going to have the eight different arms that the octopus has. So what I'm gonna do here is I'm going to start drawing the basic form, the basis for the arms. I'm going to draw one here on the front and then two here on the back. Gu, careful there, this is important. So what happened here is the following. When you draw a sphere, the next sees food you draw usually follows the connection to the last C sphere Jew drew. So one rule of thumb is anytime you finished drawing, one sees fear. Click outside the object to break that connection. And that way, when you create new city spheres, for instance, back here, they're going to be free to move around. So that's one more. And there we go. So we have six arms right now. And the problem is, don't have enough room to draw the next one. So how can they move these things around? Very simple. I'm going to press the W key and this is going to bring me to my move tool. And the move tool will allow me to move this c spheres two different positions to different places. So I'm going to start moving these guys around. Let's move this guy like closer to the back. And now there's going to be enough space there. I'm going to press my Q key now going back to edit mode up here, or sorry, Draw mode up here. And I'm going to draw a new sphere right there. So that way I can press W again and bring distinct down here. And we're going to have the eight arms do we need? Now you can see that some of them are slightly bigger than the other ones. Is there a way we can fix them? Of course, if I go into the scale tool, which is the E key, I can scale is down, so they all match the, pretty much the same element. I can go to the ODE you again and start bringing, bringing, bringing them out. There we go. So going back here to the head, you can see that octopuses have their head going back and then they have the two couple of ice, right? So I'm going to do W again over here. I'm going to go to the side view. Any side view is fine, but I'm gonna go, this is the side view, the front. So I'm going to press W and I'm going to bring this thing back. This is the big head that we want. Now I can see that the big heads has a little bit of a spike at the back. So I'm going to create one new sphere to give that nice little effect going right there. And I can also see that the head them like the main sphere actually becomes a lot smaller. So I'm going to press my Scale button and we're going to scale the mother. Mothers feared down like so. There we go. So that creates the like hood for the thing. And you can always change between W and E to move around and scale things up. I'm going to add the eyes. So I'm going to add to s Right there. Perfect. And now the only thing I need to do is I need to continue working on this armature and they need to extend the arms to the outside areas, right? So I'm gonna do this very, very easily here. Here's how we're gonna do it. I'm going to jump back into my cue to go into the draw mode again. And I'm going to start drawing. As I'm drawing, I'm going to press Shift. And what this will do is it will snap the sphere to the same size as the parents sphere. So that makes sure that's going to make sure that all of the spheres share the same size as you can see there. So I just draw, and while I'm drawing this fear, I press Shift and that snaps the sphere to the size of the father sphere. So I'm going to make this a little bit larger because as you can see, it's not looking and looking perfect. I'm going to press that little button there to make the parents sphere a little bit larger as well. There we go. Now, if you for any recent mess, something up like you have more 32 spheres that you showed or whatever. You can always delete spheres by pressing Alt and clicking the sphere. And it's going to delete the sphere. And then you're going to be able to modify. A quick way to know whether or not you're doing things right is by pressing your letter a. If you press the letter a, you're gonna go into preview mode, which is going to give you a preview of how the base mesh is going to get created. And as you can see, everything is looking good here. A couple of signs of alarm in case you encounter this. If you draw a sphere and then move it across other see spheres, you're gonna get this thing. And that's my, uh, pretty much telling you, Hey, this is a very complicated area and I'm not sure what you want. So when you do the preview for the mesh, we might find some issues. And as promise, if I press letter a, you can see that we get some weird distortions there. Sometimes it won't matter that much like it will actually Solve it very, very nicely. But more often than not, you're going to, you're going to have issues. So again, press a to go out of that mode. And with all key, I'm going to delete this key. Now. We then use fears that we just created. I'm just going to start moving them. I'm going to make my draw sizes smaller so that I only select this guys. I'm going to start moving them outside. I'm going to create this sort of like a circle thing. Something like that. There we go. So we get all the eight legs of the octopus. Some octopus have like really, really long time telcos, but I'm going to keep it, I'm gonna keep it simple. Now, what else can we do here? As you can see this, this already looks kinda nice, right? If I press the letter a, I'm going to get a very nice base mesh that I can start working with, but we can start posing the character. I'm going to keep it symmetrical for now, but if you want to, you could do your octopi, asymmetrical. The only thing is that you're going to have to do a little bit of extra work on the sculpting site. I'm gonna go here, I'm going to make this slightly thinner because the body shouldn't be that thick. So I think that one or that size works a little bit better. I'm gonna go back to Q. And what I wanna do is I want to add some kind of like bones to the, to the tentacles. I know tentacles don't have any bones. It's supposed to be only I think Tomasz muscular tissue. But I'm going to add those just give a little bit more curvature. So let's start with the front ones. I think I want the front wants to go up like an S-shape. So I'm going to add one with my letter Q. I'm going to click in between the cylinder that gets created with the C sphere. And as you can see, I'm now inserting a new C sphere on this area. I'm gonna go back here and insert a new one. And now it's going to be very easy for me to create the curvature like this. Like if they are saying like hello or something. Now if I want this to be even more curved, I can just go back to Q, draw a couple more lines here, and then just go to these guys out. It's never gonna give you a perfect curvature because of course we're going to need to scold this things out. That's gonna give me a very, very nice approximation, as you can see right there. Now maybe this guy right here, I want this to be slightly curved on the ground like I don't want any any elevation or anything, but I just wanted to have it. Like on a curve. So I'm going to add a couple of more lines here. Let's move this out. And I'm just going to start curbing this out. The more spheres you add. Remember the nicer doctor, which is going to look. Now as you can see, if I press this little triangle right here, everything is going to rotate. Everything is going to move. If I press just the sphere, only that sphere is going to move. So that's also a nice way to manipulate this kind of things. Now one thing I definitely wanna do is I want to make thank tentacles slightly less thick on the outside. Like I want to taper the points. So I'm going to press my Iike, gonna go to the points here, and I'm going to make them slightly smaller like this. And then I can go to this guy and we can make that smaller as well. So that way the identical is becoming slimmer and slimmer acid goes forward. The same thing here, just one there and one there. It's kinda be pretty much the same size going to the front and then it's going to be like this. Now, let's say that this next pair of tentacles like this guys also have a little bit of erasing surface. So I want to create like a little bit of a curvature here. Just again to have a little bit of a nice silhouette. Now let's add a couple more extra loops there we queue. I'm just going to move them around. Maybe we can have this little tip, like pointing up a little bit and we make it smaller, make this one smaller, probably make this one's smaller, and this one as well so that it has a nice little grid deviation there of curvature. And finally, for this last ones over here, I'm just going to press Q at a couple of extra points here and there. And we're just going to curve this out. Similar to the ones on the, on the front, just just so that they're not like perfectly flat on the floor. So again, just move this here. Now as you can see, it's very important for me to snap the BYU to either the top view or the bottom view so that any movement that I do, it's snapped to that specific element. Because if I do this and they move these things around, what's going to happen is they're going to go in different directions. And that's not something that I want. Maybe I do want a little bit of erasing surface here. So let's run this, race, this a little bit just to again have a little bit of curvature there. Again, that change the proportions here to grade a nicer and nicer element. And there we go. That's pretty much it as you can see. We very quickly have created this very nice armature for our octopi. Now, see spheres are really helpful because if you want to save this, you can actually save this as a C2. And i'm, I'm actually going to do this. I'm gonna go here, let's go to our projects. So let's go real quick here to ZBrush serious C2. Let's call this octopus arbitrary. And the recently it is handy to save your armatures is because, let's say like in two or three years, if someone tells me, Hey, I need you to model a new octopus, but this one is like a cartoon or a baby one or ethanol. I want you to do something and I show them this and they're like, Oh yeah, that actually looks pretty good. But could, you know, instead of having eight arms, this is going to be a different kind of alien octopus and it's going to have 12 arms. And like yeah, sure, I can add like anon like a couple of extra arms up here, right? And then move this around and add leg and antagonists or something. And after I'm done this, I'm going to be able to recycle all of this work for any of my characters. Now once I've mentioned, see spheres are not only useful for like octopus, Of course, you can do any sort of thing. We'd see spheres recently. I did another like octopus creature. But look at this like you can do this crazy bug like elements. You can do dragons, do humans, you can do dinosaurs. And it's actually very, very easy and very, very fast to do AC sphere armature. Because if you tried to do this shape, we only DynaMesh is starting from a, from a sphere. It might take you a couple of tries until you get the proportions right. Like tried to make all the tentacles perfectly symmetrical and inexact. It's gonna be, it's gonna be tricky. So that's why I, I do value having C spheres as a tool. Now the only last thing I need to show you is how do we convert this C spheres into workable geometry? I know that if I praise letter a, I'm going to be able to see a premium in this preview looks really, really good. But how do I make this a more traditional DynaMesh element? And that's really, really simple. I'm going to go down here to where it says adaptive skin on the Tools menu on the right side of your screen. And down here, this is the preview that you're seeing. You're seeing a DynaMesh preview at the density of 256 points. So if I just click down here, make Adaptive Skin, what's going to happen is up here on the tools panel, I'm going to generate a new tool. Now. A tool it's kind of like your file, like a scene. So right now we're in the octopus armature scene. If I click this octopus, I changed scenes and I am now on a more traditional element that I can very easily start working with all the brushes that I know. First thing I'm gonna do, I'm gonna change this to my starting material so we see that nice gray that we have. And now this is perfectly ready for us to start working. Primary forms, the secondary forms and all the different elements that we need to do. So this is the next challenge for you guys, is going to be our second exercise, our second module, which is C spheres and organic modeling. We're going to keep pushing the tools that I'm going to keep showing you some very, very nice tricks. So you need to get to this point, okay, so follow all the steps that I've just mentioned. Create your own octopus armature. You can bury it the way that the arms look. They don't need to be exactly like the ones I'm doing here. If you want all the arms to be like straight down, that's fine. Although I do recommend having a little bit of variation like this. So it looks a lot funner. Okay, so once you have this and you have your skin, we're going to save this as octopus skin. Remember I always like to save variations or burdens of my elements. I'm going to save this as 0, 0, 1, and that's it. I'm going to stop the video right here, guys, get to work, get this done, and I'll see you back on the next one. Bye bye. 7. Subtools and Mirror: Hey guys, welcome back to the next part of our series. Today we're going to continue with our second project, which is the little octopus that we're doing. And we're gonna be talking about some tools and mirror functions. So let's get to it. This is where we left off. I am now at my octopus a scheme tools C2 that I'm going to be working with. And the first thing I wanna do is I want to use my brush to start modifying some of the things that my element has it. So let me connect my waken real quick because it's disconnected. There we go. One quick thing, this is something that happens in Windows. I haven't had this happen on what's the thing on my tablet lately. But if you for some reason are having issues with the with the thing on your way com tablet. Sometimes it's the driver that's not update it and you need to make sure that you're not using Windows Ink because this thing mess up the settings of the tablet and it freaks out CBER. So make sure that that thing is off. Usually that tends to fix it. So I'm gonna use my brush and then what I wanna do is I want to start recovering some of the curvature for my tentacles. Because as you can see, one of the main problems that we get from C spheres is that a lot of the things become not as soft and round us as I would like to. So I'm going to start using this and I'm going to start softening all this curvatures. So with my smooth brush and my brush, I'm going to start modifying some of the places where this very hard events are happening. And that way we're going to be recovering some of them. Nice cover to that. I would expect the octopus to half. There we go. Now if we take a look at our reference real quick here, let's look for octopus this again. But just remember references, keen guys like references the secret of the, of any 3D artists, the better dereference, the better your sculpture is going to be. So if I take a look at this and this is where we're gonna do. We're gonna go for this kind of texture. So prepare for that. You can see that the eyes are actually on this sort of socket, right? And that's the kinda thing that we want to create this as a reference, I think that we're, we're using. So I want to start creating pretty similar to what we did with the, what's the word with my school, I went start creating the elements here. So I'm going to start using my clay buildup to create the whole of the octopus here. Now remember we always follow this method of going basic shapes and then secondary forms and then tertiary forms and finally details. So if I take a look at the octopus here, you're gonna see that the eyes are actually connected with this sort of cone like shapes, which is very, very cool. So you see how they create this very volume there. That's pretty nice. So I'm going to use my clay buildup to start adding that sort of like a conical shaped volume on this area right here. Now, I can also tell that the octopi, eyes are a little bit closer to what I have right here. So what can I do to move the ice closer to that, to the base? I can just grab these guys and start pushing them down like this to create a more or it closer representation of the Occupy like these. And I'll see that weird line that we have there. That's not something that I see here. See how everything mostly in a very, very nice way. So I'm going to start adding with my clay buildup, this sort of shapes that are creating my tentacles. And we're going to start smoothing out all of these other elements that are not supposed to be part of my character. So all of this are going to start, we're gonna start kinda like blending. It's kind of like blending the element E to C or E. This now to work on this octopus character without having to worry about the proportions and everything. Because the mesh that we did, the what's the word? The CSF your armature deleted. It's pretty much sold being all our issues right here. Now, I can see that on the backside, octopus seem to be a little bit thinner. So I'm gonna grab my Move brush. I'm going to start pushing this guy's like closer in. So we get that nice little like thin element. Now the head of the octopi are, some of them are a little bit weird that he held. This one has like shapes and stuff. I think we're going to go for that. Let's, let's try adding a little bit of secondary details. You want to like a human that has like, like parts of bones and stuff. So I'm just carving and pretty much free handing this sort of stuff to give a little bit more of variation and visual interests to the whole shape. If you're doing, or if we were doing like an alien or something, this is the part where we would be able to sketch in and find ourselves with different kinds of shapes and forms that make our concept very, very nice. So listen, excellent. This is an excellent tool and excellent exercise to, to learn all this stuff. Because later on you're going to be doing very crazy stuff, very crazy concepts and elements. And it's good that you know, that every single thing that we do should have some sort of recent behind it. So in this case, I'm thinking this is sort of like, like, uh, what's the word like a skull. So that's why i'm, I think this like elements right there. Now from the front view it looks okay, but from the view I think we can go a little bit wider. So I'm gonna push this a little bit wider. There we go. And I think we can push this up a little bit like this. There we go. I think that looks, that looks okay. So now we're, right now we've been working on something called a tool, which is the basic shape of our element. That the tool is just this basic form and it's composed of all of the polygons that we have right here. But in the tool, we also have something called soft tools. And subtitles are extra tools that leap inside the two. So for instance, eyes are one-off, perfect sample of one of the things that we can add as a sub tool because they're going to allow us to create as this sort of detail. It would be impossible for me to have a like a perfect silk circle inside the DynaMesh element without having polygons like creating some weird shapes. So it's better to have separate subtitles whenever you see that the forms that you're trying to create are not working nicely. In this case. We can do that with the ice. So let me just soften this real quick. Now, in order to add a subtitle, it's actually really simple. I'm gonna go here into the sub tool panel and I'm going to go down here to where it says append. I'm going to hit append. And from o of this 3D meshes, I'm going to select this sphere 3D. Now this is sphere is going to be appended as a secondary subtle. You can see it right here, and I can just click on this subtle and now this is selected. So anything I do on this, so P2 will only affect this sphere in particular, and they will not affect my octopus. A quick way to jump in-between sub-adults is by pressing Alt and clicking on one of the elements. If you click on that, you can see that the highlight the changes, meaning that this guy is now selected. With the sphere selected, I'm actually going to jump onto the transformation portion of C brush because I want to move this in, position it on the left eye. So I'm going to press W and I'm going to get this gizmo. Now this gives me super, super handy because this is what's going to allow me to modify and move the position of the eye. You can see if I press the arrow keys, any arrow key I'm going to be transposing pretty much are moving this guy on that particular axis. If I press the square is going to be scale. If I press the middle square, the yellow one is going to be a uniform scale. For any reason your pivot point or whatever it gets twisted. See how this, by rotating this. Now my point is twisted. You can always unlock this, click, this little arrow, and it's going to go back to its basic shape. I'm going to lock this again and I'm going to be able to move. We're going to be talking about locking and unlocking the gizmo later on because it's a very, very powerful tool for opposing and stuff. But right now it's fine. I'm just gonna make this really small. I'm going to position it where it's supposed to be, which is this guy right here. But let's do it right here. And let's push it inside the cavity. There we go. I think I want to make it slightly smaller. Like I like this guy right here looks very like old and wise. I think that's something good that we can add. So I'm gonna make this slightly smaller. There we go. Let's push it out because I want this to be like poking out. And perfect. We have one eye. Now the problem is we need another I, some of you might think, well, we just append the new one and make sure that it matches this one. But trying to do that's going to be almost impossible. We're not machines, so drink to perfectly nailed the proportions on this, I will be really, really, it will be quite a challenge. So fortunately for us, there is a tool here in C versus that allows us to mirror this thing to the other side. And it's actually very simple. You're gonna go up here to the C Plugging tab and you're gonna go into subtle master, which is a plug-in inside of ZBrush. And inside this sub tool master, you are going to hit here mirror. And you're going to select which axis you want to mirror two. So from left to right, from top to bottom or from front to back. In my case, I want to do left to right and I want to merge both of those elements into a single sub tool. I don't want to have a meal and some tools right now. I'll just need one for my octopi, and then octopus and one for my ice. So I'm gonna hit OK. And there we go. The eyes are ready. So I can scope the eyes, but usually eyes are very smooth. You can see there that what we're seeing, It's actually the eyelid. So how can we scope the eyelid? Well, very easily, I'm going to jump back into my octopus and look at this magic. One of the cool things about having multiple soft tools is that soft tools, It's like unconsciously, but it's not unconsciously. It's, the word is not by accident of course, but as a trade-off of having a sub tool, the subtitles are going to act as a masks. So anytime I tried to draw near this, I'm going to create the mask. And you can see that by creating a mask, I can very, very nicely start creating the eyelid for my octopi like that. I can create the lower eyelid now very fast, very easily. And look at that. We very easily created the island without having to worry that much about the geometry of the element because the eye is actually working as my basis for this element. So you can see that we have a very close eyelid here on top. And then we have this nice little like Donald Chip all around the character. So I'm going to start adding this donut shape outside of the of the island. So we get that nice looking support there. Now see all of this Rickles flowing into the back of the head. We need to start blocking in those wrinkles. This is not the tertiary or secondary form. This is still primary form. But I'm going to start adding the volume there because this is one of the main things that are going to make or that it's going to make my character here. So I'm starting to add this volume right here. You can see that we also have a very deep in prominent Rich up here on top of the eyelid. So I'm going to start blocking in this. Very, very nice. I leave up here, look at that. So now my octopi is looking very, very nice. Now you can see that from this border all the way to the front elements, It's actually really soft. So what I'm gonna do is I'm going to add my, I'm going to use my brush and I'm going to start moving this to create a softer transition here. So I'm going to start carving in, adding volume, softening all of this because I want this to have like a very nice like a ramp to the front. So if I need to have more volume to create that ramp, I'm just going to start adding it like this. And that's the secret or one of the secrets of the sculpting ice. You need to look at your reference. And you need to ask yourself, what does my reference has right now that my model is missing. So I saw that it's missing this nice curvature going to the front. So I'm going to start adding it just like this. So we get this nice like slice, like Element going to the front. Now there's this sort of membrane in-between the tentacles. We can have the membranes not that difficult. The only thing I need to do is start adding volume here to create this sort of webbing like this. And as soon as I have a little bit recalculate DynaMesh, too rich, all of this gap. So if I need more webbing, no problem, I just keep adding more geometry. Now be careful not to do what we had before. Where did you pressed? If your breast a lot right here, it's going to actually push something through the other side. So be very careful. Just add little by little and you should be fine. There we go, DynaMesh and look at that very, very nice webbing right there. Let's have a little bit of webbing here on the, on the front. Another method would be with masking. Remember masking from the, from the Scofidio. I can just very quickly mask here, invert the mask and then use my Move brush, for instance, to create the webbing. Right there. I'll create this whole element. And then when I DynaMesh, all of that's going to get recalculated. As you can see, we get a nice little webbing there. So there's a lot of wasting which we can do things and that's again, one of the secrets and only four servers. But pretty much for anything 3D related, There's a ton of ways to do the same thing. The thing that you need to find is which way works the best for you? Which one is, are you faster with and which one you can deliver faster? So for instance, I really like that this guy has this weird looking round shape here on the, on the backside. I think we can add that. So how would I add that? I will definitely go here at a little bit of a holding in this area, soft in the hole. And if we need to, we could add this as a secondary. I'm self to actually let's do it. So I'm going to add a new sub tool. Let's append this. And I want to keep this on the center. I'm going to use the sphere from both sides. So the way I'm gonna do that is I'm going to turn on symmetry so that when they do symmetry, it's going to be perfectly symmetrical right there. I'm going to position it up here. And then with my red square, I'm just going to push it out to create this like sort of X-shaped here. There we go. Let's push it closer to the, to the character like that. And then when we go back here, I can very easily just filling this gap. So at this thing is, is closer to the surface of the skin, smooth it out and as you can see, it works like the mask. So it's going to follow the process or the shape of my character very, very nicely. As you can see, I've only been using my clay buildup. That's why I've mentioned in the past video that the labial loops one of my favorite brushes because I find that that if you really master the clay buildup, you can pretty much do anything with it. Like there's, it's a very, very versatile brush. So I strongly recommend you to use it. Some people like the clay, like the normal clay a little bit better. The only issue with the normal clay is that it's not as aggressive as this one, the shortcut, It's bcl and it works in a similar fashion like you're going to add, but you need to drop the gouache them and then redraw. Like you can't do it on a single stroke. So if you like it, go for it. But I personally, I like my clay buildup. So I'm going to keep working on this guy. So I'm going to keep pushing this forms. We're going to give adding volume here. And this is the second part of the, of the project. After you've done your C sphere, we need to start working on all of this primary and secondary shapes. I would consider this to be secondary shapes because as you can see, we're actually worrying about the forums and there's a little bit more so, so yeah, definitely, definitely a little bit of secondary shapes here. So the more volume here, fill that gap in. There we go. Now I can see that some of this, like I really liked, this one that has like a middle line down the DOM, this area. So I'm going to look at this trick. I'm going to create a very sharp line here on the middle to separate the two halves of the octopi. I keep saying octopi octopuses, octopi will be polar. And then with my damien are in my clay buildup. I'm just going to start adding volume here. I'm going to close certain areas and then keep other open. I'm just going to smooth all of this out. See how we get those nice reaches there. That gives us a lot more, more interesting form or girl, which is exactly what we're going for. Perfect. So we're octopuses looking really, really nice. We're in that in a very good position. The next step is to keep polishing all the different elements. So for instance, this things right here like the curvature that we need to fix. One quick way to do it is with trim dynamic. Remember that one from the last video as well from less exercise, trained dynamic is gonna, it's polish. It's kinda like babbling all these edges and it's gonna give us nicer and nicer effect here. So let's keep pushing this right there. There we go. Cool. So I'm going to stop the video right here, guys, in the next one we're gonna continue. I do want to show you how I managed the rest of the elements. We're going to review a little bit of this, but it's pretty much the same thing, like we just need to keep pushing the form right here. And we're going to start looking at some other tools that we can use to, to facilitate our process. So before we close, of course, I'm going to go Save, I'm going to grab this and save a second version of my octopus. So keep on working guys, keep on pushing, keep on learning. And I'll see you back on the next one. Bye bye. 8. Octopus Secondary Forms: Hi guys, welcome back to the next part of our series. Today we're going to continue with the secondary forms of our octopus. So let's get to it. This is where we left off. We are pretty much done with the front side of our octopus. We can of course, always come back and start fixing other stuff. These are the kind of exercises that I consider practice. So if this was like a production octopus, let's see, let's say the Discovery Channel and higher SES to do like a documentary about like giant crack and stuff. And we need to do like an octopus. I would definitely spent up to a month working on this to make sure it's completely, completely perfect. But since this is just an exercise to show you that those, there might be a couple of areas here. They're the they're going to need a little bit more of a polish. Now for instance, on this part right here, I'm going to use my smooth brush to really push this down. I'm going to use my Move brush to push the curvature a little bit more so that it's not like super straight. And this places where it's actually flexing the tentacle, I do want to mark the fact that it is flexing the tentacles. So I'm going to use my my damien a standard to kinda like fooled or push the full there to make it seem like it's actually folding the technical like that. So there we go. Now see this area right here that it lost a little bit of volume. We can try and recover it with the brush, but there's some other brush that, that's actually really helpful for this kind of situation. And it's called the invalid brush. So I'm going to select b i n, and that's the envelope brush. And as its name implies, it's going to inflate particular area. So if the object, and it's really helpful for this kind of thing because it actually influence things like a balloon. It makes them really, really round. So, so I think that that's going to be really, really helpful. Now, one thing that might happen to you, and this is very common, especially wondering when we're doing things like the webbing here. If by any recent you push some geometry, weight too thin and you do DynaMesh. You sometimes get this weird artifacts. See right there. That's pretty much see versus having a massive heart attack and not knowing what to do like, what the hell am I supposed to be here? It's extremely thin. How do you fix this? Very simple if you can Control-C, of course. But if you can't like if you need something to be very thin, you can always grab, again the E flat brush in, just inflate this area a little bit and then smoothed out. And that way we should be able to have like a very thin webbing without breaking the geometry. That's something that happens very, very common with you guys. And just, just remember that if you ever have that issue, try to inflate that region a little bit so that the DynaMesh can calculate things a little bit better and you're not, you're not stuck with that problem. Now, here I want to show you another tool that we can use. We already saw two ways of doing the webbing. We can actually just start sculpting the thing. We can mask certain areas. But what if we already know that the thickness of the element and we just want to like a pan, something in there. Well, there's a couple of brushes and we're going to be looking at this brushes more in depth later on in another lesson. But there's a couple of brushes called the insert multi mesh or multi mesh of brushes. And the insert multi mesh brushes are really helpful because they allow us to, as its name implies, insert more Misha's into our object. Now if I go to this one right here, which is insert multi mesh primitives, you can find by finding it by pressing B and then I, it's going to be right here. I can select a basic form, like let's say this cube right here. And if I draw these cubing, the place where I want to place the webbing, It's going to have this shape right there. Now the cool thing about this is that once I draw it, it pretty much masks that shape. And I'm going to be able to modify its, for instance, I can make it thinner in, I can move it around and position it where I would expect the webbing to me so I can see like, okay, that's going to be right about there. Let me, let me rotate this a little bit. Well, something like this. Actually let's go back. So I think we're forming this a little bit too much. So I'm going to push this on the under red cube, which is the x-axis. And then I'm just going to position this with my arrows where it needs to be. Make sure to change the camera and move it around so that you match the perfect place. And then I'm just going to move this out. And you can also use your brush to move this cube around like this. And that's going to allow me to place it roughly where I want my webbing to me. So again, it's just another tool that I want to show you in case you find that useful when you get rid of that mask and do the recalculation again, of course that thing is going to get paste it onto the element. Now the only issue here is that it's really, really respecting the element. And let's do this. Oh, it seems like DynaMesh got deactivated. No worries. I'm gonna go geometry DynaMesh and reactivated. And there we go. So it's pretty much like creating a new webbing out of a primitive. It has its pros and cons of course, but it's a nice way to do it personally. I think right now for our little octopus, the masking technique is really good. And also for instance, the infinite technique, I can just inflate this area where the webbing is going to be. And when they do DynaMesh, That's going to base everything together. So we'll just smooth all of this out because I want the whole surface of my octopus to look really, really nice. And I can also, of course, as we mentioned before, just use my clay buildup and build up that surface right there. So even if we're crushing the polygons there, that's no problem because once we do DynaMesh, those things are going to merge together and we're going to create or get the proper webbing. So there we go, smooth everything out a little bit and boom, there we go. So let's go to the, to the body right now. And there's one thing I want to talk about, which is our masking. We've already talked about masking. Let's say we want to work on certain areas of the element without affecting any others. You can always go here with your mask. And if you change the option here and your mask, you can change to Moscow lasso massless. So it's a really, really handy tool that allows me to mask everything without having to worry too much about the element. So for instance, I think that the distance where my tentacles are right now, it's actually far away from the head of my, of my octopus. So this is what I wanna do. I would like to grab the whole thing here, like the whole head and bring it closer to the ground. How could they do that without affecting the detain toggles? Really easy. I'm just going to grab everything here. And then I'm going to press W. I'm going to unlock this thing recent, this element right here. I'm going to press this button right here that says go to unmask center is going to go through the center of the object. And now if I close the little lock here, you can also open and close the lock by pressing Alt. That's really, really handy. Once I locked the little thing right here, I can just push this guy down. Now that's really helpful. But you can see that the eyes and this ball right here are staying exactly where they are. If you click on this thing right here, it's actually going to move all the sub tools at the same time. So something like this and that's gonna get the octopus closer to the ground, which is exactly what I want. I can even like make it slightly thinner. I think that's good. There we go. I just unlock that so I don't move anything anymore. And and perfect. Now I just need to fix all of these areas right now. How can we fix that? Well, there's, of course always a lot of ways, but one of the easiest one would be to just fill this in with a little bit of clay buildup. So we're going to start filling this in with clay buildup like this. Dynamesh and smooth. And as you can see, all the holes and all those like air pockets that we had before are going to be gun. And my octopus is going to be closer to the ground, which is exactly what I was looking for. I'm going to use my trim dynamic to flatten this out and recover that nice little like a ramp that we have here with the tentacles. And that's something that you need to get comfortable with. Because in the sculpting world, more often than not, you're going to have to do change on HDR objects. Like it's, it's, it's really, really rare when you nail a project or a sculpture on the first try. So you're going to have to, to remove things, raise called things like there's a lot of back and forth here on the, on the, on the process. So for instance here I'm just going back end to the tentacles and just rebuilding all of this like webbing and the main course of the, of the tentacles like this. Perfect. Now let's focus a little bit on the ice. Again, if we take a look at the concept that we have, there's a lot of things going on. So I would definitely like to use my damien standard and I want to start pushing this things to create the nice little geometry that this thing follows here. It's pretty much like like wrinkles, right? So this are going to be like my main wrinkles. And I want to start drawing or sketching where this may wrinkles are going to be. Because in the next video we're going to start working with tertiary forms. And this lines that I'm doing right now are going to help me understand where and how I need to modify my wrinkles of my character. So for instance, up here, I'm going to use my naming the standard again. I'm just going to start drawing like this mayor wrinkles here to start creating the volume in the details that my, that my octopus has. So dazzling this, since this thing is pushing here, I would expect all of these areas to be like contracting and creating this sort of like big wrinkles. And I will definitely need like the course of the, of the tentacles like pushing up like this. And yeah, of course we need to go back to this tentacles and softer them because there are still way, way too, too intense. So let's start softening. I'm just using this brush right now. I can of course, jump into my trim dynamic and use this to bevel those areas and then smooth them out a little bit. And that's going to help me avoid having this sort of like very, very, very, what's the word? Square-like tentacles, right? So there is the, there we go. Now, I do want to have this sort of elements. They're like, what's the word the bending parts of the, of the tentacles. And we're going to use the same technique I'm getting. I'm going to use my damien standard to mark those areas to make sure it looks like it's spending on those areas. For instance, here, since this is kinda like supporting, It's like when you use fingers, right? When the finger if you're touches the surface, it kinda like contracts in the forms to the shape of the surface like a table or something. So I would expect something similar tapping here to that my Optimus. Now, you might think, Well, yeah, those are fine, but I want to do like a wolverine or Spiderman or something. Well, think about this, anything that we're doing here, it's something that you need to apply to your future sculptures. The things here, this is like a tentacles, like a tail. It could also be like like this sort of alien Tang or something like a, every single thing that we do here is directly, it can be directly translated it to more important stuff later on, on our, on our career, okay, on, later on and on different projects. So yeah, this is looking good. I think our octopus isn't there in a really good position. I think most of our secondary form, Israeli, we already have even some are, are a couple of wrinkles here and there. So it's now time to start working on the details. We're going to start adding details. And the first detail that we're going to add are going to be the bend ptosis here. Is that the proper word? In Spanish? I know they're bent tos. Yeah. In Spanish. It's spent dosa. Yeah. Pentose. This is the right word. It seems. So how do we do that? How can we add the pentose right here, which is part of the secondary form but not the main form. Well, lucky for us, there's actually a tool that we're going to be able to use to read this very nice pattern very, very easily. Remember we, as 3D artists, we always want to find the easiest way possible we could, of course, do something similar to a width of our with our skull right? Like we could mass things out. Let's change this back to our free hand, the mask, sorry, this was careless. Change this to mask pen. So we can of course like mask things out and then invert the mask and then add the pentose. But that's extremely slow and it's not going to look nearly as good as we think. So let's take a look at the standard brush. And the standard brush is really good. And we already know that the stroke is the way in which we can change the standard brush approach to our sculpture. However, we also have the office and look at this. What does this look like? This looks like a pentose, specifically like an octopus pentose. So we can change this to, let's say a drag wrecked. And we can drag and drop a pentose directly here on our other octopus. So as you can see, we can very easily create this pattern all the way across the octopuses. But stalker tentacle, but that's not what I'm gonna do. I'm gonna show you why in just a second. First, we definitely need a little bit more resolution. So I'm gonna increase my resolution here. And now I'm going to show you a trick to do this pentose approach, approach. And we're gonna go into my light box. I'm going to go into my brushes section. And there's this very nice brush and we saw it earlier, but I didn't explain how it worked, which is the stitch brush. Now the stitch brush right now, this one right here is on the dots pattern and it has this Alpha right here, which is like this crisscross element, which if we start to draw, you're gonna see that every X amount of distance, you're going to see this appear. Now what is the distance will in the Stroke panel, we're actually using Lacey mouse in the lacI step is the thing that it's telling me how often I see those stitches. So if I increase the lazy step, for instance, what's gonna happen? It's gonna take me longer to have those stitches. If I decrease the latest step through like a very low degree, all the stitches are going to be really close together. It's going to look really, really bad. So by having the stroke stitches in this case, I believe it was 0.01. The line is going to be very, very nice. Now the cool thing here is we can change this and we can select the Alpha 2626 looks a little bit better. And look at this bent houses. Ese pentose is all around our character. Now the only thing I need to change here is maybe lower the intensity a little bit to make sure that they're not as intense but a little bit more. And depending on the size of my brush is the size of my pentose. So I'm going to start with like Big Ben ptosis right here, as you can see here on our octopus, it's two rows of Ben ptosis. So I am going to start with one row here. Go to about the middle section, right, right about there I think. And then we're going to do the same thing over here. Careful not to merge them. And look at that beautiful Ben tos. There we go. Now at this position, but at this position I'm going to make the brush a slightly smaller. And from here I'm going to start again. On the way to there. From here, I'm going to start again to, to recover a little bit of that Ben tos. There we go. Now we can make them even smaller. And finish it right there. Perfect, right, and look at that like just by adding that extra detail. Now we're octopuses looking even nicer. So I'm going to repeat this process with all the rest of the dentical. So I'm gonna do one more for you guys and then I'm going to do this off camera. So this B, that doesn't go all the way to 25 minutes. So I'm going to do something like this. On the way to about there. And then on the other side all the way to about there. And then we make this smaller like that. And like that. Perfect look at that beautiful, right? There's one extra thing that I want to do in this is this is part of the, the, the secondary detail. You can see that when the tentacle transitions to the Ben ptosis, you actually get a little bit of form like it's not like a perfectly smooth element here. So I want to add like a little bit of a ridge here on the, on the octopuses area so that we know in which part the skin ends and the pentose start. So again, this is something that I'm going to do off-camera with the whole octopus so that we don't spend like 30 minutes doing this. But it should take you about, would say 30 to 40 minutes to do this thing. I'm going to smooth that out on the, on the top side. But I'm going to keep the rough element on the, on the lower side right there. There we go. So as a homework for this video before you jump onto the next one, tried to get to this point, we want all our basic forms and secondary shapes ready. And we also want to have all the pentose is ready with this trick that I showed you. If you want to do this thing that I'm doing with the tentacles, you're welcome to do it as well. If you want to give them smooth, I would recommend against it, but it's up to you at the end of the day, this is your learning process, so don't skip on homework done skipping work, because every time you slack off or something, you're gonna get farther and farther away from your goal, which is to become a great artist in the, in the industry, right? So, so yeah, there we go. We're in a really, really good position. In the next video, we're going to start exploring details. We're going to go for more specific details. And we're going to add all of this high-frequency texture that you might think it's going to be impossible, but it's actually going to be really, really, really simple. So hang on tight and I'll see you back on the next one. Bye. 9. Details and Alphas: Hey guys, welcome back to the next part of our series. Still they were going to continue with our octopus and we're going to jump into the details and the alphas, which is a very, very fun part of the whole process. So this is where I left off, as I mentioned in the last video, I just went ahead and did all the different Ben ptosis for the thing. And I had a little bit of extra information on the sides of the elements here. Now, before we jump on to the details, I actually want to do a little bit of secondary work here on the eye. And I'm going to show you a nice tool that is called the Selection tool and it's weed control and shift. If you press Control and Shift, you're gonna get this thing called select erect. And if you draw a square root, you're going to get this green square on your character. What are some of the green squares is going to get isolated from the rest of the elements. So if I need to just focus on this thing, I can just isolate this thing and start working on the elements here. So I'm gonna use my clay buildup and I'm actually going to change the alpha from the clay buildup to a round alpha. Alpha is a little bit better to get this organic shapes looking, are looking a little bit better. And I'm going to start adding this volume to the eyelids and this parts of the eye. So I'm going to use my Damon stand there as well. I'm going to start adding this elements like this strong lines that are going to divide and show me where things start and where things end. So see this like wrinkles here. That's the kind of stuff I want to, I want to start adding the more lines of course, and the more wrinkles I add, the older this thing is going to look to the nicer usually. And then we might clay buildup. I can just go in here and that's one of the secrets about wrinkles. Wrinkles always push the surface down and they create this crevice, but they also push the surface up at the sites of that credit. So you're gonna get a little bit of extra volume on those sites as well. So you can see he hear me hour, you can see my brush than this sort of stuff. Like if I have a crevice, they're probably gonna have a couple of like upper reaches over here, pushing the surface. Now here for instance, I can add a little bit of information, not a lot because it's supposed to be like a, like a smoother area. So I can just smooth this out. We're gonna get that nice little wrinkly element looking, but without actually pushing the things in, I can of course go in here and start adding a couple of extra lines. Like pushing up like this and always add a little bit of volume to the, to the wrinkles. There we go. As you can see, things are looking nicer and nicer from, well, we have a couple of videos ago to what we have right now. This is looking really, really nice. Now to get out of this selection, I can just press Control Shift and drag outside of the object. And that's going to invert the selection. If you control shift and tap outside the object, you're going to eliminate that selection to leave. Now, It's time to up the resolution even a little bit more. Usually want your went to work on details like fine details like wrinkles and stuff. You'll want to be above 1 million polygons. The amount of polygons that ZBrush is going to handle will depend on your computer's RAM memory. So if you want to increase the amount of polygons that you can have, I would suggest upgrading your RAM. For me right now, I have 32 gigs of RAM, so that's should be more than enough. I usually can get up to a 100 million polygons, but we're not going to push this one that far. It's always going to increase this a little bit, like almost 600. And if I recalculate, I'm over the million polygon marked right now, so that's, that's perfect. I'm going to start using my brush first to give the eyes a little bit more depth. And now with my clay buildup. I'm going to start drawing and adding this smaller wrinkles on top of the whole thing. So for instance, going into the tentacles, I would expect to have this sort of like wrinkly elements going. And this is one of the secrets that people often forget to tell you about. The main wrinkles, like the wrinkles you'll see on people's faces and stuff. Those you won't be able to get purely with alphas. You're going to have to hand sculpt and enhance, hand, modify a low of this elements. So, so be prepared to do that. Now the fine detail that the micro detail, as we call it, those ones can actually be achieved with only alpha sin. And we're going to be doing that in just a second. So for instance here let's, let's start adding this sort of variation. They mean instead there's going to be your super friend on this kind of things because it's going to really push the elements here. Now I can add like a couple of crisscrosses there to make this wrinkle slightly different and more like skin-like how it gets this leathery look all the way over the place, so that's good. Now this kind of thing we need to hide. We don't want to have like a lot of like stuff. So again, with my clay buildup, I'm just going to follow the form, as you can see, creating this kinda like cross hatching technique using to change the DC level a bit. And then with this MOOC brush, we're just going to smooth this thing out. And as you can see, that's gonna give me a very, very nice texture. Texture on top of which we will project all the nice little details from our high-frequency detail that we're still missing. So again, a little bit of effect there. For instance, all of this area right here. I want to have this sort of like a belly on the back here. I think that looks good. And then all of that out. So that cannot like texture to them doing. It's going to be really, really helpful for me because it's going to allow me to, to position my my high-frequency detail like all those small wrinkles, pores and that's sort of like stone looking picture that this thing has without having to worry too much about. So see how this changes the form of the tentacle of it. And then I just moved the South in some way. More interesting tentacle, this one than this one, because that one's actually breaking the silhouette and it's breaking the way that line shines on the surface. That's giving me a little bit of roughness also in this game even get this very natural effect. Because even though we like to imagine octopuses being like perfectly smooth and stuff, if you've ever eaten one, you know that the texture is not perfectly smooth. You usually have this sort of elements like this. Now, remember this guy right here and on the back, this like big fold. We definitely need to be a little bit more aggressive there to make sure that people understand that since the octopuses is folding its head on top of this thing, we're gonna get this big, big, big element there. Maybe we can continue a little bit of the wrinkles here. Like going into the into the tentacles. Let's do a little bit of of clay buildup, cross hatching right there. And see what we're getting this very nice, interesting texture all across the elements. See how I'm following the shape of the webbing and stuff that's going to be really helpful again once we start working with the Alphas in order to create our high-frequency detail. So this kind of like little texture and this is something that you can't get with the textures either. Some people think that I'll just leave it smooth. We'll do the texture on the normal maps and the displacement in the substance where in Marty, sometimes it's difficult to manage to get this. Level of organic next to the whole thing. So that's why I strongly suggest you do the bestest culture. I had one teacher once that told us that the 3D process, it's kind of like building a house. You need to have strong foundations. Of course, you can cheat your way out of certain things like you can have a house with very poor foundations, but a great declaration and a great garden, meaning textures and render, for instance. But the foundations are gonna be horrible. And if you try to do anything else with that house like ragged right animator, the foundations might crumble in, it won't work. So that's why it's important to make sure that you did your best work every single time. Don't wait until the next step of the production pipeline to fix things that you can fix on this particular instance or in this particular step. So see how I'm getting that very nice texture, that very leathery looking texture all around my octopus. That's exactly what we're going for. It's going to look really, really nice. And now we only need to add the high-frequency detail. Remember, I've mentioned this before when we were talking about the well, was it the skull, right. Like high-frequency detail is like the pumping of a cake. You, you of course want to have that sort of high-frequency detail like the small wrinkles and small pores and stuff. But if if your form if your main form is not looking good, then no matter how much high-frequency detail you have, it's still going to look horrible. So, so always, always, always make sure that you do, again, the best basic forms, the best secondary forms before you jump into the, into the details. As you can see, I've, I've not used any other brush but the clay buildup and look at the amount of detail that we're able to get from the clay buildup. It's like those masters. I'm not saying I'm a master, but it's like those masters that you see that make amazing things with only a pencil and then you grab the pencil like this and this Bessel work with me. It's not that the PESTLE doesn't work with you. It's just that you need to master the pencil in order to get it to work the same way that they make it work for them. Perfect. So I'm just going to do a quick smooth now over the whole thing because I don't want the lines of my brush to be invisible, like the strokes. I want them to be as smooth as possible. But you can see that now with that detail, everything is looking really, really nice. If you take a look, this is what we've had before. Remember the armature and this was the premium that we have. And look where we are now, like Dizzy, why the big change? And now my France comes the amazing part which is high-frequency detail. So I'm going to change the standard brush, which is the brush that we used to do the benthos is right. And I'm going to change this from Dr. direct to spray and I'm going to change the Alpha from this alpha 2, Alpha number 20. Where is it? Yeah, let's try 60, alpha 60, which is like this cross hatching element. So what's going to happen now if I start drawing this, look at this, I'm going to generate that this very nice rapidly texture all around my character. So what I'm gonna do is I'm going to turn this to C sub and I'm going to lower the intensity to about a 10 percent. And when they start drawing on my character in circular motions, that what happens, the whole skin starts getting this very, very incredible texture that makes it look leathery, which is amazing, right? Like this is exactly what weren't going forward. This is a high-frequency detail. And as I mentioned before, it's really easy to do. I'm just literally doing circles all around my character. And look how amazing this thing is looking just by doing this. But why is it looking that good? It's looking that good because I took the time and we took the time to work on all the different parts of a character before jumping to this area. If we were on this thing right here and we started adding this, this looks horrible, right? And it's the same thing I'm doing, the exact same thing. But the reason that this one looks horrible and this one looks good is because this one has the form to sustain all of this detail. It has the shape that it has. The secondary motions are the secondary elements that they're sharing details and it has everything that it needs to support this element. So I'm going to keep going all the way around my character on the top only because I want the bottom to remain sort of squishy and soft. So we're just gonna do the top. And you can see that we're getting these very, very nice looking leathery detail. Sorry. I've been talking quite a bit this day, so my throat is a little bit dry. There we go. So see how we just follow the form which is due this very soft socks. I'm barely touching my tablet. I'm doing a very soft pressure. Because if I go really strong, It's going to be really intense and it's not going to look like like surface detail is going to look like like a damage or something. Perfect. That looks really good, right? Like now with this detail, My Octopus is starting to look really, really nice. What else can we do? Well, if we take a look at the reference, let me move this around because I was listening to some music. Look at that. Other than that we have this like wrinkly skin, like elephant kinda looking skin. So let me show you how I would do that. If I wanted to add more detail detail that's not just like surface detail like this, but actually like some more intense elements. I will change this from my spray element to my direct wreck element, and I would go to my lightbox. And on my Alpha tab, you're going to see that's here, which actually includes this sort of like leathery skin Alpha. So I'm going to grab this leathery skin 1709, double-click to load it onto my alpha channel. And now if I drag and drop, you're going to see that I get this more intense elements and I'm going to increase the intensity a little bit because this one's, I actually do want to modify my shape. I'll look a little bit more as humans are as you're seeing, they're probably not as much. Skip it, slightly lower, something like that. Now the trick with this guys is we want to make sure that this follow the form of my element so that it makes it look like it's a little bit more realistic. I still think that's a little bit too much. So I'm going to decrease this a little bit more. There we go. So I'm going to go like a round yellow and I'm going to make sure that the lines of my element are going around the elements Yi Hao and twisting them so that they follow the form of my, of my octopus a little bit better. And this is going to make sure that the lines in the level of the dilemma adding helps the form approach. It's in its intended direction. It's kind of like shading. It's like if we were shading our character, but we detail, we're using this detail to shape and to make sure that people understand that this thing goes around the element. So for instance here I'm going to increase the intensity a little bit more. Let's do a little bit extra. Extra work there. There we go. Now on the eye, we actually have a an eye surface does leathery skin. I think it's like a rhino's eye or something. And we could do it right there and try to match like the IO for octopus. Look at that. And by doing that, we can always go back to our Damien standard. And human are our clay buildup light. Being at this level of work doesn't mean that you can't go back and add extra levels of detail. Leg maybe, maybe I want to add an extra eyelid. They're like an athlete back. We can do it. No problem. Let's go back to our standard brush. I can change this to, let's, let's grab our leathery skin again and they can change this back to spray to spray a little bit more on this area. The only thing I would recommend if you're doing this is straightened out to be as aggressive like lower gear intensity a little bit because this tends to be quite heavy on the character and you can get some wrinkles that you might not like. So something like that. Now, if I take a look at this, it also has this sort of like ridges, like it's not necessarily only like this things but like little dots and stuff. We can change this. We can add like let's say this alpha seven or not actually like the alpha eight. And look what this is going to do if I increase the intensity a little bit and I change this to CF, I can start adding little dots and stuff to change the texture of the, of the, of the octopus as well. So maybe there's like this Estonia rich on this side. And I use this texture to give it this very, very nice look. So of course, my, my geometry is going to change, is gonna, is gonna change this to let's slightly, but it's gonna give me a very, very nice look. Maybe on the top of the tentacles I have this sort of like 3D element below bit of fixed or protection. So let's just push it like this. There we go. So this is the magic of alphas guys. If you use Office correctly after having a really, really nice construction element that they're having a very nice basic forms and secondary forms. You're going to be able to get a very, very cool detail that would be otherwise quite difficult to get. Okay. So as you can see, look at this, Look at that level of detail. I think I want to push it even more. So I'm going to change this from a stroke to drag directly. I'm going to increase the intensity quite a bit because I want to add a little bit of a spikiness up here, see something like that. That's going to change that extra, of course going to change the form. Well, I think it's going to make it look a little bit more. I think maybe it's a little bit too much. Let's lower the intensity a little bit. Let's say like 14. There we go. So I want to have a little bit of this extra lumps and clumps in several areas. Cool, right? But again, and I'm not going to get tired of repeating this because it's a core concept of sculpting process. All of this things that we're doing, the pant on having a nice form. You can also see that we're losing a lot of detail from our main like wrinkles here with all of these elements. So it's not a bad idea to go back here and recover, meaning 3D sculpting. So one of the main wrinkles after you do the alpha pass to get a really nicely defined character and elements. So for instance, here, I do want the islets to be like really, really soft. So I'm gonna, I'm gonna use only the clay we'll look to, to build on top of this things. It's gonna give me a little bit of contrast having like a very clean area right there, and then like a very sharp area. Again, for instance here, we can use our standard brush to push this forms a little bit more and recover some of the wrinkles that we had before we added the the oldest details and scans and elements. We'll look at that. That looks really, really good. I'm going to stop the beer right here, guys. This is the next challenge for you. After you have like a very nice format through you have a very nice creation here. The next part is adding all this alpha elements. And I'm sure you're going to have fun because I always have fun with this elements. Now what I'm gonna do is I'm going to start going here with my dividend standard. I'm going to start adding this short of extra details like on the weddings and stuff where I need to emphasize that these things are maybe smoother or softer than the rest of the elements. So maybe this curves right here. Careful there because that's adding. So, so see those little like C-shape things that I'm adding there. That's just to indicate that the webbing is not completely paste it to the rest of the elements. Actually, let me just continue a couple of more minutes because we're only missing one extra thing and that will be the asymmetry. So I'm gonna save this real quick. Let's save this as octopus screen 000 3. And asymmetry is pretty much adding some extra details without symmetry. So maybe I want to add like a cut. Usually octopuses like crash against like stones and stuff and they might be heard in some areas. So maybe I have a scar or something like right around here. So how will I add that? I could do the masking technique. I could add like a scar here, like draw the scar, invert the mask. And then when my clay buildup, just build up that scar tissue on top of the octopi like this. And when we take this out, There's going to be a scar tissue right about there. I could also grab my theme in standard and it can start adding a couple of cuts, like maybe like a sharp cut right there to indicate that it's hurt. Right. Like it's a very, very sharp cut there. I can always go back with my clay buildup and the like, much around there, like bite into the cut to get this element right there. Maybe that's like a bell and it has the typical like X on the head or something. So that's, that's the kinda stuff that we can do and it's going to be really, really useful for us. Another thing we can do is of course we can go back here into the pentose and, and a little bit more detail. I think that's good enough for now. I do think that we could add something to the benthos is later on to make this even better. But as you can see, this is a really, really nice project for us. And that's one of the reasons why I like doing this, like octopus exercise. Because we can explore, see spheres which were really useful to get this general shape. We can explore alphas, we can explore primary form, secondary forms and all that stuff that is really, really good. So up until now, guys, you have two ways to start a project and it's very important for me to explain this. You have your DynaMesh, which is the basic way. Remember lightbox DynaMesh or just activate DynaMesh right here. And you have your C spheres in the next session, in the next project that we're going to be doing, we're actually going to be using a different method. We're going to be talking about a different way in which you can do a project, which is the third and almost final way. There's four ways I consider to start a project. So in the next one we're going to be exploring the third way. Okay, so keep pushing your project. Try to get to this point, guys tricked to get like this very amazing octopus for yourself, for your portfolio. And, and yeah, just keep working and I'll see you back on the next one. Bye bye. 10. Base Meshes: Hey guys, welcome back to the next part of our series. Then we're going to be exploring the base meshes in ZBrush and how we can use them to start our models. So let's get to it. This is where we're at. Right now. This is just the basic interface of ZBrush. And before we jump into any sort of project, I want to show you a couple of very nice base meshes that we have here inside the interface that we can use to start sculpting pretty much anything. Those are the 3D shapes. So if you go here to this area right here, you're gonna see that we have all of this 3D meshes. We have sphere, 3D cube, 3D cylinder, cone, etc, etc. We also have the C sphere. So if you wanted to start with your CSF, your project, you could start from here. Now, the reason why these 3D meshes are so useful is because most of them have a special properties that you can modify before starting to sculpt. So let me show you, for instance, let's select here the spiral. I'm going to draw one spiral here on the, on the canvas and I'm going to press T to jump into edit mode. And this now allows me to start working on this element. Now, if I have the standard brush selected and I'm trying to sculpt, I'm going to get this meshes message, the sets to enable sculpting. Let's convert these 3D primitive to a polymath 3D by pressing the main parliamentary button in the Tableau tool belt, which is over here. So the make poly mesh 3D button will change this from a basic 3D shape to a poly mesh 3D, which will work with all the brushes that were used to. Before we do that though, let me show you this down here on the menu is you're going to find this initialize step. And the initial established read really, really, really cool because we're gonna be able to change some properties from the elements before we start to sculpt. So this is gonna give us a head start on the way that we're going to be working. Sorry, I feel like I'm a little bit wonky on my on my speech right now. I apologize, but let's just keep moving. So with this, let me change a couple of things. For instance, right now, if I take a look at the gizmo right here and with the head, you're going to see that the spiral is lined up with the y-axis, which is good but not perfect. Let's say we want to create some sort of demon horns or something. In this case, I would rather prefer if this is buyer was lined up with the x axis that goes from left to right. So I'm gonna change this to align x. And now you're going to see that if I go to the side view, this is pretty much like the right horn right here. Now, what else do we have here? We have coverage, which is how spirally the thing is, how many loops there are on the spiral. So let's go for a few, few changes here. Actually, let's imagine that this is going to be the left, the left horn. Because I want this to curdle back for my, for my demon. By the way, we're gonna be doing a daemon. So, yeah, that's why we're starting with the horn here. Now, thickness, this of course changes the thickness of the element, which I think I'm going to lower it a little bit. We have radius, which is of course the thickness on the inside of the loop. So I think I don't want to be a little bit thicker there and then displacement, this one's really good because this is going to displace the, the horn that in this case where the spiral to a different site. So in this case I can displace it outwards. So we create this very nice, looking like a horse twist. If we wanted the loops of the actual topology to be twisting, we could do it, but I don't think we're going to be needing that. So. We can leave it just by default that 360. And if we want to give this like get a very smooth element or a very low poly element. We can also get this. I think I do want to have like a little bit of a harder edge. So something like this might work well, I divide 11, Let's do 10. Remember, you can always press on any number and just write down or just press your keys and get the exact number. Now, again, the reason why this is so important to word or why this is so helpful. It is because it will give us a very nice permitted to work with, without having to jump into all the hoops and loops about trying to do this manually, we see spheres are DynaMesh, right? So don't underestimate the power that this basic 3D meshes have. Every single one of them have different properties that you can change. And once you're ready, once you have a very nice shape like this one, we can now jump onto a traditional modelling techniques and I'm gonna go up here, I'm going to say make poly mesh 3D. And this is now a basic poly mesh 3D that we can use. Now be careful here, make sure that you select the PM 3D, whatever the tool says. Make sure just like the PM 3D because that's the subdural, that actually is a polymath 3D. If you want to change the name to make sure that everything is properly named in order. You can just go here into the sub tool menu, go down here and rename, and just write down horns. There we go. So now the sub two is going to be known as horns. This is the actual tool that you save. So when you save a tool up here on your Tool Palette, nothing else is going to be saved, but the tool that you have selected. So be careful that if you want to save other stuff from this palette right here, like maybe you want to keep this spiral 3D, then you definitely need to save it as a, as a separate file. Now, with this one selected, we can now start thinking about the next step, which would be, how can we start with a head I want start with the base mesh, that's going to be a head and this kid's going to be a nice start for me. So if I go up here to the light box and I go to the tool section, you're going to see that we have a couple of tools that we can use as base meshes based missions sometimes gets a bad reputation because people think it's like cheating. It's not cheating, especially not in production where you need to be very efficient and very productive with your time, right? So if you know that you can do a head shaped from scratch, then it doesn't matter if you select a2 from here and just erase some of the details and start over, it's totally fine to use based measures as long as you have the ability to do it from scratch. So if you're just starting, I would strongly recommend to try and do it from scratch. But for this lesson we're going to use d demo. So I'm gonna double-click the demo head. And you're going to see that we're now inside the demo had tool. This tool has two sub tools, pretty similar to what we had with the octopus, where we have the eyes and the other little sphere on the back as separate subjects. I don't want this things right now, so I'm just gonna select the whole Soap tool. I'm going to say Delete and hit, Okay. Now on this guy right here, this case actually using a different sort of technique that we're going to be taking a look later on. But right now, I want to convert whatever that tool is, which is called subdivision by the way, into a normal DynaMesh method. So I'm gonna go here into geometry. I'm gonna go here into geometry. As you can see, we have subdivision levels. I'm gonna explain what these are later on. And then I'm gonna go back here on the DynaMesh tab, and I'm just going to click DynaMesh. It's going to give me this message. And this is talking about again, those subdivision levels. I know they sound a little bit mysterious right now and you've never seen them or use them. It might get a little bit confusing, but we're very, very close to showing you what this R. So I'm gonna, I'm gonna say, say no for now because I don't want to save any subdivision levels and you can see it pretty much stays the same. So the first thing I'm gonna do with this head is I'm going to use my trembling dynamic brush and I'm going to erase the ears. I'm going to erase the hair, hair line. I'm also going to erase the eyes. And we're going to use my clay buildup to fill up that area. I'm going to erase the mouth and I'm even going to erase the nose. The reason that I want to do this is because I wanted to start as clean as possible. It's pretty much like a mannequin, like a, like a blank canvas that I want to work with. And as I mentioned before, we're gonna be doing a demon like a demon character, a demon character sublist. So I'm going to use my brush to give this a little bit more round this year on the front to give it nicer. And you can clean it up as much as possible or as much as you want. It really doesn't matter because we're going to be doing a lot of sculpture here. Now the first thing I might want to do is since I already have the horns that we also use some base meshes to create this horns right here, I want to make sure that this character has the horns. So I'm gonna go here into sub tool. And I'm going to say append, and I'm going to have this horse right here. Now the first thing that you're gonna notice is that the horse are not where they're supposed to be, right? This is pretty obvious. So I'm going to select the horns. I'm going to press W to jump into my gizmo and I'm going to start rotating, rotating them around and the scaling moving them so that they are in the correct place. So I'm going to rotate them around, them going to press Shift, so the rotation snaps and I'm gonna go a 180 degrees. There we go. Then I'm going to move them to the side. I'm gonna make this smaller. And I'm going to position them on the top of the head, something like this. I'm going to rotate that a little bit there and there we go. So that's where I want the horse to be. Perfect. Now that I have the horn in the proper place, I can go into the plug-in subdue semester. Remember this one? And then mirror and we're going to mirror the horns to the other side. If I think that the horns are not exactly where they were, I want to, and I want them wider. I can turn on this transparency thing and I can use my brush with symmetry activated to move them around. So let's say maybe something like this. Maybe I wanted them to be slightly more like a little bit more rotation there. And you're free to do whatever you want for your character. Just make sure it looks cool, of course, right now what I'm trying to go for, this sort of triangular shape on the under general shape of my character. And I'm going to turn off the transparency again. And now this horns, we're not actually gonna go into DynaMesh. And the reason we don't want to go into DynaMesh is because the are really have a very, very nice topology. If we take a look at the poly frame, you're going to see that all the lines in all the elements of this horns are actually flowing in a very, very nice weight. So this is good if you know about topology of, you know, about Mach box modeling from Maya or C rush. You know that having these very nice wireframe is actually helpful for animation, for the information, anyone for details here in ZBrush. Now for our character, since we don't have any sort of features on the face, we still we're still going to stay here on the, on the DynaMesh section. But for this guys, we're now going to be talking about the sub-division method. So what is the sub-division method? Well. Instead of going into geometry and activating DynaMesh, am giving more resolution, which we can do, of course. But instead of doing that, I'm just going to close this little tab and I'm going to focus on this upper part right here. Well, this upper part will do, is he would allow me to divide and add more geometry to this element by pretty much dividing each individual square into four. So if I press this big boxes, Let's divide. Everything is going to be divided into four elements. And you can see that not only do I get more resolution, it also softens the whole thing. It's pretty much let your number three in Maya or geothermal smoothie in 3D Studio Max. It's kind of that same stuff. Now, I can add as many subdivisions as my computer can handle, but usually the rule follows in a very similar way as with Dynamics. You don't want to go up until you've already covered as much detail from each individual part. So I'm going to add two more levels. 12, we're now at a hundred and sixty one hundred, ten hundred points, which is really good. And I guess they're using my tools to add a little bit more detail to this things. For instance, I can use my brush to bring this things in. I can use my clay buildup and start writing like a rich, Let's add like a, like a rich that goes all around the horn. You've probably seen like the, like the goats, those like mountain climbing goats that are in the on the hills and stuff. So I'm just going to keep following this. And I'm going to create this, this sort of rich, this is just a sketching of course, once we go back here and soften some of these elements, we're going to get a very nice effect. For instance, if we did this, look at that, we start getting this very organic feel that separates the top part of the horns with abundant parts. So we need very good subdivision levels of subdivision level that allows us to, to work on this sort of detail. Let's go to the backside here and do the same thing. So I'm going to start adding like this range right here, going all the way under. There we go. Let's rotate the whole thing all the way. Now careful here. We need to start like twisting a little bit so that we don't crash with the other rates on the other side. So this guy would go all the way over here, over here. And then they awake. So now we're going to have this very cool rich on the horns. It's going to give it a little more character and more silhouette, which is always good for us. And the, and again, the cool thing about this is that we're working with the basic subdivision levels. We're not doing DynaMesh. So this means that this topology is really, really clean. Eventually we're going to be talking about why having clean topology is important. Uvs and animations. It's one of the reasons, there are other very important reasons that we're going to be covering later on. Now, let's say you want to go back to an earlier subdivision level and modify some of the stuff we can actually do that. We can go here to this, slightly lower this thing down. And you're going to see that now we're back on the basic stance. So if we use our Move brush now and we modify a little bit of the loop, let's make it a little bit squarish. Like maybe it comes out, will be more forward like this. This is very important because now if we go back to the last of the vision levels, you're going to see that the detail pretty much kept the same level of detail. We didn't lose any detail. It's not liking in DynaMesh where if you change something and then go back in resolution and then go up, you're going to pretty much recalculate everything we took the vision should pretty much conserve all of the elements. So that's a very, very, very handy tool. Let me show you another detail here. A couple of shortcuts before that. If you press shift D, you're going to jump down in subdivision levels. If you press D, you're gonna jump up in subdivision levels. And if you press Control D while on the last of the visual level, you're going to add one more subdivision level. Just remember, every time you add a subdivision level, your geometry is going to be multiplied by four. So be mindful of that. I'm going to go into my clay buildup and I'm going to change this to a round alpha, alpha 12, and we're going to start adding like ridges here. I want to add this sort of organic shape to the horns right here. And as you can see, we get the very, very nice organic detail. I'm sure you've seen this sort of like horns in nature. A lot of animals have this. They usually use them for protection or for, not for mating per se. But they could be like a, like an attraction device, like peacocks and their, and their tails. So maybe this is sort of like an indication of the rank of the daemon, right? Like the more spirals or the more coils you have on your, on your horns, the more fights you fought and the more better on the firefighter you are of a warrior. I'm a huge D&D fan. I loved AND I have several groups that idea and four, so that's why I love fantasy. Probably you, you do so, or you do too as well. We're all geeks into this, right? Like you probably like maybe Star Wars or fantasy or sci-fi, post-apocalyptic zombies, like everyone has their own tastes and stuff. I personally am a huge fantasy nerd. So there we go. And as you can see, we are able to scope very, very nice detail that we're of course going to be improving in the next couple of videos without having to worry about topology because our topology is really, really clean. That can't be said about this guy right here because this guy doesn't have the amount of resolution that we have. I'm going to stop the video right here, guys, again, in this video is mainly to show you how we can start the different kinds of projects we've already used the basic DynaMesh, we've already used C spheres, and now we're using base meshes to start blocking in our projects. So in the next one, the next project we're going to be talking about the primary and secondary forms. Again, of course, if our character, we're going to do a little bit of face anatomy, and then we're going to jump into something called C remeasure. So hang on tight as that topic is really, really interesting. So that's it for today, guys. I'll see you back on the next one. Bye. 11. Topology and Zremesher: Hey guys, welcome back to the next part of our series that we're going to continue with our character and we're going to be covering topology and see remeasure. So let's get to it. This is where we left off. Our demon is starting to look nice, especially because we have a couple of nice horns up here. It's about time that we start working on the face itself. So I'm going to use my clay buildup and I'm going to start blocking in the basic shapes of the skull when you start working on the character and we're going to be covering a character later on when we do the final project, you want to know where domain like bony parts of your character or because those are going to dictate that the general form and general planar surface of your, of your character. So for instance here I'm going to start adding the cheekbones. Let's push the cheekbones out. I'm going to add, I'm going to have a demonic kind of nose here on the, on the front. And I think I want this demon to be a little bit like like a tank or actually no, let's do like a, like a flame see sort of demon like a thin daemon. So I'm going to push the jaw line in and I'm going to start using my brush to give it the face a little bit of fun. If an evil look, what do we do? Like multiple eyes, maybe we don't want just like two eyes. Maybe we wanted like three or four sets of files like a spider. So let's do like a couple of ice here, like both of them, like cat eyes, very, very slanted. I'm going to add the, the brow here because both eyes should have like a sort of a cheekbone and sort of a brow. And one of the cool things about working with DynaMesh, we already know this is that we are going to be able to do this sort of changes. Really, really nice. I didn't want to add a mouth right now. I think I'm going to keep this as like a silent demon that just haunts you down and kills you with pure fear. Up here I definitely want to add some sort of surface where the horns are like injecting themselves are protruding from. If you take a look of like Rhinoceros, rhinoceros or, or like elephants and their tusks, they have some sort of anatomical detail that allows those appendages, those big hard surface you think he's too to come out from. The they should be anchored to some sort of bone. That's usually what we have. Now. We have a nice basic shape here. It's looking okay, We can definitely increase the resolution. So let's go here to geometry DynaMesh, and let's increase the resolution a little bit, recalculate, so we get a little bit more, more points. And those points are going to allow me to start adding a little bit more detail. So maybe then those is going to be here. I'm going to use my damien the standard to start like blocking in where the, where the main line of the nose is going to be. We have a very interesting fold in our phase that's called the nasal labial fold. And that fold goes from the corner of the nose all the way to the sides of the face or the mouth. I like the corners of the mouth, but since this character doesn't have a mouth or I don't want him to have a math. I just want to create this sort of element. Now maybe he doesn't have a mouth with. He could have like some sort of like webbing or something. So let's have some sort of like like fibers going in there, right? Like this is just a sketch because of course we're going to need more geometry to get this to look a lot, a lot better. And one of the cool things about using what's the word a base meshes like what we did here with the human head, is that you're going to get roughly a very similar shape to a human. So you can see that the neck and the shoulders look really, really good. So that's going to save me a little bit of time. That's why I always encourage you guys to keep practicing and training to do this from scratch, like from just a sphere. Because that's going to really help you develop your artistic muscles. Increase a very nice experience. I'm going to bring this up or forward. You've probably seen, I'm thinking about maybe doing some sort of inspiration from the Venetian Masks. Masks. You've probably seen them sort of like gestures and jokers. Some of these masks are really, really cool. And there's one that I remember, at least it's on my mind. So sort of like a memory. Yeah. This guy right here see so you hold this thing has like all the front side of the face like pointing forward. I have the pleasure to CO2 the business when I was younger and I bought, I remember a key chain from that thing. That's something important in everything we do in the art world. It's usually inspired by what? By things that we've lived. So, so try to experience life as much as you can go out places, learn about stuff like any sort of information that you have. A will help you down the line to, to inspire your creations. There we go. That's looking cool, but something that we're missing and it's definitely gonna be important our ears. Now what I'm showing you a couple of brushes that are really good for this starting phase of sketching for our characters. And these brushes are called the insert multi mesh. These only work when you're using DynaMesh and for other things that we're going to be doing later on called Kid bashing. So I'm going to press B I as an insert. And then there's this I Multi Mesh tune element. Now what this R is, this are pretty much preset the base meshes that you can't insert on your character and use again as a base to push your forms and your shapes a little bit further. So for instance, I have this Alpha right here. If I double-click this, there we go. And I drag and draw on top of my character. I'm going to get this base mesh inserts on my character. When I drop it, everything's going to be masked except for that shape. And I'm going to be able to use my gizmo to pretty much fine exactly where I want that this year to be. So I can scale it down, I can move it around, I can rotate it, you can do whatever you want. And once you of course, recalculate, that year is now going to be pasted on your character. And we can start working on all the different shapes and elements from the, from the ear. Let me turn off the horns for just a second so that we can work on the ears here. So yeah, we can just start pushing these things out and just smoothing out several parts were listening, God like weird. Adding more volume. Starting to do like the inner ear. And again, it's a very, very handy way to create characters. You could even create like a whole character from this, from this Multi Mesh brush, you can see here that we have hands and arms and torsos and legs and stuff. So if I wanted to add like a nose like that, say this pointy nose, I can just add it right there. And then with my W, move it, rotate it, and have it wherever I need. So if I need that, that said I just DynaMesh and there we go. It's going to save me some time. That's why I mentioned in the last video that. A base metrics are really, really good because they allow you to save time and in production, saving time is one of the key features pretty much everywhere. So I'm going to accelerate the face here a little bit to create an interesting look. And I go, I like that. Let's now work on the I'm not sure if I wanted the double ice. So I'm just gonna feel this year, I rather have like this sort of like bony, very spiky looking thing, starting to look a little bit more like an alien. But I think the horns are really going to push him into the demon side of things. So I'm going to append a sphere right here. And I'm going to modify this so that we get the eyeball. Let's make it smaller. A nice rule of thumb that I have AS if you want your characters to be a little bit more realistic. Have small eyes. Small eyes tend to be a little more realistic than the big ice of course. But usually, usually we think that something like this is fine. Go a little bit smaller and you're gonna get an even better result, C plug-in mirror, and we're going to mirror it to the other side, to the x-axis. There we go. And then when my clay buildup, I'm going to start adding on this guy right here, the islets. It's got to be like one IV right there. And then the eye back and lower eyelid down here. There we go. Cool. So our demon is looking very, very nice. Let's add a couple of very common demon mask, things like inside like a couple of fibers here. Like I don't want his scheme to like perfect late satellite, some sort of like fiber ish like very membrane knee looking things. There's just like a quick sketch to see what sticks and whatnot, what doesn't. On the back here. I'll probably add some sort of like horns. Not precisely horns, but just like a little bit of a patrician there on the head. So it's not perfectly flat, like a couple of hollow points here and there. Again, just to have some interests pretty much everywhere texture later on it's definitely going to help. We're going to keep it like this right now. Now we have a problem here, guys. And the problem is that even though our character is looking really, really nice, I want to add more geometry. I want to have like very nice-looking eyes, very nice-looking mouth, ears and everything. And the problem is that the geometry itself, the topology, which means the way that the squares and triangles are organized. It's not working in the best possible way to help me get the best possible detail for my character. So this is where we're gonna be talking about topology. Topology is the way in which squares are organized. If you remember, our horns right here have a very nice topology because it's evenly distributed. All the scores are flowing in the direction that the horn is flowing. And every single piece is looking very, very nice. Our character, not so much. So how can we fix this? Well, first, let's do a little bit. If influx here on the, on the year because it's, it's creating some weird polygons. We're going to be using a technique called C remeshing. And see remeshing is a very handy tool that we have here in ZBrush that allows us to recalculate the surface of the character and create or generate a nicer topology. And again, the reason is even if I increase this resolution like really, really heavy, it's still not going to be cleaned. We're going to have a lot of triangles. We're only gonna go almost to the million polygons. But even if I tried to do like some nice wrinkles in here, see how they look very jaggedy, very, very. Fragmented. That's because even though we have a lot of geometry, the geometry, it's not flowing in the direction that we normally want it to flow. Again, if we go back here into our reference and we look for 3D topology, if you come from a traditional package, you're probably know what we're talking about. But the topology is the way that we need to organize the loops and the general flow of polygons in our characters and pretty much everything. So that when we animated the format, create uv maps, displace it and do a lot of things that are necessary in their production by when everything works as expected. So for instance, this right here is a good topology. This right here is a good topology for gains. But that's a different story that we're going to be talking about later on, maybe in another video. So what we want is we want the topology of our character to be as close as possible to an animation ready topology, but without having to sacrifice detail, of course, right? So this is the process that we're going to be doing. If I go here and I go into, I'm going to turn off DynaMesh. I'm going to go into Syria measure. And if I just click this option here called serum measure, you're going to see that serious does a little bit of a calculation up there. It usually takes not that long, but depending on the complexity of your character, it might take longer and it will give me a low poly character. We clean topology. However, you're going to see in just a second that we're going to lose all the detail. So see all the nice little detail and scheduling that we have. We're lost or are lost. However, if we take the polygon, look at this, this is not bad, right? It actually looks quite nice. It follows the general shapes of the character and it follows the general silhouette of the whole thing. Now, before you do DynaMesh or before you do see remeasure, there's a couple of things that you would like to do. You want to keep this as clean as possible. So any area right there, for instance, that has like those weird polygons, you want to clean that up? I'm going to use my trim dynamic on all the border here for my character so that this bust is cleaner because all of these areas are going to be taking into account when doing this you remeasure and that could potentially make it worse. The next thing they want to do, let's, let's do a quick DynaMesh there. The next thing you wanna do is you want to keep a copy of all of these details because if you remember, we actually have a very nice detail here. Okay? This is a lot of geometry. So let me, let me go back and let's go back to like 250. There we go. There we go. So this is good. Now, I'm going to go to subdue and I'm going to duplicate this demo hit now, you don't need to do this, but I'm going to change the name just so that we know this is the dirty one because this one has a dirty topology and this one, the one on top, we're going to rebuild to have a cleaner topology. Now if we press this little I bundled with the Shift key, you're going to isolate this element and it's going to be a little bit easier to work with. And, and I'm gonna go back here to geometry. I'm going to select C refresher. And there's a couple of things that you need to know about this. First of all, we have the tangent polygon count. The lower this number is, let's say 1. The simpler your topology is going to be. It's going to look like a low ball is going to be very, very simple. You might not have as many loops, and therefore, the level of detail that you can capture is usually going to be lower. But sometimes when you're working on certain kinds of projects that needs to be very clean and very minimalistic. This is. Very good. So as you can see, very, very simple. Again, if we do this, we'd like a target called poly count of five and we do another Siri measure. You're going to see that this whole thing is gonna get a lot denser. It's going to have a nicer wireframe. And therefore, we're going to have a little bit more detail to work with in regards to a little bit, a little better level to work with details. So let's just wait a couple of seconds here and there we go. Now one thing that you might notice is that we're getting some weird shapes. You, for instance, it's trying to follow all of those lines that I drew with my standard. And we might not want that. We might want everything to be completely straight. This is where a very special brush comes into place, which is the C remeasure guides brushes, the last brush on your palate. And this one allows us to draw curves on top of the surface of our character to tell this hearing measure tool how we wanted topology to flow. So for instance, I can draw a very nice circle here around the eyes because I definitely want a sort of circle around the eyes. I can draw like a curve going up here because I definitely want the polygons to follow this sort of shape. I can draw like one line here going backwards or downwards, right above here. And if I want to keep this a little bit more straight, I can just start drawing a couple of straight lines here. Tell CBS, Hey, don't worry about these lines that I drew. I actually want everything to be straight. I can go here to the neck for instance, and there we go. Here is usually important. So I'm going to try to do a loop here on the year to keep it nice and sharp. So with this selected, if I click Siri measures, you're going to see that now the new topology that we get, the new mesh that we get, It's going to be cleaner, it's going to be tighter. And usually it works really, really nice with our curves. Now, this is not perfect. It's not a perfect science. If you want to do a perfectly topology. Maya is usually the way but look at this, see straight lines because it obeyed those curves and it tried to give me the best possible result. If you want to increase the what's the word the, the amount of influence that those curves have, you can change the curves strength here all the way to the top. It's going to try to follow them pretty much perfectly, but usually you don't get the best results. So this one right here is really good. However, we have an issue. And the issue is that if we turn on this guy right here, you're going to see that we lost a little detail. We have a very nice detail here on this dirty polygon. We lost it. So how can we recover all of this detailed back into our original character? Well, that's actually really easy on this one right here. I need to check how many points I have. What's the amount of detail that I have, which is 90 thousand points. I'm going to go back to my demo here. I'm going to turn it on so that both of them are turned on, nothing else, only those two guys. And then this guy, I need to divide. Remember when we did the vision with the horns in the last video, we need to divide this guy until we had a similar amount of polygons as the dirty element. So I'm going to go to the geometry tab. I'm going to divide the ones. I'm going to divide twice. Now if I divide twice, this is going to be really, really heavy. But it's more than enough to catch all the detail. Sometimes you get the numbers really close together. It really doesn't matter as long as you're not trying to go to like millions and stuff. So this is one more than enough. Now, selecting the clean one, the one that you want to keep the topology of. Your gonna go here to the sub tool palette and you're gonna go into the project tab and you're going to say Project all. And what this is gonna do is it's going to grab all the detail from the low poly or not locally from the dirty poly. And it's going to project it into this clean topology right here. So now if I turn off the dirty one, you're going to see pretty much looks exactly the same. See how I switch from one to the other, and you won't be able to tell the difference. So now this guy, the advantage is that this one has clean topology, so we're going to be able to give it the way more detail. Well, we had with the DynaMesh. And also if we need to go down and change stops on the low poly light, Let's say we need to modify the size of the ears, make them a little bit smaller. We can modify them on the lower subdivision levels. And then when we jump back to the subdivision levels, any details that we might have sculpted, it's going to be there. So hopefully you can see the amazing flexibility and advantages that we get from this sort of workflow. I usually, whenever I'm working on characters, are usually tried to block in the general shapes and sue it. And as long as I'm not changing or doing big silhouette changes, I immediately jump into this sort of system because I find it a lot easier to manage. If I need to jump back into DynaMesh, you can repeat this process as many times as you want. You'll need to make sure that whatever that level of detail that you have on your DynaMesh, you tried to match it before reprojecting all the details back into your original mesh. So I'm going to delete this dirty one right here. Let's turn everything on back again so we can see it. And yeah, there we go. So now we're in a very, very good spot because we have three very nice some tools that we're going to be able to sculpt using clean topology. So this is it for this video guys in the next one we're against are working on refining and adding more detail to the whole thing. It's going to be very similar to what we did with the octopus. So yeah, hang on tight and I'll see you back on the next one. Bye bye. 12. Refining the Demon: Hey guys, welcome back to the next part of our series that we're going to continue with the demon that we're working on. And let's go. This is where we left off in the last lesson. We managed to get these very, very nice topology into a character. And now it's time that we start talking about some sculpting guidelines that I would suggest you follow whenever you're sculpting this sort of characters. So let's turn off poly frame right here. And I'm gonna use my clay buildup to start adding a little bit of variation to the general shapes of my character. I do want to divide him one more time so that we get almost to a million polygon because I want to start adding the bony protrusions of the character. This is the main topic or it's going to be one of the main topics of this video. Whenever you're working on a character, there's a very nice principle that I'd like to follow, which is called form follows function. Now form is what makes up an object. And that's saying that I just mentioned form follows. Function means that we want every single decision that we make to have an influence on the reasons why art character is the way he is. So for instance, if I'm going to add this very intense looking, what's the worst zygomatic arch, the cheekbones? Why do we want this to be that way? Maybe is intimidation factor. So if I want to intimidate, I might decide to add a little bit of a spikiness to this area. So I'm going to start adding a little bit of a sharper turn here on the bone. Bones of course going to be pushing against the skin. I don't want this to be as exposed bone. So there's going to be something like fibers and some like stretching marks all the way around this area. Now, we mentioned that he doesn't have a mouth. So why is that? How how does he talk or how does he had maybe he doesn't maybe he doesn't talk, he doesn't need to eat, he just needs to keel in conquer, right? So if that's the case, then we need to decide what to do down here. So I'm gonna use my damien instead of just start sketching out ideas. And I'm not trying to follow this very organic pattern. This is a technique I like when I do any sort of like organic stuff and I call this the crisscross. And what it basically means is instead of doing like a straight line to the bite and the area tried to do like crisscrossing lines that blend into the element. Now this Damian standard that the basic alphabet it has, it's actually really brought, I'm going to change this to an Alpha 46, which is a little bit sharper. So I'm also going to lower the intensity a little bit. So this crisscrossing, as you can see here, it's gonna give me a very nice, leathery looking skin all the way around this area right here. So I think I want to add something there and remember what we talked about. Wrinkles like every time you have a wrinkle, you have a little bit of volume on both sides of those wrinkles because it's, it's actually what causes the skin is stretching. So going back to this part of the mouth, I'm just going to start sketching this sort of like fiber E thinks vibratory elements, I'm thinking like produce from Star Trek or StarCraft, StarCraft. Those like sacrilegious mentioning structure constructor for the same sentence. So I'm just going to start adding this sort of fiber. We look to it. Oh, that's nice. So again, see how not doing like straight lines. I'm, I'm just like drawing on top of the elements and having these very nice topology, having these very nice effect, it's going to actually help me a lot to get this very effective shape all around the character. So I'm just going to start pushing the fibers here to mark how the, how the skin kinda like stretches down here. See how are we creating this, this sort of fibrin mesh all the way down here. So that means that the bone is really, really pushing the skin and really creating this sort of element. Of course, a little bit of smooth later on to soften that element and get it into a nicer shape. I'm not sure I like this big line right here, so I'm just going to smooth it out. And let me show you something real quick. Let's say for any reason you decide to do something like this and you're like, That's really ugly. And you tried to erase it. See how if I tried to erase it, it's still kinda of air. So the best way to erase something or fixed something when you're working in sub-division methods, It's called something it's something called subdivisions moving. So I'm gonna go to the lowest subdivision where I see the detail, which is this one right here. And I'm going to smooth it out. And then I'm going to go up a level with the letter D and smoothed out upper level leather D, smooth it out and up one more level. And there we go. So that's the best way to, to kinda like fifth fix that kind of stuff because otherwise it becomes slightly difficult. And the reason is remember E, it remembers what we have. So I'm going to add a nose. Originally. I didn't want a nose, but we have enough topology to to kinda like added here. I don't think I like this fibers to be honest. So I'm just gonna start filling in a little bit and then with my trembling dynamic, I'm just going to keep it really smooth. Like maybe he's the silent demon. I do want to take inspiration from that mask that we saw earlier on. So I'm going to push this forward like this. And I think it's going to be the more creepier to have this sort of like very sharp form and not understanding why, why does demon has it right? I'm going to use my trim dynamic to give it a little bit of a plane shape. Maybe it's a little bit too much to be honest. So let's, Let's bring it down a little bit back a little bit. Now, I gotta be careful with this because I don't want this line to look like a, like a small little mouth there. So I'll probably add a little bit of a flick skin texture like going down here. Like sort of sort of like a mask. Yeah, I like that. I think I like this sort of like mask effect that the that the head is getting on here. We usually have a muscle called the damn, I forgot the name in English. But it's the, it's the Muslim that we use for, for chewing. So whenever you choose, you can place your hand on this part of your face and you're going to feel the muscle like acting moving up and down. Very important message here is that the proper name? There we go. Now I'm going to use my brush to keep this very sharp and nice curvature. Because, because I want to have this like a various lean phase like that. There we go. Let's jump onto the, onto the eyes because the eyes are one of those things that really, really benefit from all the fact or the process that we use in order to create a nice topology. So I'm gonna go here with my naming the standard. I'm going to start sketching like the tear doc right here. I'm going to sketch a little bit of the of the separation of both islets. So usually the upper eyelid, it's going to be of course on top of the lower eyelid, it's going to come across like that. There we go. Let's have a little bit of basis, therefore the tear duct. And then we're going to have the lower eyelid. And here we're going to start getting like the IAB x. Now I do want to have this sort of like hello element here, kind of like showing the bone and this like very dry. You've probably seen this in old people. Their body loses water and elasticity. So you start getting like these very intense wrinkles like all around the face. So this is something that I definitely one now see how this is something that I've mentioned that it's a little bit difficult to explain, but the form, as long as we have a clean form, the form is going to start talking to you that this culture is going to talk to you. I know it sounds very, very alike. Like, I don't know, pretentious, but if it's not there, you can see that the more you get into this sort of stuff, you're going to see the details before. You've actually sculpted them. And it's a very, it's a great experience, but it definitely comes with practice. So the more you practice, the more you're going to be able to tell where do you need for, where you need to remove stuff, where do you need to add like wrinkles and and several different like changes in the skin. And thanks. So so just keep pushing us, keep practicing. All of these exercises that we're doing are really, really good exercise. As I mentioned in the first couple of videos, they shouldn't take you more than probably like one hour or two. And you're gonna get some nice practice out of them. And they're also really good for like just warming up. Sometimes I'll, I'll do a little bit of a quick sketch to get it out of my mind before I jump into like a big project or something, it's always a good idea. So again, see how I'm using the clay buildup as a sort of sketching pencil to add this sort of lines and volume sold around a character. And then I'm just going to cover this with a little bit of a smooth and that's going to soften all of this elements. There we go. I think I want to add like holes in here, like this, a lot deeper, a lot sharper. Just separate the really, really separate the bones from the skin. So see how I'm pushing all of this down like this on the on the chin. I feel like the chin is looking okay, but we can do something better. We also need to do something here. You know what? Let's do this. Some sort of like cuts. So I'm going to cut here. I'm not going to cut into the ion, is going to cut there on to the like the eye socket. And then this cut. Let's move it all the way down here. Feel free to experiment. Feel free to, to push the limits of your imagination and then find this kind of things. Because that's another important distinction that you're going to get later on. Like people not only want artists that know how to use the software, they also want artist that can bring something to the table that they can suggest and make changes on their standard, what the needs of the project are, and collaborate in order to create something, something bigger. That's where the biggest projects and the biggest successes come from when, when directors, producers leads an artist's work together to create and come up with something interesting and memorable. There we go. So I think I want to add a couple of bones in here, like some sort of like protrusion. So I'm going to have this sort of like separation in there. Again, it's just a sketching. This is not the final project. I wouldn't expect to have this on that like a portfolio or something unless I would really like push it like way, way into like a super define it and clean elements. This is mainly an exercise again, for you to see the process and for me to share all the information that I'm sharing about what things are important in how to, how to push in and bring all of this into the, into the game. For instance, here, I can do this again, crisscrossing technique from left to right. So we get this sort of like fatty leathery skin all around the neck. Ears are one of those Bart's that people neglect quite a bit. Ears, hands, hands, and feet, they actually get the least amount of tension. So I'm going to turn off the horns for just a second. And let's give it a little bit left to the two years. So I'm gonna try and follow the usual construction of a new year, which you'll get like this sort of like fold on the back here. And then your ear canal going in there, a little bit of a lobule there. And then this thing, just like merging into the into the head. There we go. You can see me here or you can here probably me pressing all the shortcuts. So that's why it, learning the shortcuts is really important because you're going to be able to jump from any brush that you need. For instance, here the daemon standard into the clay buildup, into the move into whatever brush you need. Very, very fast. Now I'm going to do a quick pass on just like high-frequency detail before I jump into the horns and show you a very nice technique. So for this guy, I'm just gonna go with standard brush. I'm gonna go spray and let's give him a basic leathery skin. So I'm just gonna go Alpha 60 c sub and a low-intensity. And I'm just going to add a little bit here, maybe a smaller, so I'm gonna, I'm gonna make it smaller. And just a general leathery skin all around the place. It's going to look really nice of course, because remember, as long as we have a cool form and a nice, What's the word and a nice construction. Everything is going to look quite nice. So yeah, you can see all of this looking very, very nice. It's starting to look like skin. But again, the reason why it looks nice is because we have a nice form, nice muscles, nice general shapes to the, to the head, to the horns, ears everywhere. Let's add some like pores. So for pours, I'm going to change this to a secure alpha like alpha 23. And this is going to allow me to add some pores. We can of course go one more, one more level up in subdivision here and three millions. And now this pores are going to look even better, right? Because we have more resolution and therefore we can push it for. But remember, this is just the frosting of the cake. If you don't have any nice shapes and then the nice forms, no matter how many alphas do you turn an order you place on your character, it's not going to look good. So don't think that just by adding crazy alphas like I'm doing here, That's going to be enough. I'm going to change this to drag direct and I'm going to select from my light box in the Alpha section. Remember we have this leathery skin, the eye for the, the elephant either we use for the octopus. So I'm just going to add the HD here on the character. A little bit of lines on the backs and stuff like getting even like use it to, to add a couple of extra like wrinkles here and there. That's fine. It's just going to add to that to the whole thing. And now if we jump into the, into the horns, I want to show you a very nice way in which we can add some high-frequency detail without having to worry about this sort of thing. So I'm going to start by adding some light lines all around the place. And I'm going to use a little bit of a heavy intensity here. And as you can see, this is going to help me mark in that a little bit more interesting shapes here. But think about like the texture. You probably seemed like fossils and stuff, right? And fossils and in all bones and all, they usually have like a crust. They develop this sort of like rocky textures. To me, they resemble like like stone, right? Like the roughness of stone. And right now we don't have any alpha that has that sort of like greenie and stony look to it. So how could we add that sort of detail without having to rely too much on on Alphas. And the answer is a very nice tool that we have here in ZBrush call surface. So down here on the surface section, you're going to see that we have this noise option. So I'm going to turn this on and you're going to see that now my horns are gonna get this very noisy texture all around the place. I can change the scale of the noise. So let's add a little more scale and see how did they get this very interesting, rocky texture all throughout without having to worry about any sort of Alpha. So we're just going to hit Okay here. And if I select here and say Apply to mesh, that detector is going to be applied to the mesh. And now that we get this very nice architecture all throughout the character, now that's not the end, of course, the ideal thing would be for me to come here into the rich area and start adding a little bit of definition here so that we can separate the upper side from the lower side if you want to. You can also go into your clay buildup and recover a little bit of this elements like this, like ME and ridges, which are going to again help with the general silhouette of the horn. So kind of like dividing all of these areas and creating a nice interesting texture. And that's gonna get you a very, very nice looking character. There we go. So before we finish this video, guys, remember you can push this and advance or move it along as much as you like. I'm trying to keep it short and simple for this particular exercises because that's what they are. They're just exercises for me to teach you the tools. And later on we're going to be doing a full project. We're actually going to take our time to make sure everything looks perfect. Now, if you want to take a quick render, this, you can press this button right here, which is the BPR best preview render. We're going to be explaining this later on. There's a couple of nice little tricks and techniques that we can do. But for now, you can have this very nice-looking element if you want to, you can go here into the light panel and by moving the light around when you take the next render for, for instance, let's go down here for like a very creepy look. If we take another render, you're going to get this nicer image right here. Tell me if we wanted to show off to your friends or family or whatever you can do this, this renders usually look a little bit nicer than just the basic preview here. Just remember to bring this back to like a three-quarter view so that we can continue scoping very, very nicely. In the next couple of videos. Videos guys, we're probably not going to have a full-on three video setup for all the, all the different exercises that we need to cover. Some of them might be just one BTU long, some of them might be two or three meters long depending on the topic. Just bear in mind that again, all this initial half of the course, the first half of the course is all training about the tools for ZBrush. And later on we're going to be applying all of this knowledge into final products. So hang on tight, and I'll see you back on the next video. Bye bye. 13. Polygroups: Hey guys, welcome back to the next part of our series. Today we're gonna be talking about poly groups. So let's get to it. This is the little octopus that we had a couple of videos ago, if you remember. And we're going to be talking about a very interesting topic which is poly groups. Now this is going to be a relatively short video because I just want to show you that tool and why is it useful? And then we're going to jump into another method of creation. We did already DynaMesh, we did see spheres. We need base meshes. And the next one is going to be seen Modeler, which is, which is a very powerful tool that seabirds has but uses a while the poly group information into it. So what is a Pauline group? Well, if you remember, every single piece that we have here is made out of polygons, right? All these little polygons right here, and every single polygon right now has a different color. This colors that you're seeing in this octopus are called poly groups. If we quickly jumping to our demon, you're gonna see that the whole thing has only one color, meaning that each object only has a one poly group. However, this octopus right here has a lot of the public groups. And the reason it has a lot of poly groups is because it actually inherited the poly groups from the sea spheres. So you can tell where the CSF, here's where based on the colors of this public groups that we have right here. Now, why are poly groups useful? Well, if you remember, we have this selection tool which is Control and Shift that allows us to grab any specific part of the character like this. And we can just focus on this area, right? Well, if you have volumes, you can very easily select one group to only work on that polygraph alone. And the shortcut, It's actually really simple. It's Control, Control, Shift and click. If you click this, it will automatically cut of the public group that you have selected and you'll be able to work on this particular area, which again, very, very useful. However, for instance, this character right here, the polygon is that it has, are not the best that we could have. I would like to have like maybe one group per tentacle, one per group for the head, and then one poly group for the main parts of the body, right? So how can we rework the polygon is how can we change the public groups? Well, that's actually simple as well. We're going to go down here to the poly group section and in the polar group session, the first thing I'm gonna do is I'm gonna say other groups. If you click other group, what's going to happen is every single polygon that's connected to another polygon, which means pretty much all of them are going to get grouped into a single island. And this island is going to be your main pile group. The color doesn't matter, it's just a visual indication. So you can just hit this, like scroll around colors and that's totally fine. And now we can start checking different ways in which we can create a new poly groups. The first one and probably the easiest one is by disability. So I'm going to press control shift. And instead of using this select wrecked, I'm going to change this to select a lasso, because select lasso is usually a little bit more friendly towards the creation of polygon. So I'm going to hit Control Shift and I'm going to select lasso, all the front tentacles. There we go. So now since these are the only tentacles that are visible, it's going to be very easy to go here into the bulk group section and select group visible. And what this will do, as its name implies, it will group this into a v. So we'll select tool or subgroup. Sorry, volume. Now you can see that the colors are really close together. If that bothers, you, just keep pressing it and you get a different color and that's going to be a little bit easier to, to tell. Now how do you go back from selecting anything and then going to the full visibility? Remember Control, Shift and tap outside of the object. There we go. So I'm going to do the same thing for the next couple of tentacles. I'm going to just drag and select all of these elements right here. There we go. And I'm going to say group visible. There we go. So even though they look very, very close, are actually different, different polytopes. So don't worry about that. I'm going to do the same thing here. Just grab all of this guy. Group visible. There we go. And finally, this one right here In group of visible. Perfect. So now we have four groups, one for each set of tentacles and a fifth one for the whole body. So I can go Control Shift, click on the whole body to isolate it. And then they can do Control Shift and drag outside of the screen to jump to the other selection. Pretty much flip this election. And it's going to be easier for me to do this here by hiding Control Shift Alt, hiding the top head of the character, which is this area. So now with this, only this part selected, I can just say group visible. And there we go. So now we have six Apollo groups. If I'm not mistaken for the tentacles, one for the body, and one for the head. So you don't even have to have the poly frame active a view already know where your polygons are. You can very easily just click any area like this and then just play around with the selection so that you can jump and work on that specific part. Now, let's say that there's more specific parts that you want to work with, but having them selected with lasso is a little bit complicated, don't worry. You can also mask them out. So if I mask out, for instance, the eyes right here, you can mask all of this area. And I can say group masked right here. And by doing Group Mask, I'm going to be able to just have that as a mask. So now we have one more set of polar group right there. So if I want to work on the ice, Control Shift, click the eyes, and I'm going to be able to jump and start working or continue working on this area right here. So hopefully with this, you can understand why polytopes are so helpful and so useful because they're going to allow you to compartmentalize the different parts of your model. And it's going to be a lot cleaner to work on the areas when, when you have like a very complex model, this also helps savers because when you have all the model selected, it's actually having to calculate all of this Melian polygons. And when you isolate any, any part of the model like this, it's only calculating this one. So it's actually better for your computer when you're doing like very high frequency details to only work on one particular part of the character. Whenever you're doing like a fool character, It's also a good idea to divide it on arms, legs, torso, back, pelvis. And although those areas so that you can more easily work on the different parts of your character. And that's it guys. This is, again, is just a simple video because we're going to be using this poly group stuff in the next one when we start talking about similar. So if you want to do this quick exercise with the octopus just to the bite him into different groups. Go ahead. If not, the only thing that I'm worried about is that you understand are the only thing I care about is that you understand why polytopes are important and how to access them and modify them, because we're going to be using them quite a bit in the next section. So hang on tight and I'll see you back on the next one. Bye. 14. Zmodeler: Hey guys, welcome to the next part of our series. Today we're going to start working on similar. So let's jump right into it. This will lift off if you did not see or you skip the pilgrims video, please go back and check it out because this is going to be very important for what we're going to be doing here. So see modeler one is similar, similar is C rush answer to something called box modeling. For a long time. C versus didn't have any way to do simple models like boxes, barrels, cans, and stuff like that. However, a couple of years ago they introduced similar. And this allows us 3D artists to utilize the tools of similar to create things that are a little bit more or are closer to what we normally you can see their box modeling. So if you're familiar with Maya or 3D Studio Max or Blender modal, anything. The way you would usually mode there is you start with a box and you start extruding, beveling, creating insets, adding edge loops, modifying them as moving things out until you get the desired shape that you want. And this, again is ZBrush answered to the whole thing. Now, people can do amazing stuff with similar. I myself am not an expert on similar. I am very I'm trained in traditional box modeling. So a lot of the times when I need to do box modeling, I actually jump into Maya and do it there. But if you become quite proficient with this, those that we're going to be exploring now you're going to be able to create amazing, amazing things. You're going to guns like you can see here. You can do like a lot of hard surface modeling, which is not that difficult to do with this tool. And yeah, it's, it's very, very handy. Now as you can see here and all of this pictures, most of the things from similar actually work from Paul groups. So that's why the polygraph video is super, super important. So let's start exploring how this works. I'm gonna go here to my little guy, I'm going to go into this star right here, the polymers 3D, you can find it here. And on the polymers 3D I'm going to go all the way down to where it says initialize. And I'm going to say that I want a key q or q, q. So this QQ is a two-by-two cube. That's going to be a perfect element to start working with. Now if I select B with brush and I go all the way down here, we're going to have the smaller brush. But if I tried to do anything, I was actually going to love it. We had to convert, but now it's fine. So we don't have to convert into a polymers 3D. I'm just gonna do it for the sake of it, but you don't need to do it. You can start working on that thing right there. I just like working with polymers 3D from the get-go. So now with this cube selected, let me show you how this works. Hopefully by now you know, from seeing this videos or just from studying a little bit in other softwares that every single object is made out of faces, polygons as we call them. And this polygons are made out of faces, edges, and points. So the way that the similar tool works is depending on where you have your mouse. This is where the effect is going to take place. By the way, quick parenthesis, this is one of the only things in Sievers that I usually recommend working with a mouse because it's a lot more comfortable. However, if you find yourself comfortable with the way com tablet, that's fine as well. So if you place your cursor right here on top of the, of the polyphagia, you're going to see that we get q mesh a poly, which means that if I click and drag, I'm going to extrude this polygon out. Which again, very handy. It's just a typical extrusion that we normally get. If I go over here, I'm going to extrude this one right here. If I go over here, I'm going to extrude this one over here. Now one of the cool things about Q mesh that doesn't work, like extrusion and other programs. If you start pushing this back, you're actually going to delete the element. So I just deleted that and bridge all of this area, creating this very nice concave face. So again, Q mesh, very, very useful. If I were to go into edge loops, you're going to see that the default tool is going to be insert an edge loop. And those of you that are familiar with Box modeling know that these guys are useful as support the edges or if we want more divisions to later on extrude the different things, we can just add a couple of edges here and then keep externally, right? So again, very, very interesting. Wait to work. What other things can we do? Well, if we go to point, I believe the basic one for point is MOOC. So I'm just going to move this point around, which not as helpful. So if I go back to my face and I press Space-bar and live with the oppressed. You're going to see that all of these tools, all of this are the things that I can do with this face. It's a lot of information. Again, if you are familiar with with other traditional 3D packages, you're probably going to see some things that the, sorry, that sound familiar like babble, bridge, crease, delete, equalize, extrude faces, inflate scale, move, rotate event should be somewhere around there. So a lot of things that we can do to the polygons, this is to the polygon faces. Now on this one, this is what is very important because this is going to tell us what things are going to get affected right now. I have a single poly, but if I want to select, for instance, Poly Group island, and if I select poly group Island, What's going to happen is only this island is going to get extruded. Pretty useful, right? So if I extrude this thing, since this is a different island, I can just extrude this thing. But if I do this, since all of this or both of these sides share the same colour, all of the elements are gonna get extruded and look at that, we get a very interesting element right there. So again, depending on how you selected or depending on the tool you select, on the option you select here along with the modifiers or you're going to be exploring down here, you're gonna get different results. If I select, for instance, Poly Group all and I have symmetry selected symmetry, for instance, I extrude this guy, it's going to extrude on the other side as well. So hopefully by now you understand why this is really, really important. Let's say now that I want to extrude this face, I press the spacebar. I changed from poly group all to a single poly and then just extrude this out. Now let's do one more extrusion. And now let's say that I want to bridge these two guys together. What can I do? I can just use my cue mesh and accumulates actually a very nice element because it will merge them together if I move this out, see how they act as a single poly. So there we go. It's breached already. Now, what if I wanted to bridge or extrude things out? But I want them to be different product groups so they can do different things. Very easy when you're doing this. As long as you don't drop the action, you can tap on Alt key. And this is going to rotate around different groups. And you're going to be able to find another polygon that works. Again, it doesn't matter that the colors are really similar, as long as they are different polymorphs or were created as different groups, you're going to be fine. So let's do something like this and like this. And now let's say we want to do some crazy stuff like maybe an extrusion or something on this areas. Well, we can press Spacebar. We can go into inset for instance, if I start inserting this island, look at that, we get a nice little element there. We can now go back to Q mesh and then just push the send. There we go. Cool, Right? Again, this is going to depend on your imagination. We're going to be doing an exercise in just a second, but I just want to show you how this tools generally work so that you understand how we can use them to our advantage. Now, let's say that we want to do insets, for instance, on this faces that we want little instance on each individual phase here. And then press the spacebar. I'm going to press inset single poly, and I'm going to start inserting this. There we go. So how can I ensure or how can I make sure that all of them share the same width? Well, if you just did one of them and just tap on the other one or the next one, it will automatically use the same configuration, the same settings for everything. This is super handy. I wish my, I had something like this because this is extremely, extremely helpful. Let's do the same thing for q mesh. I'm going to select Q mesh. I'm going to get this into the object like this. And then if I just tap here, here and here, all of them are gonna get the same amount of extrusion. And even if I do this, all of these guys are also gonna get the same amount of extrusion. Now what happened there? Why did it get them? Because if I start pushing this in, you're going to see that it disappears and it creates this new like channel looking thing. So again, very, very useful, very, very cool tools. I'm going to show you one more tool that's actually very, very cool, which is the bridge tool. And what I'm gonna do is I am going to bridge, let's say from this Bali to this Bali. So before I bridge, I need to delete them. So I'm going to delete the British here, like here and here. Let's do a single poly, delete, sorry. Deletes globally. There we go. So we'd leave those. So no more polys we do. This is going to be h. So h is going to be a bridge. And we're going to bridge from here to here. Oh, sorry, from here to here. There we go. Now, the bridge has a couple of options that we can do. We can do, instead of doing edges, I'm going to do two holes. And what this is going to do is by using the modifiers, I can say, Hey, I want to do this with a circle. So I want to bridge this. And instead of bridging horizontally, it's going to create like some sort of circle. So I'm going to click here, and then I'm going to click here. And then if I move the mouse up and down and back and forth, I'm going to be able to modify how many divisions I want and how intense I want the circle to be. So look at that. Think of this as like a, like a site for a gun or something. This could work as a very, very nice mesh. Now once we have this, what can we do? Usually, you don't want to jump into DynaMesh. Because if we jump into diamond DynaMesh, which of course we can't do. You're going to lose a lot of detail. See how all the topology and everything went to, went to a very bad place. So I'm gonna go here into geometry and I'm actually going to divide. Again. That's what the division method that we just saw in the last video. We didn't him and is so important because we're going to be able to do utilize the divide to create a very interesting element. However, we have a problem, it's getting very, very soft and that's something that we might not want. That's one of the rules from the from the edge department. If you want to keep an edge straight, you usually want to have something that's called a Support edge. So I'm gonna go here into insert. And if I insert an edge right here and right here, when I divide this area, as you can see, it's going to remain straight. There's some other way to do it, which is called the crease. A crease. So if I go into mesh and I select crease, I can select an edge and I can increase it and see how it gets that interesting looking line. So what's going to happen with that deadline is when I do Control D, that line is going to remain sharp. So what we could do here is instead of doing crease on the edge, Let's do the poly loop. So all the loop that has to do with that edge. So maybe this one right here, see how it goes all the way around. And let's do this one right here. And then let's do this one right here. So now when we divide, this whole thing is going to remain very, very steel. So there's two ways in order to keep our geometries are tighter and more harsher fuzzy edges. With Chris, I'm showing you here and with inserted shoes. So let's quickly jump into a, an exercise. Let's do something very cool here. What I wanna do is I want to do like an old key. So let's go for old key. Let's say we're doing like a prop for a video game. And they asked her, Hey, we need you to do an old key. We need you to do something like this. Something simple, right? We can do it a little bit more complicated, maybe not as complicated as what we have here, but a little bit more interesting right about here. So what I can do is the following. I know that this guy right here is going to smooth out very nicely. If I divide, this is going to give me a nice roundish element. But if I want to, I can go space bevel, and they can bevel, this guy. Let's jump into poly loop right here. So let me find my front view. There we go. So this is going to be, the key is going to be pointing to the front. So I'm going to be, now let's change instead of poly loop, Let's do edge loop complete. There we go. Let's do desk area here. That's fine. That's actually what else can we do? This one right here? Oh, I see what's doing. Okay, that's fine. Let's do this. And let's do well, it's going all the way around now, I don't want that. Okay. Let's keep it like this for now. I'm going to go into Q mesh instead. That's the Q mesh. What I'm gonna do is I'm just going to give the key the length that it needs. So I'm going to select, for the Q mesh. I'm going to select Bali Island. I'm going to move this all the way up. There we go. So that's gonna give me the length of the element. Now, if we want to reset the point groups, which we can, I can just go here into my Poly Groups tab and say group visible. So now all of them share the same polytope. The main body of the elements shares the same polygon. So if we take a look at the key, we have this very nice indentations and stuff all around the element. So what I'm gonna do here is I am going to go down here. I'm going to go into bevel and I'm going to select insert. And let's insert an edge loop here and an edge loop here. Now if you want to change the policy group, you can select all and then just drag actually that work closer to what I was out. I don't want to delete the loop, so we're gonna, we're gonna keep it like that. But if you go into Q mesh and you hit out, you're going to paint everything white. See that? And by painting everything white, we're going to be able to change its polytope right now. It doesn't have any poly group. You can also select Control Shift and then drag and draw this area right here. Keep it like this group visible. And there we go. We recovered our poly loop. So as you can see, we have this nice indentation there. So I'm going to go into Pali and QQ mesh poly group islands. And I'm going to push this in like this. There we go. And then up here we have this three lines over here. So same thing. I'm just going to change this back to select, lasso select, correct, sorry. Let's select this guy right here. Let's de-select. So like this guy. Wait, why is it not selecting? That's fine. Let's do the whole thing like this. Let's group visible. There we go. One more time. There we go. So now if I go into Q mesh or actually if I go into inset, I could create an inset on this poly group and all the polygraph is going to be incident. That's the One more. Now, remember when we do one more, I can press Alt to have like a different edge loop there. And let's do one more. Here. There we go. So now I can select this one and let's extrude that out. We would queue mesh. So Q mesh polygonal island. And we're going to bring this out. And in order to match the same amount of distance, I can just click on this one. And there we go. It's going to be the same amount of distance. And I know that when we go back here into my geometry tab and I do a division, divide, everything is gonna look very nice. So let's go back here and let's do the key part like this area right here, which is really, really cool. So what I'm gonna do here is I'm going to do another insert edge loop. So I get into the edge section. Let's insert one about there and one about here. There we go. We're missing the, the Q mesh here. So let's bring it in. There we go. And now I want to do single poly. So I'm going to select Q mesh single poly. Let's find the front view of my, oh, it seems like I see how I change the rotation of my my thing. This is my front view and now my keys backwards, so no issue there is going to press E to go into rotation. I'm going to rotate this 90 degrees and that will again, my key is alive. So I'm gonna select this guy right here and I'm going to move it forward. There we go. So as you can see, this one is creating this shape right there. Let's bring it back a little bit. Well, let's do forward a little bit, and then let's do one more. There we go. And then from here, one more. From here, one more. Now, I want to create this sort of pattern that it has on the inside. How can they do that quickly? Very easy. Before I do this whole thing, I want to make sure that the poly groups are nicely done. So let's, let's add this and press Alt to create a different polygons. Let's have a different color like that. There we go. Now the next one, I do want to keep the same polygon, like that. Same polygon, same polygraph, same polygon, same polygraph, simple group. Now I want to have this polygon as a one polytope and this one is another polygon. Is there a way in which I can do that fast enough? And the answer is yes. If we go back into a polygraph menu, we can do other groups here on the group by normals. If I select group, I know moles, all the ones facing to the top, all the ones facing to the back, to the front and all that stuff. We'll get the same group, same. So now all of these phases, if I select polygon, all, all of the ones that are pushing, Let's do inset. Of the ones facing to the right view will get the inset. As you can see, they're pretty helpful. Now, I don't want all of this guys to have the same elements. I'm going to select these guys right here. Let's do a little bit more. You can select this thing and then going to the visibility tab right here. And you can do grow and this will increase by one step, the next element. And I'm gonna go here to the middle. I'm going to delete this guys. It's usually a little bit easier. I'm just going to have to click on each specific polygon. Now if you find it difficult to work when you can't see the other side of the object. You can go to display properties and turn on double, and this will allow you to see both elements. So now with this guy selected, I can go to poly groups, group visible, and wallah. Those elements have or share the same polygon. So I'm gonna go back to Q mesh or to insert, sorry, I have poly group 0. So all the polygons that share the same colorable get the inset. And let's add the thickness here. Here's the cool thing. If I go back to the, if I go back to the queue mesh, I can push this in until it touches the other side. And boom, it's gone. Looked at beautiful, right? So now this key, when we smooth this out, if we do up here geometry, the byte, we're going to get a very nice effect. Now I probably want this to be thinner. So what I can do is I can go into move and I'm going to move the whole polygon. So I'm just going to start moving this. But instead of letting this thing like Q mesh, I'm actually going to get moved. There we go. Let's do again smooth. And then Pauli group of border, Nepal group all. And just push this in. There we go. So as you can see, we're gonna get this curvature again when we divide, the key is gonna get this very nice hammered effect where this thing goes and becomes a little bit thinner. Now if we don't want this to become as thin, we can of course go into point and just move the point out. When you're removing equilibrium can do shift a little bit finicky. So I'm just going to push this out because I don't want to link the form of the geometry that much. There we go. Now there's another way in which we can work with division. So instead of having to go all the way back and hit W to see how this thing is going to look. You can just press D and this is going to hear, yeah. And it's gonna say, Would you like to active out to activate dynamics of division, we're going to say yes. And what this is gonna do is gonna give you a preview of how the key is going to look without having to jump here. As you can see, it's not division is this thing called dynamics of division. And the shortcut to the activated, I believe is Shift D. Yeah. So D to activate it, yes. Let's say always just and Shift D to the activated. And the cool thing is if you press D, you can actually work on your Q mentioned everything while still being on dynamics of division. So very, very handy tool. Anyway, I'm going to stop to be the right here guys because we're already at the 20 minute mark. And in the next one we're going to continue working on the top side of the element and a couple of other details here for our key. So hang on tight, and I'll see you back on the next video. Bye bye. 15. Zmodeler Part2: Hey guys, welcome back to the next part of our series. Today we're going to continue with our key and we're going to continue learning stuff from similar. So let's get to it. So this is where we left off. We were talking about dynamics of division. So I'm going to turn it off with Shift D to keep on working on my main loop here. And I'm just going to see it, see how it has this very nice little shapes here on the, on the Insert. I think it would be cool to have those. So what I'm gonna do is I'm gonna go into edge. Let's add a natural right about there. Let's have one about there. And then back into qm, q mesh. I'm just going to give it, change this to single poly and bring this forward. And then bring this forward. Another line right there and bring this up. I could even bring this thing forward. I think having a little bit of extra, extracellular, which will be nice. And if I press again D to give a nice together look at how this thing is going to look. That looks really, really nice. So we're in a good position here. I'm going to jump up here to the head of the key to start working on this sort of detail. Because even though it seems like a very complicated element, it's actually possible to do something like this. So let me show you how I would go about I'm going to go I'm going to press shift D to get this back and going back here, let's create the basics, the basics here. So I'm going to push this out. Now, we have a problem here. And the issue is that I want this to be symmetrical. So if I start moving this out, it's not actually being symmetrical because it's missing the front part here. So I'm gonna go into my transform tab and I'm going to change the symmetry from x to c. So now if I move something here, it's going to move on the other side as well, which is really helpful. And we can also actually turn on x as well. So it's going to be x and C. It's going to obey both symmetries, which again, very, very helpful. So what I wanna do is I need to create a sort of connection point for this final like elements not going to be exactly like this, but I want to create that connection points. So look at this. I'm going to move this out. And then I'm going to it out when I'm drawing this. And then I'm going to erase these guys. So now we have this floating thing right here, which is pretty cool. I can even go into masking, mask, this thing, invert the mask, and then just the site where this top It's going to be. So probably roughly about there. There we go. So now with this thing done, what I can do is the following. Let's get rid of the mask. Let's add a little bit of geometry here. So one line here and one light here. And then I'm going to go into space, delete, I'm going to delete this face right here. And I'm going to delete this face right here. I'm going to go into edge. I'm going to select bridge. And we're going to bridge two holes. So two holes, I'm going to try and do a circle interaction, curvature and interactive resolution. So I'm going to hit this edge right here. 12. And there we go. Look at that. Immediately we get these very nice-looking circle when all the way around the element. Now if I need to delete this, it's easier to just grab my cue, Michigan. Bring this down. And maybe I don't even want to bring this down. I can keep it. Let's see how this things has it has to sort of so yeah, I think we have to get rid of it. So now I'm just going to start pushing this. Let's use Q much poly. Now see the problem there. The problem is that it's actually trying to grab like several polygons there. So I am going to, what can we do here? Let's try doing the little spikes on here. Let's see if it works. Yeah, it works. And we can bring this edge here. Now let's say I want to collapse this, I want this to become triangles. I can very easily go here into the, into the options. And I can say collapse. And I can collapse this guys right here and this guy right here. And now we have that nice little triangle there. Now of course that point is a little bit off. So let's push it back up like this. And we get those very nice-looking elements. Let's see what else we can do. Let's try to do those little spirals right there. So for those spirals, we're definitely going to need a little bit more divisions here. So I'm going to go into Insert. Let's insert a natural there. And then the issue is, as you can see, that the polygons are not working exactly as I would like to. So just going to isolate this things right here to get those elements right there. Delete this, so we only get this faces. I'm just using selection both off and on to get them there. Poly groups, group visible, and there we go. So from there, it's going to be a lot easier to go into my face option, go into my Q mesh. Let's do poly group island. Now what's happening here? It's, it's trying to, to paste itself or to snap itself to that thing right there. And it's because of this thing aligned tenth step. So I'm going to say no alignment in this case. So we can, It's weird we should be able to bring this out in a nice way. It's not letting me erase. That doesn't look bad, but yeah, the issue is that the polygons are actually acting a little bit weird. So that's kind of okay. Actually, let's try some crazy stuff. Let's erase a couple of this polygons. Let's see if that will allow us. Now it's erasing everything. So one thing I could have done before jumping into this sort of things is I could have pressed Alt whenever I was building the circle so that it would have been easier to do this because as you can see, it's doing the whole island and I just want to do single poly. There we go. That's a little bit better. So, so now with this, I'm just going to push this up and one more. And what I'm gonna do is I'm going to use my Move. Move, single poly. It could be the, it could actually be also the symmetry affecting us. So, so I'm not denying that that could be the problem because I'm trying to move it to the right anyway. It's there. That's not that bad. Now one cool thing is we could also use our traditional tools. So for instance, the MOOC brush. We can also use the Move brush. And since these are very simple polygons, we should be able to get like a very nice effect very, very quickly. So let's make this thinner. And then we can jump back into our similar right here and keep on working. So I think I want to erase this guy's or actually no, I think I just wanted to bring these guys down and down straight like this, sort of like a master key from cellar catalogs like it. Let's go to the edge and let's move this edge down to create something like that. Some sort of like like heart shape. I like this. Again, feel free to explore different things with your, with your imagination. Because once we hit the option of here are the DQ for a subdivision, we're gonna get this, which is a very, very nice key that we can start working with and doing pretty much whatever we want. So this is just the tip of the iceberg of what you can do with some other guys. This being a basic tutorial for you in regards to see which hopefully this gives you a nice idea of what can be achieved. And as long as you keep pushing and keep learning, you're going to be able to create some amazing stuff. So feel free to explore with this. I'm going to continue now with the next part of this, of this object to get it into a nicer finish state, which is adding a little bit of like high-frequency detail and stuff. But again, feel free to keep pushing this and create amazing, amazing stuff. Let's see if we can. Yeah, let's push the thing there. And then I like that. I think those, those details are going to make it look like a cool key. Cool. Now, again, remember if you want this to be a little bit more of a hard surface, a theme, you can add some support edges or increase edges and that's going to work just fine as well. You can also pull the group that I forgot to mention. You can poly group things. So for instance, if I want to add a border here, I can go into edge, click and say poly group. And this is going to create the polygon for the poly loop. And it's going to be easier to just select this ball, league ball, and just move this outlook careful there, poly group Island. And let's move this out. Same. So again, cool thing. So a quick Bible here just to remember the Bevel tool. Those really, really nice. So look at that. There we go. You can also turn on worse it sit and then we can do it. It's some D on the tab, I believe is the inset. Let's do one instead like here. And then remember you can just click everywhere in. It's going to be the same insert. And then we can use another cue mesh and just push this in, click here, it's going to be the same. So when we do the D, We're going to get a very, very nice detail there. Cool. So what's the next step? Well, you can just jump into any brush you want and keep sculpting in here, for instance, I definitely think it's a little bit thick. So I'm going to use my scale brush to bring this in and make it thinner. And probably a little bit thinner on this side as well. There we go. I'm going to go into my sub tool and I'm going to say a couple of times, I'm going to go into geometry. I'm going to divide 1 two times. So it's really, really smooth. There we go. And now for instance, with my clay buildup, I can start adding a little bit of like rust and stuff. I still have a symmetry turned on. So this is going to be pretty, pretty familiar lists at one more division. And you can add whatever you want. You can start decorating this, for instance. Let's start doing this sort of like sculptural details from the key. We can use it for a minute standard, of course. Start cutting into these areas. Let's go for instance, up here, I'm going to change this to now, that's fine. Let's just do like a sharper circle like this. And since this has clean topology, similar to what we did with the double or the demon, is getting to be a very nice result. And again, we have symmetry on both sides, so we're going to be able to scope this sort of stuff. So again, don't overestimate the similar options that we have here in ZBrush. You don't need to rely on Maya or in 3D Studio Max or any other like secondary element to do some cool stuff in here, as you can see, we can do very, very interesting stuff without having to jump back into another software. And again, the more you practice, the more you advance in, the more complex your shapes become, the easier and nicer you're gonna get. For instance, maybe like a thinner head here. To give you this key a different look. Perfect. So hopefully you find this information useful Guys, this is the fourth exercise that we've done so far. In the next couple of exercises, we are going to be exploring other extra tools that we have in ZBrush. And some of them are really cool, like fiber mentioned cloth and textures. Some of them are really new to 2021. So make sure that you have the most up-to-date software and keep on pushing, keeping working. If you want to do a like a dwarfing column, that's an excellent exercise that you can do with this sort of technique. Like let's look for a dwarf and column because it has a very nice geometry. So doing this, we see Mulder, not a hard thing to do. You can very easily do. And then with all the techniques that we've been talking about, you're going to be able to do some very, very nice stuff. So yeah, let's, let's close the video for now, guys. I'll see you back on the next one. Bye bye. 16. Hardsurface Sculpting Basics: Hey guys, welcome back to the next part of our series two. There we're going to start with hard surface coating, which is something that a lot of people are really like. And I'm going to be showing you some very nice tricks that we can use to get to a nice point. So we're going to be working with one of our basic tools. We're going to be using nick, the human male average. So think is a really nice tool because he is in T-pose. Remember, just draw one, Control N T. And that we are a very nice sculpture that we can use it. So I'm just going to turn off dynamic perspective. And there's a couple things that we need to erase, so we don't really need this call. I'm going to delete it. There we go. Okay. And we can keep the ice so that's fine. We only need one. So the FIS though, so I'm going to delete that once. So, okay. Now be careful don't overwrite this tool because otherwise every time you start with this project, you're going to lose all that stuff, so that might not be what you want. And finally, if you check nick, he actually has a couple of options here on the layers. Now we haven't talked about layers, but layers are ways in which we can store information on from our characters. So we're gonna be talking about that in a later, in later video. But for now, I just want to bring the arms down a little bit like this. And we're going to bring the arms to the side like this. So here's even more like a V post, which is a little bit more standard nowadays in character creation mouth, we want to leave with close and we're just going to say bake all. There we go. So what we're going to be doing is we are going to be creating a nice hard surface like chess piece for our little guy or nice soldiers here for Nick. So imagine he's like a space marine and we want to create some sort of mass here that's going to protect him. So we of course need to look for a little bit of reference. So let's just close a couple of those things. For now. That's my cupboard creation. And let's go. I like Firefox. Let's go. Chest are more sci-fi to get some inspiration. So as you can see, one of the main things about chest armor is that it has this sort of blocky look to it. And so far we've done very organic looking elements. We did the octopi, octopus, we did the demon, we did the key in the last video, which was sort of hard surfaces, sort of organic. So now it's time that we jump into more of this sort of stuff. So I'm going to be showing you a couple of techniques that we can use. First, we need to define what the main mass of the body is going to be. And usually that's the chest. So what I'm gonna do is I'm going to be using a technique called extraction. I'm going to use my base mesh here to create a form out of this shape so that it conforms to the shape of Nick. So what I'm gonna do is I'm going to mask out with cemetery activated the parts where I want this to be. Now, the bigger the resolution of our character. So if we go into geometry and give it one division, the nicer the mask is going to be. So I'm going to mask right here about the pectoral muscles. Let's go to about here where the neck is going to be a cut there. You're going to see why in just a second. Let's do something like this. And let's go to about there. It's going to be my main plate, the main plate for my, for my chest. So now what I'm gonna do is I need to extract the shape to start working and creating our main mess. So I'm going to go into my sub tool panel. And down here we have the extract option. In the extract option I'm just going to hit extract. And it's going to give me a preview of how thick this thing is going to be. And as you can see, quite thick, which is good. So I'm going to give it a little bit. Less or more things probably gonna go like points 0, 3 for my character. Let's do extract. Yeah, I think I like this one a little bit better, just a little bit thicker. And I'm going to hit Accept. Now I'm going to get a new sub tool here which is called extract T2. And as you can see by default, it is masked. So I'm going to remove the mask and I'm going to click Shift and click on this little icon to make it disappear. So as you can see, this copied very, very nicely, the silhouette of NIC, which is very good but also not perfect for us. So what I'm going to do is I'm gonna go back here into geometry and we're going to jump into DynaMesh. We're going to DynaMesh this whole thing. And, but before I DynaMesh, there's one thing I want to create, as you can see the borders right now, our very sharp, very nice. If I turn DynaMesh on, all the borders are going to disappear. So we can turn on this option here called polish. And when I turn DynaMesh on, the borders are going to be kept a little bit better. Of course, the more resolution you have, the better the dynamic and the polish is going to be. So while in DynaMesh, I'm gonna be showing you, and this is the main core information about this video. We're going to be looking at a which are the most commonly used tools for blocking in our element before we jump into the Polish section. So I'm going to use my naming standard. I'm gonna change this to alpha like 46, which is a very sharp Alpha. I'm going to start marking where I want my divisions to be. So I want a division right there. And then I'm probably going to want a division going down here. And let's say I want like a cut right here, like this. So this is of course it's going to go like up there. And there we go. When we did DynaMesh, that line, as you can see, it's going to be a little bit sharper. Now of course, the more intense I draw the line. And the higher the resolution of my DynaMesh, the more intense the polish is going to keep it. So I'm going to increase the resolution a little bit. Usually when working with hard surface, you do want to have a high resolution. There we go. Another great brush to work with this is called the trim line that we've already worked with this one because this one that flattens a lot of things. So I'm going to start marking where the main flat areas of my element are. So for instance, all of this area right here, I definitely want to bevel the site here to give it a very, very nice like hard surface. You look, there we go. So right here, we also want to have like this sort of Babel right there. And then I'm going to use my clay buildup. I'm just going to start carving in here to get a nice interesting effect right above there as well. Or effect. Careful there on the, on the inside DynaMesh and see how nice and sharp this is looking pretty cool. I'm going to use another tool called the Polish be p and then o. The Polish, it's a little bit like, like the, like the trendline dynamic, but it is usually not as damaging. So as you can see, it will try to keep the surface a lot cleaner and it's really good when working with my, my Polish DynaMesh, so I can use my Polish year topology. All of this area right here, the neck area that I'm working with, I'm going to use my name and a standard again to break this thing out like this. So when I look at how sharp that thing's looking, very, very cool right? Now. One of the things that you might want here is we might want to have this pieces at separate pieces so that they look like panels rather than what we have right now. So how can we do that? Well, if we take a look at the poly surface, you're gonna see. That we actually have several poly groups. We've already talked about polygraphs quite a bit. So I'm gonna go down here into my Poly Group section. And I'm going to select up here other groups. There we go. So without the group selected, I'm actually going to use my masking tool. So I'm going to mask this area right here, which is like the neck cover. So let's mask all of this area. Careful not to overstep the boundaries there like that or effect. And then once I have that selected, I'm gonna go Group Mask. There we go. And we're going to do the same thing over here with this bottom little p. So we have, it's looking really nice. And I'm gonna do another Group Mask. There we go. So now we have two different poly groups. The only thing we need to do is we need to split them. Now there's two options here. We can split them on the same tool or we can split them on different tools. If you want to split them on the same tool, which is what I think will work best right now. I'm just gonna go here into my geometry option and I'm going to select DynaMesh, but I'm going to turn on groups. So now the next time I DynaMesh each group, as you can see, it's going to be its own element. So I can just control shift, click this guy, polish a little bit of this area right here and clean it up a little bit. Then the Michigan with everything precent and we're gonna get this very nice sharp element here. So this is going to live alongside everything else. Now of course, we're going to have to go here. We can do like a trim dynamic and then just polish this area right here a little bit. So we get like an inundation where this thing is like pretty much pressing against. Careful back here. The back sides of the farmers are always something that you need to take care of because otherwise they look Wang wrong. There we go, DynaMesh and look at that. So now we have two pieces that are part of the same element and they will never merge because we don't have that option selected there on the DynaMesh time. Now for this piece right here, we can start adding more stuff. For instance, we can do DynaMesh. Let's increase the resolution a little bit. And let's start adding like, like a little bit of a cut. Same thing for this guy. So let's mark that got a little bit deeper. So when we did that in the mesh, that thing is respected a little bit better. Now there's one secret that people won't tell you when we're working on this kinda stuff. And that's the fact that the V1, that cleanest possible armor, you're going to have to box model. There's no way you can get like super clean and sharp edges without bucks modeling because this board edges in that topology structure that we get from bucks modeling is never going to be beaten by just this sculpture element. However, if you want this sort of geometric and a little bit more robust looking, more and more organic looking shapes like, like alien airborne and stuff. This is actually a nice method. So I'm going to use my clay buildup to really push the square shape here because I wanted this to be as nice as possible there, perfect. Now you can see that even though we're doing our best to try and get this into like sharps, stuff and shapes. It's not perfect, right? So we can still play around. We'd like the polish brush and tried to get like the perfect. A trim here, but it's not going to be perfect again, unless we do a little bit of box modeling. So here is where the C ring measure tool comes into place again. Because if you remember, what the serum measure will do is it will give us a clean topology. And clean, clean topology means sharper edges. So what I can do here is I can keep on the sculpting, do a last DynaMesh there, and then jump back into Syria measure and he'd see remission. So what sera mesh will do is, as you can imagine, it will clean the surface up. And now if I do control D to divide, the lines and sharpness will be a little bit better than what we have with DynaMesh. So now we doubt working with DynaMesh. I can start pushing This elements again. For instance, I can do the polish brush again to start pushing this areas here. There are sources, another polish brush called cold the heart polish, but that one's going to be found here on the lights, like books, brush. And then you jump into the polish brush. And there's this Polish hearth. And this one is really nice because it's a little bit more aggressive. This is going to be, or you will allow you to have like sharper, sharper planes as you can see there. So see how nice we can get that division there. It's like babbling. So creating our mercury and hard surface stuff is really quite a bit of work here in C brush. Again, a little bit more of a background in box modeling with Maya. So this is one of the things that I would actually recommend doing, either see modeler or just going to a traditional package, because it oftentimes does get quite tricky. Now there's people that have mastered this sort of techniques in, and they can get some very, very nice as sculptors here. And I'm going to use polish hard to give this a little bit of polish, sheer luck on the, on the upper side. I can isolate this because this should be a palindrome actually, no, it didn't. So I can go into other groups, other groups. And now this should be its own poll group. And I should be able to just like polish this area very, very nicely. Let's do like a, like an inner border here. There we go. So this is becoming a really, really clean piece of armor here for our character. Let's cover that. Look at that nice and clean. Again, if I wanted to clean this even more, I will definitely jumping to like a traditional package and modify this so that it really, really push us the exact shape that I'm looking for. But as you can see that this is not bad. If we turn on our little guy here, our little nick. That does look like a nice piece of armor for him. So in order to make this simpler, I'm just going to jump into this guy right here at careful here. If you want to do another extrusion, you're going to see that one of the things that we're going to get is that the mask that we used before is still there. So let's do like a quick like cloth for him. Let's do just like a like a spacesuit. So I'm just going to link a shirt that's going to go all the way to here. And the, the armor that we're doing is probably mounted on top of this shirt. And the only reason I want this shirt is to have a little bit of something extra to make it look better. So that's the shirt I'm gonna go down here to extract, extract. Of course this is going to be not as thick, so probably points here one, we extract and we hit Accept. So now if we take a look at the whole thing, we're going to have. Why did I not extract, extract, and accept? There we go. I am going to smooth this out a little bit. So that's a little bit more like skin tight. It's fine. Don't worry too much about that. And there we go. We can even change the color just to get a look of how this thing is going to look. This is where materials are really useful. For instance, if I go to the reflect red, I can get an idea of how this armor is going to look, which can not bad. Let's go, go, Let's go back to our starting material. Now. There's a couple of extra brushes that I want to show you right now, which are the clip brushes. Now I'm going to use them with this particular piece right here. So I'm going to jump into this piece, grabs this guy right here. And first thing I'm gonna do is I'm going to mask this out, invert the mask. And then with my gizmo, I'm going to bring my gizmo up here. I'm going to scale it up a little bit. I'm just going to move it up to become like a like a more protective neck piece right there. So the clip brushes are a very nice way to work with. What's the word? With hard surface. But they work in a slightly different way to any brush that you've seen so far. You're going to access those by pressing Control Shift and going into the options here. And it's going to be this clipped curve. The first one that we're going to see how this works is the following. If you draw a line, you're going to see that this line has a white dotted line and a gray or black gradient to change that or to two. To explain what this does. It's pretty much, it's going to push all the polygons that you see on the gradient sight towards the dotted line. So if I do this right here, you can see that we get a very, very straight god there. It's not cutting the geometry, it's just pushing the polygons towards that area, so it's not gonna be perfect. We're actually going to be using this a little bit more back with dynamics. But for instance, if I wanted to have this is a very straight gut, I can just do something like this and look at that straight gut all around. I can just modify my camera, move this like this. And there we go, straight gut, right about there. If we go to like surface right about here, I can do this, make sure that the gradient is pointing up. And by doing this, look at that very nice straight got again all around the edge. Now one cool thing about this particular tool is that we can actually do some curvature to it. So for instance, if I want to do like a little bit of a curvature up here, I can start drawing double-tap Alt and then draw over here. And we're gonna get this very nice bevel there. Now, careful though, because again, it's not erasing geometry is just moving it around. So I'm going to have to deliver the smoothing here and there to make sure that the topologies is following nicely. But you can get some very interesting shapes by using this, this technique. So for instance, if I want to get like a curvature here, if you don't double-tap, but just that, once you're gonna get a curb, look at that again, interesting bits, right? So those are things that you can use pretty much everywhere. Just be careful with this. If you have like a short curvature, everything that's on the other side of the curve, it's actually going to push together. So see how we get that very weird deformation. So you want to be very careful in how you create this sort of cuts. That got, that's fine. This guy right here, That's fine as well. But if I were to do something like this, complete mistake because once the first thing that the gradient is on the inside and that's going to create some very weird wonky elements. And second, I need to make sure that I'm only clipping the parts that I need. Shoot for instance, that point right there. Now, the other clip brush that we have is the clip, clip circle. And this one's, it's kinda cool. It's not super perfect to be on this, but the way it works is you create a circle and anything that's outside the circle will get clipped towards the edge. So if we do something like this and press Alt at the same time, we're going to pretty much erase that circle. So again, handy, yes, but be careful because this is not eliminating the surface, it's just pushing the surface towards the limits of the circle. So here, see how we get this really, really badly being here. That's something that you don't want. So usually when we use the clip brushes, we use them when we're working on DynaMesh is still, this is not something you use this late on the process, but it can be used and it's not going to be a bad, bad result. I'm going to quickly open the demon, going back to our other projects. Let me, let me go here. Go see tools, demon, save it. Probably didn't save it. That's a mistake. But remember we have a quick save here and the quick shape, we should have the daemon right here. So no, I can't do that because they follow the demon. That's a different project. Now they C2, what's going to happen is this project that I have written that it's going to get erased. So that's fine. I'll talk about the demo. What I want to show you was how we can use this tool to cut around the corners of the arm and give him give him a different look. But so far so good as you can see, we have this very nice basic shape right here. So in the next video, I'm going to be showing you how we can use other techniques to add on top of this element. So hang on tight, and I'll see you back on the next video. Bye bye. 17. Hard Surface LiveBooleans: Hey guys, welcome back to the next part of our series. There we're going to continue with the hard surface sculpting. And we're going to be talking about a very interesting topic which is light booleans. So let's get to it. Like Booleans are a way in which we can add more details to our element without having to rely so much on sculpting. And the weight booleans work is actually very simple. Let me show you. I'm going to actually select another option is I'm going to go for like a cube and I'm gonna make this a poly mesh 3D so that we can work with it. And the way booleans work is by adding, subtracting or intersecting shapes. So the way it works is very simple. I'm going to append something like a rank here. I'm going to scale this up. So we can actually see it. There we go. As you can see that this ring right now is intersecting my square. So by default, light booleans are not on. You need to go up here to this option and turn light Booleans on. And once this is on, it's super, super simple to work with this, you're just going to go to your object here. And at the side of your object, you're gonna see that you have this spheres. There's one means addition, subtraction, and this one is intersection. So if I select the ring and change this to subtraction, what I'm going to get this, I'm gonna get a live preview of how this shape is going to become more how, what shape I'm going to get if I subtract this ring from the square. So the cool thing about light booleans is that you can actually modify the shape that you're subtracting. You're going to get in real time a preview of how this boolean is going to work. Again, this is just a preview. This is not the actual Boolean. This is just telling you, Hey, if you subtract this shape, you're going to get these elements right here. And as you can see, we can get some very crazy looking shapes in a very, very fast way, which is super, super cool. So another thing that we can do is we can do addition. And of course this is just an addition. So it's pretty much just like overlapping the objects and we can do an intersection. So two objects intersecting, intersecting will give me this sort of result. So for instance, this shape right here looks quite nice. I would say circle, but it also has this nice beveled edges. So maybe we can use this shape to subtract from the armor later on. How do we convert this element into a workable surface? You're gonna go down here into the sub tool. We're gonna go into Boolean and you're going to say make Boolean mesh. And what this will do is it will create a new tool that pretty much triangulate all the surfaces here and creates this Boolean mesh. Now this Boolean mesh can be used as some new piece, for instance, on our element right here. So how can we do that? Very easy. I can go here to sub2, append, append that Boolean mesh, which is going to be somewhere. Let's just find it, kinda select it and press F to find it. Let's see where it is. Super small here on the feet. So I'm just going to move it out. Look where this I'm going to press this button which goes to the center. It's like center pivot. And then it's going to start making it bigger. Perfect. So I'm going to position this in someplace where I would like to add or remove this piece from my armor. So let's say we want to have some sort of detail on one of the borders here. Very common for armors, right, to have this sort of detail. And let's just change this to. This option right here, which is subtraction. And now we can just position this and find an interesting place for this thing to live. We can go back to addition to first, find the perfect place that we want to create this pattern in. And then we divide. So for instance, let's rotate this a little bit, rotate this like this. So that we get this division right about there. We can even increase the scale so that we buy that piece. There we go. So now we press division, look at that. We get a very interesting looking element there on our armor. And if we mirror this thing, see plug-in to master mirror, hit OK, it's going to be right there. Perfect. Now remember this is only a preview. We still need to create the final polymath 3D later on. But again, pretty, pretty handy and we can modify this most of the round like position, maybe like right about there. Like I think that looks okay. Probably a little bit too deep. So let's just move it up a little bit. And there we go. We get a very, very interesting detail that would be almost impossible to scold by hand. Now what else can we add? Well, I'm going to append the new sphere here. And I'm going to position this sphere pretty much anywhere. Like it doesn't really have to be in a place that I needed to be. But I can use this as fear. Asked my subtraction as well. So let's see, we want to have some sort of Iron Man effect on the middle there. I can just have this Assaf, this is obstruction and just position this fear or where I want this armor to have this sort of effect like this. And then they can just duplicate this sphere, make it smaller, changes through addition. So right now it's, it's adding habit right there on the center, like that. And then maybe I want to have another detail so I just duplicate the sphere again, move it out, make this subtraction, make it smaller. And look at that. We get a very, very interesting looking shape, very interesting looking element. Again, without having to worry that much about topology or sculpting this by hand because these are all Boolean operations. So feel free to use any sort of cube shape, form or whatever primitive you can find. And you're going to be able to create some very, very nice-looking primitives. Now this is not the only primitives that you can use. I'm going to show you one more in just a second. So let's say that I want to add a little bit of a cut up here. So I'm going to rotate this, move this around. Let's get this to negative. And look at that, that nice square like shape right here, cutting there. Now, if you are with a simple object like this cube and you want to duplicate this object without cloning it, you can just press control alt and drag. You're going to create a copy. In this copy is also going to behave in the same way as every other piece that we've been using so far. And since this is a copy, the last one is actually masked right now. So I'm going to be able to modify this cube into like a different shape and create like a different pattern as well. So for instance, let's do another leg sort of square-like shape here. Again, Control Shift, drag, MOOC down here, and look at that. We get another shape right there that's looking really, really nice, which would be very difficult to get just by sculpting by hand. This is where Booleans have like a really, really strong power. And that's the fact that they can create this very nice looking shapes without a lot of issue because all we're doing is we're creating this from scratch. Okay, so what else can we do? We can also use insert multimedia, but that my friends, it's something that we're gonna be talking in the next video. So this was a short video guys, just the light Boolean function, which is you can see is really, really handy. I'm gonna be showing you the last technique that we are or that we can use for hard surface, which is insert multi mesh in the next video. And then we're going to quickly do the shoulder path here and maybe like another piece of armor right here. Just to show you again how we can use poly groups and other techniques to create hard surface stuff. So hang on tight and I'll see you back on the next video. Bye bye. 18. HardSurface IMM: Hey guys, welcome back to the last part of this theory about hard surfaces sculpting. So we're gonna talk about insert multi mesh, which is a very, very handy tool. Now, we've already talked about insert multi mesh. We use it when we were doing the demon and we inserted the ear to the side of the character, but weren't the one that we're going to be using it on a different way. There's some technique in hard surface modeling called Kid bashing. And keep bashing is really, really useful because it allows us to, to add more detail to our elements without actually adding more detail to the elements. And what they mean by this is we're going to be keep bashing pieces on top of the, of the object. This is any technique again, that it's used quite a lot. If you take a look at Titan full for instance, which is a great gain with a lot of robots and the hard surface stuff. Most of the things that you're seeing here are actually kit bashed. I had the pleasure of looking at the markets that they used for the game back when I was a student at Gnomon. And what they do is they pretty much grab a kid. Elements of pieces like weird-looking sci-fi things, cubes, hostesses, railings and stuff, and then just paste them together until they get a very nice looking element. So what we're gonna be doing is we are going to be using some kid bash to add on top of this armor and create a more convincing element. Now to do this, we need to create a placeholder. So I'm going to append a sphere here. And then this is fear. We're going to make really, really small and just get them, get that sphere inside the body of the character that's here is just again as a place holder and using this as feared layer, what I'm gonna do is I'm going to press B i, and you're gonna see here then we have a lot of very interesting elements like this Boolean pieces. And we also have this like individual parts, machine parts and all that stuff. So I'm going to use this machine parts for now. And there's a lot of like bolds cylinders, adenylyl spindle, pistons and stuff that we can use to add to our character. So let's start with something, something simple. Let's do some sort of like this racist style thing. So I'm gonna select this guy. I'm just going to drag and draw on top of my element like this. And as you can see, what this allows me to do is I can add stuff. I can add a kit of elements into the object and it's going to conform to the form of the thing. So now I can go into C plug-in mirror and just mirror on the X axis, you're going to see that we get the same thing on both sides. And just by doing that are like thing here is looking a lot more interesting. Now, unfortunately, we can't do DynaMesh because if we do DynaMesh, all the nice little detail from this keep batch is going to be gone. But we can do live Boolean if we need to. I'm going to add a or am I actually going to go back here? Instead of using this Insert Multimedia machine, I'm going to use insert, brush, Insert, and we're going to use this inserted multi mesh Boolean because this actually has some very nice things that we can use as booleans. So let's do something simple like this oval thing. So if I add this oval thing, you're going to see that this thing is going to be drawn on top of the surface and invite, select this subtraction. We're gonna get that nice little detail and we can add as many details of we want. So for instance, let's, let's think this through. I'll probably have like one big detail here. And then we can change this to black holes. Then light at a couple of holes here. Probably like about there. There we go. Let's add this frame and we can divide the earth, take away this frame. Now, that one looks kinda weird. Let's do this double indentation here, and let's set it right about there. We could of course, torn, turn semi symmetry on. Actually, let's go back and turn symmetry on from the beginning so that when we insert, we get the detail on both side of things. So you might be seeing this and saying, this is amazing, like, this is like super quick detail that we can just add and our armors going to start looking a lot nicer and yeah, that's it. There's no secret to this. It's a very nice quick way to add detail to our stuff. And the secret here is going to be that you need to take a look at reference and make sure that your reference looks good. Like if you're, if you're referencing some nice like space marine armor, just make sure that whatever you're referencing looks nice and the end you're not overdoing it because that's something that happens quite often. People overdo this sort of details and then it starts looking like really, really weird. So you want to keep some rest areas as they're called, which is this arrow right here. And then you'll wanna do like some BC areas, like what we're doing here. Now I'm going to jump back here. I'm going to use multiple logical to give this thing a little bit more volume here. And then I'm going to jump back to my fear, this fear that I'm using for my light Booleans. And again, keep working on the Booleans. So let's see what else do we have here? Some other stuff. So like this mg dot, Let's add like a like a line down here. Maybe like a couple of screws. I'm going to use that energy Douglas as a screw. So I'm just going to add one there, one there, one there, and one here. Now remember this is a Boolean, so we still need to convert this to like actual workable geometry. And that's gonna take a while. Well, nothing left to take a while, but it's going to it's going to work in a different way. So there we go. Perfect. So let's say we're happy with our design. Like I like this, maybe I do want to add a little bit more stuff like up here. So I'm going to isolate this. Oh, they do. Let's oh, yeah, because this is a mesh. So no, I actually wanna do is, so I'm gonna select this guy. And let's just do like a panel lab, maybe something simpler like this. Yeah, that's a little bit better. Yeah, that looks good. I like it. So now we need to convert this to an actual mesh. So what I'm gonna do is I'm gonna say down here, make Boolean mesh. So anything that it detected, it's going to be converted into a mesh. The problem is since the soldier and the shirt and everything, it's also turned on, then everything is going to be converted and we don't want that. So I'm going to turn off the soldier, I'm going to turn off the shirt, turn off the eyes, and turn off the base so that only the chest piece is visible. And with the chest is visible, I'm just going to hit make Boolean Michigan. And there we go. So this will be our mesh is now workable. Now as you can see, there's a couple of mistakes here or errors. So if we tried to solve that, that's going to be, that's definitely problematic. That's something that we need to fix. However, we can't just do geometry DynaMesh because of course if we do that, we're going to lose all the geometry, all the nice little Booleans that we did, That's going to be lost. So that's something that we would definitely need to fix. So let me see if we can fix it from this bar right here. And I'm going to jump into this area. And let's just control C a little bit until we get rid of that. Like, there we go. So at that point we shouldn't have any weird looking elements. So now I'm going to do the Boolean mesh. There we go. We're gonna get our clean element right here. Now, what I would suggest you do after this is clean, all of this stuff because we don't need any of these elements anymore. So I'm gonna select this guy right here. I'm going to press MOOC down. So it's down here beneath the guy, the shirt, the eyes, and the layer. And I'm just going to go one-by-one, deleting all the elements, lead, delete it because otherwise it's going to, it's going to contaminate the whole scene and it's going to make it a lot harder to keep it organized. And now that I've deleted everything, I'm going to append these, you mesh back again. So it's pretty much as if we have combined the whole thing and we can see the whole element into a single mesh. So how can we add like a cool material to this thing to see how it will look as a metal element. Easy, I can go to my standard brush. We're going to be talking about painting and materials very soon. And I'm gonna go here into m RGB. I'm going to press M RGB, and I'm going to select the material that I want this piece to have. And I'm going to go in this case two, I think this reflection ready School. And I'm going to say color fill object. And then I'm gonna go back to my starting material. So now this armor piece right here is going to be colored with this element, with this metallic paint. Now one thing I wanna do is I want to play around and see how this thing would look if I damaged it. This is going to be the last part of this video before we jump into doing it. Some quick shoulder pads and some nice extra armor here. So since this geometry is actually not suited for anything, not even division. If I divide, sometimes you're gonna get some very weird lines. You can see them on there. We're pretty much stuck with what we have here. The only possible option we need to do a DynaMesh with a very high resolution and with Polish turned on. Let's try that very quickly. So I'm gonna go here, Barry, high resolution, I'm going to keep polish on. I'm going to say DynaMesh. Not enough. We're going to need even more resolution. Let's do like 1200. Dynamesh. See, even with 1200 is not enough to really keep that detail. So not really something that we're going to be able to do. And again, if I tried to divide this thing, you're going to see that we're gonna get some wink, weird lines here and there. So what I'm going to do instead, so I'm going to do a trick called the layers. I'm gonna go back here into the layers. We talked about this before, and I'm going to create a new layer. Now in this new layer, I'm going to use my Clavier, start damaging the armor. And I'm going to go really, really to town on this thing. I'm going to have like some bullet holes here. I'm going to use my name and the standard to, to like really a scratch it up and really, really damaged dam. Imagine this guy went to war. He god-like, really bad, be the, right. So if I start just doing this thing, I'm going to start getting some very, very nice results. Now of course you could do like some alphas and stuff to get another, a different result. But the cool thing about deformation here with layers is that the layer, when I create it, It's been recording. I'm going to tap here so that it stops recording. And now I can blend in how much damage I want for my character. I can have a really clean armor when I'm at 0 and they can start damaging this as soon as I start pushing it towards the number one. If you're familiar with morph targets, this works kinda in a similar way. It's kind of like having morph targets. And you can blend the and kinda like animate in how much detail you want. Now, I will advise that or yeah, warn you that layers are a little bit finicky, so they sometimes crashed the software and just be good and we'll say frequently and you should be, you should be fine. But as you can see, we can get a very nice-looking element. We can add this little detail here with the layer option on our character. And it's going to look really, really cool, really, really nice. The next thing is we need to do a little bit more work. We need to add just a couple of shoulder pads and maybe something here on the torso to call this exercise is done. Hopefully with this, you can get an idea of the process that we usually get to do some sort of pieces like armor. Of course, if you want to do like a full armor, again, if you look for ZBrush sci-fi armor, you're going to see people doing some crazy, crazy stuff like Look at this guy. This guy looks really, really nice, right? It's the same technique is the same process. Of course, this usually takes 20, 30, 40, 50, 70 hour. So you can take quite a bit. But the tools that you're going to see whenever you watch like a tutorial about this thing or you try it on your own, is the same, same technique. It's going to be a lot of poly grouping. It's going to be a lot of hard surface polishing. It's going to be Booleans, going to be just like traditional modeling and stuff. So for the shoulder pads, I'm gonna be showing you another technique that you can use. You can use which is going to be a panel loops. And for the part right here, we're going to do a little bit of see modeling so that you can see how we can apply that kind of thing to this area right here. So yeah, this is it for this video, guys, keep on working, keep on pushing. And I'll see you back on the next video. Bye. 19. Polypaint part1: Hey guys, welcome back to the next part of our series. We're going to continue with the next chapter in our series with the next unit. In this case, we are going to be talking about the texturing, but not just high surface details, but actually paint. So we're going to be starting with poly paint. Now before we jump into this, I just want to make sure that we're on the same page. In the next couple of videos, we're going to be exploring some of the very nifty and cool tools that see Roche has. However, these tools are usually a little bit easier to explain, so they might not take three videos to explain each of the tools. We're probably going to have some two videos, one part video where I show you this cool ideas. And the thing is, I want to show you this techniques because we're gonna be using most of them for our final project. And I want you to learn them so that you can apply them anytime you need to work on your characters. So what is polyploid? Polyploid is a way in which we can paint, as its name implies here in ZBrush by adding color to our character. Now, this only works for ZBrush. Of course, you can export the textures later on and bake them into a texture map or something. But the view them have uv maps and your character is not gaming rarely or animation ready. You won't be able to actually texturize them in the same way that we would normally do. Now before we jump into. I mean, there's a couple of things that we need to set up to make sure that we're all in the same page here. So I'm going to select my starting material. Let's go to the basic material, which is just this very gray material is slightly different than the one I usually, I'm gonna go to my standard brush because this is the brush tool we're going to be using. Let's turn this texture off. There we go. And I'm going to change the stroke from direct to color spray. Now colors pair is going to be really, really nice because this actually going to give us some variation here on our character. And the way poly paint works, It's actually really, really easy. The only thing you need to do is you need to go up here to your brush setup and turn off CNC. So I'll make sure both of them are off. You also want to turn off m In case it's on and you're going to turn RGB on. Now when RGB is turned on, you're going to see that we have this RGB intensity right here. And this is what's going to allow us to paint on top of our character. Now if I select a red color, I am going to start painting read. The problem is I won't be able to see what's happening unless I, I feel the whole object with a basic coat of paint. So I'm going to jump into my head, into the character's head. Let me turn everything off for now. And what I'm gonna do is I'm going to go into the color palette and I'm going to say fill object. Now, since our RGB intensity is set to a 100, what's going to happen here is I'm going to fill the object with pure white. Now if I change color, nothing else is going to change. But if I have this guys turned on, you're going to see that they do change colors. Now, this little brush right here, this turns on PolyBase. So if this is off, you're not going to see and you're going to get whatever color you have here and there you have it done, whether you paint, that's what you're gonna get. So let's turn these guys off again. And now we can start adding. Our points are color. Now, as you can see, one of the cool things is we're gonna get this plaster. And if you take a closer look, you're going to see that the color barrier, it's there. It's actually very, very nicely. We don't have a pure red. We have some nice soft like blues and purples. And that's because of the color spray. We have this color intensity barriers. If I move this all the way up, I'm going to get the confetti of colors, which is what we're going for, right? So I'm going to keep this color intensity variance low. And that's gonna give me some nice variation in don't look at those nice yellows and browns. That's going to look very, very nice. And it's going to give the skin a very realistic look to it. Now, one other thing I'm gonna do, I'm gonna go here to the alpha channel and I'm going to select the D alpha 23, which is this substrate here. And what this two guys in combination will do, they will pretty much create an airbrush for me. Look at this. Beautiful, right? So this is gonna give us a very nice skin texture for the whole character. Now what do you need? One thing you need to keep in mind with poly paint is that poly pain works with the amount of resolution that you have. Because what it actually does is it paints each bird to see as a different color. So if I do this and then I lower myself the visual levels, you're going to see that the color gets pixellated as well. As soon as I go up again, I'm going to have these very, very nice colors. So make sure that you're working with high subdivision levels. Otherwise your Polypanel is not going to look as nice as possible. Now, we're going to be following a technique that I like to call the count technique. And that's because our character is going to look like a clam for the first couple of minutes. And then we're gonna get into a very nice position. So before we jump into that, Let's select one, like skin tone or skin color that we want to add. So let's look for alien concepts. And let's see we can find some nice like inspiration for skin tones. So let's see. We can go realistic like grayish skin, but I think we can go a little bit more interesting, more interesting tones. I like this one. Let's try this yellow, purple combination. I think that's one. That one's going to look interesting. So what I'm gonna do is I am going to grab my basic color and I want the basic color of my character to be read because he has a skin and blood and stuff. So I'm going to do a very quick pass, very soft with a small brush so that the dots are small all throughout the character. It's okay if you don't cover the whole character, that's actually going to give us a little bit of extra barriers. That's going to make it look really, really cool. There we go. So usually the red color is going to cover every single area that your character has that has blood flow. So for instance, the ears, the nose area, and any place that has like a lot of muscles and stuff, you usually want to add a lot of red there because since there's a lot of blood, you're gonna get a lot of pigment. So there we go. Now, I'm going to change to a blue color. The blue color we're going to use it for cavities. So any place that you see that the character has carried this very softly and this is a trickier very softly. You're going to start filling this with blue. Now why softly? Because if you go really hard, you're going to see that we lose all that nice red that we had before. However, if you use your way com tablet and you go really softly, we're going to start getting some sort of blending in between the elements. And this is gonna give us a very, very interesting texture for our characters. So all of these areas here that's a little bit blue, like oldest down area. So any any place where line light doesn't shine, where you have like big cavity this and stuff. That's where you want to place a little bit of blue here. And as you can see, the Pauli paint is actually really, really friendly. It's not a difficult tool to use. It's very easy to manage. And we're just painting. We're not messing with any sort of what's the word. And he sort of like weird Alphas or anything is just like dots, small dots that make this thing pretty much like an, like an air brush. There we go. Now I'm going to grab my yellow color. And with the yellow color, what I'm going to do is I'm going to hit all the bony areas. Bones usually have cartilage and fat and stuff or bones don't have fat, right? But any place where you'll find bones, cartilage, and fat, you're going to want to have a little bit of extra yellow in there. And what I'm trying to do something to cover pretty much every single piece. This technique, by the way, of course, I didn't come up with this. I've, I've learned from other teachers and stuff. But this technique is one technique that they use quite a bit in like real prosthetics whenever you see like real like mask sense of being made, this like clown technique is very, very popular. It's, it's one of the most used techniques because it gives a very realistic tone, as you can see here. And there we go. There we go. We have our basic like layer for the heart character, looking really, really nice. So now let's decide on the color. If you remember, we decided that we want this to be yellow and purple details. So what I'm gonna do is I'm going to go and find one nice yellow like this, mustard yellow here. And I'm going to lower my RGB intensity to about like a 10 percent. Now, it percent is fine. Now if I go to color and I say fill object, the object is going to feel with this yellow, but it's not going to overwrite all the colors. It's just going to be an 8% intensity layer. So what I can do is I can do this several times until like kinda hide the main colors but without losing them. See that? So look at this, look at this amazing skin color that we have now, like this is giving us very, very nice variance all throughout the character without having to worry about contaminating any other stuff. Now, when I show you a couple of neat tricks that we can use to push this even more, to give this a little bit more crunch the whole thing. So I'm going to go down here to my, to my masking tab and there's a very nice masking feature. You already know that we can paint a mask right with our order or Control and just paint. Well, there's several like automatic masks that we can generate. For instance, we can go here to mask by cavity. And if I hit masked by cavity, every single cavity in my character's gonna get mask. Right now it doesn't seem like much. But if I increase the intensity here, for instance, and I masked by cavity, and I invert the mask. Actually, let's lower the intensity. There you go. Let's increase it a little bit. There we go. So it might not seem like much, but it's masking it there. So what I'm going to do, I'm going to grab like a very crazy color. And let's do like a really intense RGB intensity. So if I do mass by cavity and then invert the mask and then say color fill object. All the cavities just dot filled with that pinkish color. And you can see the difference here. Look at this. This is before the cavity, and this is after the cavity. See how we have this very interesting like pinkish color there. So it's going to help us push the colors even more into our character. Another way you can analyze this, if you go into your material and you change your flat color, you're going to be able to see what's happening here. So let me go back a little bit. Let's do another like a really big intensity. There. There we go. That's a little bit better. Let's invert the mask and let's choose this like, so like a deep purple color for like shadows on all the crevices. And I'm going to say color fill object will color fill object. So now every single cavity is filled with that color. Of course, if we change to the basic material, it's going to look really, really bad, right? That's why before we do this, what I'm gonna do is I'm going to reduce this to about a 10 percent. Again, I'm going to say color fill object maybe a couple of times. And that is going to give me, if I go into my, my flat color like that. Very nice definition of the elements without me having to go. Each individual wrinkle and painting it right there on the character. So going back here into the basic materials, you're going to see that we have a very, very nice effect going on. I think I want to start pushing like the main colors of our character. Now instead of referencing a concept art, why not reference nature? Remember, nature is the most interesting inspiration for us. Like we're going to find some very, very great reference from bugs, from like crustaceans, from fishes, from every single thing that you can imagine, you're going to find inspiration here. So let's look for the yellow animals. Hopefully we don't get like just keep stuff but that's fine. Like this frog. Like look at this rock. This frog looks really, really cool. Look at the details there on the frog and on the, on the different elements. So let's just a frog as a, as a reference. Let's go back here. And what I'm gonna do is I'm going to grab my yellow color, like a really bright yellow. And I'm going to start adding some interesting like stripes up here. Maybe not there. This is where the sign also comes into place. So if we take a look at this guy right here like frogs, we're going to see like this. I like the black lines. So I'm going to, I'm just going to brighten the fork and a little bit more with this yellow. So you hold very softly, I'm adding this yellow. You never wanna go like full color there because you're going to overwrite a lot of the stuff that's already in there. Now, let's turn on the horns as well, because the horns are going to play an important role. And even though we're not using them right now, you do need to keep them into consideration, are given consideration. So this right here. Usually animals have like a darker skin tone on the back. So I'm going to go for a dark brown here and we're going to start adding this sort of like dark spots here on the back and the chest is usually a little bit lighter. So this is how I'm darkening of the skin all the way. But again, I'm not going to like Fool there. You can also control the intensity with this slider right there. So by having a very low intensity, no matter if you like press a really, really hard to wake them tablet, it's never gonna go like full, full, full color. There you go. I like that. Now, I think I want to add, since we have this very interesting lake patterns here on the forehead, I think I want to add like this, black like splashes. So splashes similar to what the frog hat. So in this case, I'm actually going to erase this thing or change this thing and change this to like alpha 25 to get like a different contexts. You're here, say, I'm gonna make the brush is smaller. And this is going to allow me to just start creating like kind of like a different pattern here. So I like that. I think I would like to add some dark spots in this area like on this, like big crabs that this guy has right here. And one of the things that you need to remember whenever you're doing this kind of thing is nature usually fates, things how you're never going to have like, like something like super obvious on one spot and then nothing else. So if I have this line is right there, I would expect to have something else probably like like here, right. Like like a tiger stripes. Like going down here. And then maybe like some like really dark spot right here. Look at that, That's looking really cool. Again, feel free to experiment with this if you're following or if you're doing a different alien, that the one i'm, I'm doing here. Try to use different colors like go we'd greens go with blues, go with rest, have fun. Remember, that's, that's one of the main, of the main goals of this, of this course for you to learn of course, but also have fun. So I'm going to use like a very nice fine lines here to, to paint this elements come like war tattoo. So I think I'm not sure if this is looking way too edgy, for instance, but I think it's looking okay. Now the cool thing about this is again, we have all the backup here. So if we need to go all the way back to before we did all of this things. We can also jump back and we can adjust things accordingly. So I think I like this like main like main spot right here. I think it's it's, it's interesting. I think it goes, we'd like the kinda like demonic effect that this guy has. But I don't want this to be like pure black. So I'm gonna go with like a yellow. And now I'm going to start like fading in like a couple yellow lines in here. Again to create this sort of pattern, like interesting pattern that this guy could have. Cool. So I'm going to stop the video right here, guys, this is just the basics of poly paint. In the next video, we're going to keep on publishing this and getting into a nicer effect. So hang tight and I'll see you back on the next one. Bye bye. 20. Polypaint part2: Hey guys, welcome back to the next part of our series. Today we're going to continue with our poly paint effect. So let's jump right into it. This is where we left off with this like demonic character that we have. So now before we continue working on the skin, I want to make sure that the horns are in a similar level. But instead of doing the usual technique that we did by Polly painting everything from scratch, I wanted to show you how you can very quickly use a texture to get some colors into this element. So I'm going to jump into my standard brush. I'm gonna change this to drag, correct? I'm going to turn my Alpha of, and if we go here into the textures, remember this lectures I told you we were never going to be using, well, you can actually use them to get some color or you can get your own textures from dangerous. But I just want them to help me get like a base on the horns. So I'm gonna select this guy right here. And since we're in poly paint, now what happens there by pulling this out, I'm adding this color to the object. And you can see the very nice variation right there. Now, why is this the kind of like why that first? Well, that's because we're using focal shift. If you want an image or an Alpha to be completely sharp on your object, you usually want your focus shift to be at negative 100. And that as you can see, it's going to position the texture as close as possible to define a result. Now the bigger I make it, the more color I'm gonna get. And now after first couple of ones, you can see that the texture and the color starting to look really, really, really nice. Now, if you want to, you can actually add focal shift and that's gonna give you a little bit of a fall off. That way you're not gonna get like a sharp edge and where the texture usually meets. So as you can see, we can get this very interesting looking effect in improbably paint without much effort. Now let's add some detail to the horse. What can we do? Well, we can of course go to our masking option, go masked by cavity again. Let's lower the intensity a little bit. Well actually let's keep it high. There we go. I'm going to invert mask. I'm going to grab like a very dark color. I'm going to say color, fill object like a couple of times. And that should give me like a really dark color. Now what happened there? The problem is that the mask was really, really soft and we actually don't have a lot of resolution where only a 0.5 million polygons. So I'm going to Control D, the whole thing. Let's Control C. Yeah, a couple times. Now I'm going to Control D to give this into the Melian polygons. Then I'm going to mask by cavity. But before I do the field layer, I'm gonna go here into the masking options. I'm gonna say Blur mask. This is going to blur the mask slightly and that's gonna give me a softer result. With this. Now I can go color fill object like a couple of times. And as you can see, that the level of detail that we get is going to be a lot nicer. Now what else can we do? We can of course go here into, Let's turn this off. Dragging it is fine. And let's do this sort of like, like lines here. And let's grab like a, like a lighter color. And when I want to do so when I had a couple of like scratches across the surface. Now, the cool thing about this is scratches is, is this scratches are not a geometry. It makes it look like there's more detail there, but it's not geometry, it's just paint. So that's one of the things that people sometimes forget about, like the whole production pipeline. The sculpting process is a very important process. Of course, it's going to give you a lot of detail and is going to give you a lot of tools to later on, push your characters up to the next level. But the texture, the rendering, the materials, the lights and shadows that you have on your, on your final package. The animation, of course, the deformations, all of those things are gonna be really, really important as well in regards to how the whole thing is going to look. So for instance here I think I'm gonna go with my color spray again. And I'm going to do like another soft element. And what I wanna do is I want to lighten a couple of areas here just to give you a little bit more light and make sure that it reads us as the high points of the character. If you're familiar with painting, it's digital painting like in Photoshop or creator or something. You're going to be familiar with this kind of technique and look at that. Are horns are looking really, really nice. Now, this does not mean that we can't go back and keep sculpting on the horse. The only problem is that the paint might be a little bit distracting for us. And a very easy way to fix this is by going here into the sub tool, churning off your little pencil there, there's the brush. And now we can go back and sculpt normally. So let's say we want a scope drag wrecked, and let's add this like alpha, turn off RGB, go back to C. So sorry. And I'm just gonna start dragging and dropping this line here. I'm going to be really messy right now just for the sake of this exercise. And what I want to show you now is that one of the cool things about poly paint is that since the poly paint is actually connected or integrated with the actual birth disease of the thing. You'll have it back exactly as you had it before. So you can't jump from sculpting two poly paint anytime you want. For him, like a basic production technique, you usually don't go into, into PolyBase. You're usually not Polly painting things as you sculpt than you usually wait until you have your UVs ready, then you just extra them on substance painter or another software like Marian stuff. But if you want to have like a nice concept here, It's EC2 to very, very quickly poly paint our character. Now I'm going to jump here onto my character and I actually going to go back. I'm not too fond of that. Like weird like dark mark there. So we're gonna keep the colors like lighter. And let's use another color. So what's the complimentary of the yellow, purple. So let's go. We'd like this very toxic purple color. And I want to start adding some like interesting variation here on the, on the character. Now remember turn this off, turn on RGB. And yeah, like this, a little bit better. So I'm going to start adding this sort of like purplish eyes. And then we can same thing as like some purple. And I'm going to add them a little bit different up here. I just want to add a little bit of purple overall. There we go. That's looking a little bit more interesting now for the eyes, I can very quickly go here. Let's set them at him, give him some black eyes. But I'm going to do something slightly different. I'm going to change the black eyes to like the jelly bean material. And as you can see, the jellybean materials like a very metallic material. So instead of doing only RGB, I can actually select m RGB with a 100 and intensity. And when I do color fill object. I will now inherited that material as well. So if I go back to the basic material, the eyes are going to remain with that jelly bean material, giving me this very, very interesting look. That's a little bit so we can see the low like shine there on the, on the character. Cool. Now let's grab some like greens or blues, I think most mine might look interesting. Let's also like warping. Let's imagine that this guy has some sort of like war paint. Yeah, blue and, blue and yellow usually has like this very interesting tones. So let's start adding like this sort of stripes, like tribal stripes going here into the, into the character. Here we go. Again, as I mentioned in the last video, this is a very easy process, very simple process. And the way you're going to get into like very interesting effects and very interesting characters. It's of course by experimenting. So the more you play with this kind of things, the more you, you modify your stuff and find interesting solutions, the better you're going to get. So I'm going to use like a light white here on the chest to lighten this chest up a little bit. And if you want to erase something, you can always just like sample the same color that you had there. And then just like erase very slightly. So you Hawaii was able to get rid of most of the purple there because I think it was looking a little bit to clownish. And now let's go back to the blues. I really like how the blues we're looking. Yeah, I like that. Look at that like a chameleon kind of thing. There we go, again, fading out. And then we can use like a yellow to bridge the two very softly. Bridge the elements. I'm thinking like, like Burt's, you've probably seen birds and how they guide like this crazy colors. Let's add like a red now, become like a Ramble Gun thing here. That's fine, that's totally fine. So a little bit darker red error effect. It kind of like a rainbow color, but I think it looks cool. I think it's an interesting, interesting thing on this character. There we go. Now what else can we do? We can of course, grab like a white color and again, shine a little bit of light here on the top to make things a little bit less saturated there. If we want to break this thing up, we can also use wide weights is like a perfect eraser because he tones everything down. And we could of course go for like a dark red here. Go again to our mascot by cavity. There we go. And then invert the mask, soften this a little bit. So Blur mask and say color. Probably another 100 percent color, fill object a couple of times. And it's going to give me a red undertone pretty much everywhere. Now, another important thing to notice is that this is also a, a, what's the word? You can also do this asymmetric glue. So let's say that he has like a, like a big injury right here. I can add the same time I'm at sculpting. Let's grab like a clay buildup. I can turn on RGB ground like a bright red color right here. And the assignment sculpting there. You can see that I'm actually adding the color. Make sure that the colors properly, the appropriate one. There we go, like a dark. There we go. See you that. So at the same time I'm doing this sort of stuff now, an easier way would be to add like some sort of like color spray. And then like, yeah, the Alpha 3 and 3 again, this is gonna give me like a very interesting rash, right? They're going to decrease the intensity, the RGB intensity, this is not as intense, and let's do C sub instead of CF. Probably a little bit less RGB intensity. So I'm going to be sculpting. I'm going to be adding an element there in at the same time I'm adding the injury. So again, very, very nice way to add to this sort of thing. So I think like we can add like, for instance, let's say we want to freehand and we're going to do like this fading element here, like some sort of tribal lines. Maybe that's another cost is just like a tribal paint. So I'm gonna go here, lower the intensity on the CF because this is like paint. Turn on TV. And now I can start drawing like this, sort of like tribal lines. Maybe he has this shorter, remember like seeing but in Lion King and how he gets this like interesting lines. So maybe this guy's like a warrior. And by having this nice thing, it's like me using like a finger and dragging around the surface. So it makes it look really, really interesting. It's like paint strokes, right? Like you can see kind of like the, the paint strokes there. So again, interesting concept. And that's it guys. This is again, a very nice exercise I recommend you do it tried to do with your own alien, tried to do your own skin tones, trying to find how this poly pain works and this whole thing, this whole poly paint is going to come closer into like we're going to come full circle in the next couple of videos when we take a look at lights, cameras, and render, which is going to be another important part here inside of ZBrush. So hang on tight and I'll see you back on the next one. Bye bye. 21. Fibermesh: Hey guys, welcome back to the next part of our series two there we're gonna continue wheat, a next tool here that we have written C versus cold fiber mesh. So let's jump right into it. So what is fiber mesh? Fiber mesh solution for hell, Hair, sorry, here, there's three ways in which you can have like hair in any 3D package. You can sculpt the hair similar to what we have here with our little friend with the demo head. Like this head has sculpted here, as you can see here, you can have hair cards, which is a very nice way in which we solved the issue for me to games. And you can have like actual fibers, like individual strands of hair that are going to allow you to create well different elements. So for that particular thing, and in order to explore that module, which is a short module, to be honest, we're gonna be using this little friend right here, Scooby. It's this doc. So I'm gonna give him a couple of divisions because the more divisions similar to the better the hair mesh is going to look. And the wave fiber rich works. It's actually really, really simple. The fiber mesh model is going to be found right here on their fiber mesh. And the first thing you need to do is you need to draw where you want your fiber to appear. So in this case I'm going to hit Control and I'm going to add like a mohawk to this guy. So let's paint like this element. You can do this symmetrical or asymmetrical, that's perfectly fine. So let's say we did something like this, the Mohak for our little Scooby dog. And we're going to cure it into fiber mesh. And I'm gonna say Preview. So by doing this, you immediately are going to get this fibrin mesh element. And if you turn the camera, it looks like this is permanent, but it's not. This is just a preview. Before we create the actual DynaMesh, DynaMesh, a fiber mesh, we need to both change a couple of effects to make sure that we get the best possible result. So what can we do here? Well, very easy. If you press this button right here, the PBR, this is something that has to do with rendering. We're going to be talking about that in the next couple of modules. And the render is going to allow us to see how the actual hair is going to look. So if you press BPR, you're gonna see that after a little bit of processing, you're gonna get an image with very nice looking here. You can get some very, very quick and nice results using this method without having to worry about any sort of hair system, Maya with action or anything. Now, what things can we change here? Well, it's very easy. We go here into the modifiers. You're going to see that we have a lot of modifiers. If you've tried to do here in other softwares, you know that here is tricky. It's very complicated because it's very finicky. There's a lot of things that you need to make sure you get right before you get like a nice groom. And here we have a couple of options. First of all, max fibers, that's its name implies is how many fibers we got. So you want like a very bald looking like a Mohawk. You're going to have very few fibers. If you want, like a lot of Mohak, Look up very, very dense brush. You're going to have a lot of fibers. You've got the length, which again, as its name implies, is how long the hair is going to be kind of like a very short trim hair or very long hair. Collaboration is very important because coverage is going to be about the width of the hair. So if you increase the coverage, you're going to see that the hairs become thicker. Now in here, you see the mess Blaine's, but once you hit BPR, this planes are gonna change into tubes. So depending on how much coverage you have, that's going to be thickness of the tube. You're going to see, this doesn't look like here. It looks more like rubber like that. Those drummer toys that we had this gets right. So let's bring the coverage of the bag them. Again if you go like really low and the coverage is going to be super, super, super thin, which might not be the desired result in this particular case, it's going to look like very wispy Barry, not, not as good. So let's increase the coverage a little bit. Then we got the scale root N scale TPP. By default, this is going to be bigger than the scale to making the hair thinner as you go outside. But if you want to, you can have like longer and thicker. What's the word points for your, for your hair. So you're gonna get like a very soft route there and then very broad at the end. Why you would you want that? I'm not sure, but if you're doing some sort of like alien or something that has a hair like that. Well, you can do it. So let's bring this back to 0.075, which is 0.075, which was, sorry, 0.75, which was the basis for the scale tip. The twist, as you can see, we have a little bit of twist here That's pretty much going to twist the hair. You'd have 0 twist. What's going to happen is that the hair is going to be really, really straight. If you start adding twist to the hair, the hair is going to start twisting. So you're gonna get some more like crazy hairs here and there. Gravity is really important because gravity is going to define where the hair goes by having 0.5 gravity. You can see here that the hair is going up. If I decrease the gravity, What's going to happen is that the gravity is gonna pull everything all the way up. If we increase this too much, everything's going to fall. Fall, fall like a lot. So we want to create like, are pretty like super stylized Mohak. This is a very nice way to do it by just decreasing the gravity h then h tangent and v tangent is horizontal tangent and fiber be tangent. So it's the horizontality and verticality if you wish, of the hair. So if you increase this things on both sides, what you're going to get is you're gonna get some crazy hairs on the horizontal axis and on the vertical axis. So again, it's just for randomness pretty much, but there's another easier way to do it. Let me bring this back. Let's do another BPR. What do I have twist? I have a lot of twists, so let's bring the twist back. So if you go here to the h tangent variations in v tangent variation, that's usually going to give you a little bit more noise on the thing. And by combining this with the twist, we can get some interesting crazy hair here. That's a little bit of a tangent and a little bit of h tiny dots, a little bit, not that much. And as you can see what that's going to give me, It's gonna give me a little bit more of a realistic look for the, for the hair. Now again, every time you move the camera, you're going to see that the hair changes and you need to recalculate. That's one of the bad things about this, this element. Finally, down here we have the base and the tip colors. So if you want to change the hair to like a, like a bride wrath, and then the tip to like slightly less brighter red like a pinkish don't. You can do that very easily here. And again, you can change the base color variation. So if I change this and this, What's going to happen is that we're going to have variation on the hair itself. Because instead of having like a complete color, you're probably going to see like a slight variations here and there. And I think that looks okay for our like crazy punk rock right now. So once you have this, the next thing you need to do is you need to hit Accept what the exact function will do. It will ask you, Hey, do you want to keep fast preview render? I usually say no, but if you want to, you can do it. Just be mindful that that's resources that are being used on your computer. And now that you do that, your hair is actually going to be here. And the wizard hair here. You're going to be able to start working on some other things that you can do here with the hair. So the here, even though it doesn't look like it's actually polygons. So every scene, each is trend up here that you have here. It's actually a very thin five faced polygon. So since you have that, you can actually use your usual elements. So if I grab my Move brush, I can move the hair around and just like start grooming it into a better position like this. If you use the Shift which is the smooth brush, you're going to cut the hair. See you there. So by, by smoothing this, you're pretty much shortening the hair and that pretty much cut set. Now even though it looks like there's hairs flying their their action not there. And as soon as I move the camera, those guys are going to, are going to disappear. So the smooth brush is a really, really good way to cut hair if you want to got here on your character. There we go. That's like a whole of hair there now on the, on the element. Now C, which has a lot of different tools for group. So if you press B and G, you're going to get all of these elements. The groom, bluer, green, brush, groom clumps, grim color may at ground color tab, grimmer, strong groom hair bulb. Now how do these guys work? Well, if I grab, for instance, that group brush, It's pretty much like a comb. So if I start brushing this guy, I can just move the hair round and just brush it. I know it sounds stupid or it might sound like very simple, but that's it like this brushes work pretty much like you would expect a normal brush to work. Now, unfortunately, I didn't have symmetry turned on, so I'm gonna go back a little bit. And now with symmetry turned on, I get started, as you can see, combing the hair into different elements. Now, the cones work based on the camera. So if you're facing like this and you're coming to the sides, you can see that the Mohawk is being combed to the side switch. Again, it looks interesting if I go to the, to the side view here and I just do like a really, really big brush. I'm going to be able to pretty much everything back here. We also have the drag borrowing, drawing. What's the name? I always forget? Well, be G. It's the groom blower. And the groom blower. The way it works is like Dr. lowered, so it's going to blow your hair, it's going to pull it out. It's going to make a little bit more volume as if it's drying it. So it's going to give you, again a different result. Now the best way to work with this kind of brushes is to look for reference, of course, and try to go step-by-step. I strongly recommend you to look some tutorials on YouTube or online about how to comb like actual hair and all that kinda stuff. We'll help you with this. So for instance here, I can use the groom's bike to start doing like little spikes. And instead of having like a Mohawk, I can have like this sort of like spiky punk hair. Very fond to be honest, very, very fun. This is nothing to honestly that I use quite a bit because I worked more in production. And unfortunately this is not asked compatible in production as other more nifty tools that we have in Maya. But if you want to again, have like a concept and then work it in production with hair cards or with. Like an actual hair system. You can do it this way, but as you can see there, it looks really, really nice. Let's do one more. So you can see the spikiness of the hair. Perfect. Now one very common mistake that happens is people smooth everything way too short. And then they're like, Oh my God, I want to work with everything super short. How do I fix this? I don't want to start over again. Easy with the group. There's one, Groom, lengthen, there's one right here. And this pretty much is like an extrusion. It's not extruding. It's just moving this out. So you've pretty much recovered your volume because if you tried to do it with the brush, you're going to have a very, very hard time. So it's usually better to use the groom lengthen to get your leg back. So I've used this before for like beards and mustaches, some eyebrows, even some islands if you need to, or not eyelids, sorry, eyelashes. Simple hairs like just like a Mohawk and stuff like that. That's perfect. But if you go online and look at what some professional see broached rumors have done. They've done amazing stuff with this system. So you can definitely achieve very, very cool things with this whole element. But again, it's going to take time, it's going to take practice. And for a production artists, which I am, I usually prefer to do it with a more traditional approach like Kierkegaard's or final her system like, like extra. So again, Let's see what else we have. Groomed Twister, you know, crazy stuff here. One thing that I forgot to mention is if you go back here to your character, Let's say I want to add like, oh no, like a beard. So let's have a little bit here. We masked things out, remove any mass just in case we still had the old Mask. Let's add the masks right there. There we go. And now I'm going to go into fiber mesh, preview gravity. Let's turn this gravity all the way up. So we have this thing. Let's make this really long length. And now down here on the segments, if we increase the amount of segments, What's going to happen is that the hair is going to be denser. You're going to have more divisions per plane, and therefore you're going to be able to control it a little bit more. So if you want to have like very like curly hair or something, then you probably need a lot like ribosomes here and you're going to need a lot of segments here so that there's enough geometry to create that sort of like twisting effect. Another way I've seen people use this is they sometimes use like very, very small fiber mesh to create like that. Peach fuzz that you see sometimes on faces are in characters where things look like really, really soft. So again, see how that looks a lot nicer. That's a lot heavier. If I hit Accept here, I'm going to say No. You're going to see that if we go to the sub tools, the original one have 45000 polygons, and this one has 334 thousand polygons. So even though it's pretty similar, since we have a lot more divisions, a little more segments. This is going to be a lot heavier. And that's it guys. This is DynaMesh. I again recommend you do this exercise. Try to grab the dock here. You can also grab any like 10k or the super average Mad Dooley, any one of these guys and just play around with fiber mission and tried to see where can we use it. For our final project, we're probably going to use it in a couple of places again to give this texture effect. But the hair of the character, I don't think I've shown you the character yet, but the hair of the character you probably seen on the previous though, it's going to be just called it. So yeah. Hang on, tight guys and I'll see you on the next video where we take a look at the new or one of the newest additions here, two seabirds 2021, which is the cloth system. So yep, I'll see you in the next one. Bye bye. 22. Dynamics Part1: Hey guys, welcome back to the next part of our study. We're gonna continue. We didn't next module in ZBrush, which is the dynamics part. This is something very bringing you to see brush. This is only on 2021. So if you're using a previous version of ZBrush, you might not have this tools. So we have here Nick, which is a very helpful tool. I went ahead into the light box section, into the tool tab, and there we had the 10k let let me lower than him again so you can see what I did here. I got rid of the skull. That's canceled. Let's delete this one. We don't need that guy. We don't need the inner ice either. So let's delete that one as well. Let's start this two guys on and on the next surface or on the sub tool, I'm going to go here into the geometry tab, sorry, on the layers tab. And I'm going to bring the arms down a little bit, down and to the side. So more like a V-shape, which is a little bit closer to what we usually a sculptor and we're doing like characters. And then I'm going to say here bake all so that we get all the other nice little information there. Now, for simulations to work nicely, we usually want to have a little bit of a better surface here. So I'm going to hit Control D a couple times so that he's surface, He's skin. These really, really it's ready for what we need. So what we're gonna do here before we jump into the actual simulation, we need to generate the mesh that's going to be simulated, which in this case is going to be a teacher. So I'm going to press, well, I'm going to press letter X and let's do one more line there. And what I'm gonna do is I'm going to mask out all the area where I want the t-shirt to be. So let's do like normal like Gim T-shirts, Something like this. Like a V-shape on the neck. I think that's that's okay. This there we go. And I'm pretty sure we have already covered extraction. We're going to be extracting this t-shirt from the character into a cleaner topology. So that looks okay. Living a little bit of extra cloth down on the back here so that we get some nice wrinkles later on. So yeah, that looks okay. So I'm gonna go here into the sub tool tab and I'm going to hit extract. And you're gonna see that we get this shirt, which is not perfect, but it's okay. I'm going to get this into points in the new 0 things because I don't want thickness, I just want the, the basic shared right there. There we go. And as you can see it there, I'm going to isolate this just 1 second. And I want to rebuild the surface because as you can see, this is not perfect. So I'm going to go into the geometry tab. I'm going to go into Syria measure right here and I'm going to select half. Instead of using a target, target polygon, I'm going to select half so that we reduce the topology by half. So I'm going to click 0 mesh. That looks really good. I think that's actually really, really nice. I'm just going to smooth the board that a little bit so that it's a little bit closer to like a like a normal shirt. But that looks really good. And yeah. I mean, that's probably as best the best we can get right now. Of course you can go lower, but usually having a little bit of extra geometry like what we have here is going to be better for our simulation. So how the simulation works, It's actually really, really simple. I'm going to turn this guy off for just a second. I'm just going to leave the square down here. And if I go into the dynamics tab up here and I turn everything on here, I'm going to go down here where it says collision volume. Actually let me, let me drag this to the side. There we go. So I'm going to here where it says collision volume and I'm going to turn it on in case it's off. And then I'm going to hit recalculate so that it calculates all the collision volume of the tools that are currently active. If any tool is not active, it's not going to be calculated in this volume if I run the simulation. Now what's going to happen is that this shirt right here is going to fall all the way into the element right here. I think I did move a couple of things here. I think by default we have strength one and firmus one. So if I run simulation, what's going to happen? As you can see there, is that the shirt pretty much became a puddle, right? And where is that happening? Well, because a couple of things are, are active right now. First of all, we have gravity, and by default the gravity extract these really, really intense. So if I lowered the gravity, for instance, if I say 0.005 and I run the simulation, as you can see, the shirt is going to fall a lot slower. You can pause the simulation at anytime by pressing Spacebar, and you can just click here and again press the Spacebar and the simulation is going to, it's going to add. So let's go to 9.8, which is like the usual number for gravity. As you can see, everything is working nicely, but it's going all the way down there and that's not exactly what I want. Now, let's turn on our character up here. And let's go a couple of. There we go. So now, since our character is now on, we need to make sure that this dynamic tab knows that there's new volumes here. So I'm going to go here into recalculate. And I'm going to make sure that the infant optionally set to 0. Because if I have this set to one, which I believe is the default. And it's very annoying to be honest. What's going to happen is that the objects are going to be pushed. It's like if the, if the character that we have had like a, like a force field or something and my shirt you're gonna see here. So you hold the shirt, like just snap out. Let me grab the shirt. See how it snaps out and then it starts dropping down. That's because the inflated is set to one and usually want to inflate, especially like skin type things to be 0. There we go. So I'm going to recalculate the volume with a new element. And if I run the simulation now, you're going to see that the shirt I can pretty much falls through my character all the way to the floor. But that's because the gravity is really, really high. So what I'm gonna do is I'm actually going to turn off the gravity. I'm going to go back here. And this set has a little bit of a different way to work. If you remember, in the 3D world we have x, y, and z, which are the axises of our character. And if we turn on contract on the z-axis, for instance, what it's gonna do is it's going to push the shirt and it's going to contract it. So the hocks, the, the character a little bit better. So I'm going to hit Run Simulation and see how it's just like trying to get the simulation going. This is perfect. That's working really, really nice. I'm going to smooth this guy wants more. And now look at this shirt. This shirt is very, very nice form fitting on the character. And this is where the magic, or one of the magic things comes into place. There's a couple of new brushes that we have hearing ZBrush with the cloth thing. For instance, the cloth Nutch, which is cloth and such. When twisting those, being sheepish notch, There we go. That will allow me to start moving the shirt or the geometry up and they will start creating, as you can see, some very nice wrinkles that will be very difficult to get like normally. So if I want to crumple the shared, they're a little bit, I'm going to be able to get this very nice little effects very, very, very fast. Now, one thing that you might have noticed is that even though this dynamics tool is really helpful, it will not solve all of our problems, will still need to do a little bit of work in regard to sculpting. So we know a couple of drinks here that we can use to help get like better shirt, right? One of those is if you remember from our c modular unit or the word that chapter in specific, we got this dynamics of the vision thing, right? So if which are non dynamics of division, we're going to see a preview because it's just, this is not the actual geometry is going to see a preview of how the shirts is going to look once we add a little bit more geometry to it. So as you can see, it's looking really, really nice. And we can start pushing this things again to get some interesting looking wrinkles there and the term muscle. And again, some are going to make this look really, really, really natural, really, really organic. So usually you don't want to have perfectly thin clot. That's not the best thing for us. So I'm going to add a little bit of thickness here. And in order to make sure that the thickness is pushing out that much, I'm actually going to bring the offset down. And by bringing the offset down, I'm going to try and keep the cloth close to the surface. Now remember, this is all a, just a dynamic subdivision. This has not happened, is real because you're seeing it of course, but it's not real geometry until we hit Apply. So with this, I'm going to be able to start sculpting and start adding this very nice interesting loops and interesting effects to the whole thing. So let's say we want this part of the shirt to be a little bit more baggy. What I can do is I can mask out the part that I want to modify. Let's say all of this area. Let's paint all of that stuff in, invert the mask. And then going back here to my simulation, I can turn off contract and I can turn on gravity. Decrease the gravity of course, because we know that it drops quite a bit and then run the simulation. And now that thing is going to start drooling as you can see there. It's gonna give me a little bit of a different effect. So now with that done, I can go back to my nudge cloth and I can start pushing this up again. Maybe he he has half of the fissure tucked in into the into the pants and then the other half is just like like pulling out here. I'm going to use my smooth gluts and with Claudius and other brush that we have here, It's right by this out of the smoothens going to smooth the cloth in a little bit of a better way. It's a little bit intense. So I would suggest low-wage lowering in the intensity. So it's not as intense. And there we go. As you can see, we can leave very, very nice initial setup for our shirt. So now let's just start adding a couple of extra things. First of all, I'm going to hit apply here. This is now true geometry. Like all of the geometry that we have is now like actual geometry. And I am going to go into soft tools and I'm gonna see if I can reconstruct a subdivision level. So I'm going to say reconstructs of the visual levels. And now he won't be able to do that because the topology is too complicated, but that's fine. The only thing I wanna do is by using Siri measure. I want to add some borders to my shirt. So if you remember a couple of your tools from the serum measure, our lecture. We can go here V, C, M. And I'm gonna go to edge. I'm going to say poly group. Who? Pauline group for loop. There we go. I'm going to make the draw size really small because I want this guy 123. Let's do four. And since I haven't hit Tab, I'm actually having the sample group for all the loops that I'm selecting. And that's why one of the reasons why we did this URI measure before doing any of this like cloth stuff. Because as you can see, it's going to be a lot easier to, to work with clean topology inch need to navigate up here. There we go. So that guy, the guy, the guy, that guy let's do, let's do a couple more on the next. So it's a little bit nicer. There we go. And then let's go to this side right here. And let's do 1, 2, 3. There we go. So now I can go to q mesh and I can do Pauline group all. And we're just going to push this thing out like that. There we go. So if we turn this off, we're going to have a very nice stream there for our t-shirt. So this is it guys. This is, this is one of the quick ways in which we can start working. And the cool thing about this is now this is actual geometry. So if we want to, we can start adding our own little like movement tips and tricks here for, for our cloth, we can start actually sculpting some of the elements to get this t-shirt into your really, really nice place. T-shirts are one of the things that you're going to be modeling the most when you're doing characters. It's a very, very common thing, but you can do pretty much anything with this dynamic elements. I'm gonna be showing you another nice trick with this dynamic thing in the next couple of B that we're gonna be using another technique called nano mesh and micro mesh. And we're going to be doing something very, very cool, Which I think you're going to really, really like. So I'm going to stop the video right here. Try to get to this point, guys, this is an exercise that I really, really encourage you to do. Like don't, don't just what's the word? Don't just rush it through. Do the exercise so that you can feel comfortable with this tool. Because for the character that we're gonna be doing, the one on the cover page. We're actually going to be using this quite a bit. Now I'm going to churn, for instance, my character back again, and I'm still with this thing turned on. So if I want to, I can still use my notch brush to give this a little bit of an extra, an extra push. The only thing is since this guy is a little bit heavier now like you're going to see that we have a lot of geometry now. You might get some, some results here and there. So just be mindful that the more geometry that you have, the more intense distinct is going to be. Of course, we can always soften this and just use that as reference. But just again, be mindful. We usually get like this elements right there. That's good. Cool. So yeah, keep working on this guy's work on your, on your tissues because in the next video I'm gonna show you how we can detail this even more. So, hang on tight and I'll see you back on the next one. Bye bye. 23. Dynamics Part2: Hey guys, welcome back to the next part of our series. Today we're going to continue with the t-shirts coping and we're going to continue, we did dynamics. We're not going to be doing a lot of dynamics in this video because most of this was already done, as you saw in the last video, dynamics is really powerful. This was just a very simple exercise, but you can imagine yourself doing pretty much anything. You can do pants, you can sweaters. You can do like a tablecloth or like a pillowcase. There's a law, the law of things that you can do. So don't underestimate the power of Dynamics to creating your own personal elements. So what I'm gonna do here, so I'm going to start pushing this, I'm going to start cleaning some of these areas. And let's give him a little bit of like a lower neck here, asymmetrical that that one looks okay. Push it here. Eventually, if we're talking about production, this guy would go into like normal map baking and all of this nice wrinkles and things that you're seeing here would be baked into normal maps. So what I'm gonna do here is I'm going to give it one more division Control D. And using my clay buildup, I'm going to change my alpha to a round Alpha. And I'm going to start asymmetrically adding a couple of extra. What's the word wrinkles. So for instance, here on the arm, we will definitely see you in a couple of wrinkles being created from just like the like the flexion there on the arm. So we'll see this kind of thing and it's very important that we do this asymmetrical. That's one of the main mistakes that people make when they're working on this sort of things. They, they don't do them symmetrical and you get like a really obvious looking mirror. Wrinkles, wrinkles or not are never symmetrical. Now one thing that you do want to consider is the fact that if we are working with a very thin mesh like this guy, you don't want to push things from one side to the other. What do I mean by this? If I do this like this, you're going to see it on the other side. We're gonna get this very big push and that's going to be a problem for the normal maps later on. So what do you always wanna do when working with thin surfaces like this is going to your brush dab. And this is a per Brush option where you're gonna go into the brush step and you're going to select your auto masking back face masking. That way. No matter how hard you do this here, it's not going to go over to the other side. So you're going to be free to do this now, since I'm going to be using the Damian standards, well, I need to select this and make this back face as well. In the next video, I'm going to show you how to customize your interface. And from that video on, I'm going to be working with my custom interface because those kind of axis's, those kinds of buttons that you really want to have in handy. It's better when you have them on a customer interfaces. So we're going to be talking about the customer interface before jumping on to the next topics. So again, with my custom or with this back face masking turn-on, look how easy this to create, this sort of like very soft wrinkles down here. And those wrinkles once textures are going to look really, really good. So let's add a couple of lines in here. Usually underneath your, your pectoral muscles, you're going to get like a couple of wrinkles because they, they kind of push up a little bit. Of course, if you're really, really fit, this is going to be a little bit more obvious. If you're. A little bit troubling like me, maybe not that much. There we go. Again, tried to be asymmetrical here. So if you see that the cloud is like pushing on this side that just add a couple of elements here and there. There we go. What I'm gonna do now is I'm going to add the stitching to this. And we've already seen this teach brush. It's on the light box section. If you go into your brush pallet and you go into the stitch folder where you choose. There's one right here. We have this very modern stage right here that we can use to give this a little bit more realistic. Now, I'm definitely going to soft and all of this like crazy wrinkles that we got from the from the notch that we did before jumping into this area. And in here, I can actually use symmetry to get like the, like the side wrinkles here as close as possible. But definitely in one more division to get like a lot of geometry. And this is usually reiterate everything. So I'm going to go into the stroke section and on the lacI mouse I'm going to increase the lacI step. Now, sorry the lacI radius. And I can replace the output. I'm going to increase the laser radius. And what that's gonna do, it's gonna make it easier for me to manage. This can increase the intensity a little bit. And now I should be able to create the seam line. Going down the element here, there we go. And then through the other side. Well, it's a little bit low. If you ever wonder where the seam lines are, just take a look at your cloth. The best reference is right there with you. So T-shirts usually have that same line right there. And then they have a Zoom link going. I think that's a little bit too big. And going to the next. So usually have like a like a front panel and the cylindrical panels so that your your sleeps careful there. If you're having an issue there, you can always mask, remember, masks are really, really useful. So we're just going to push this there. And once I hit the mask, That's it. That's, looks really, really nice. And I'm going to go to the side view. Same thing, just go all the way down like that. And we're going to have very, very nice seam line. Some people like to add the seam lines at the texturing estate shut the extreme level. It's fine either way as long as it looks okay. You should be fine. So let's do the same lane. They are on the inside of the of the sleep. Let's just smooth that out. And there we go. There's one more thing we can do and this is going to be really, really cool, which is the actual cloth texture. That's gonna give us a very nice finished to the whole, to the whole thing. So for that we're gonna be using the surface noise, which I'm not sure if I showed you this one already. I think I did that when we were seeing the hard surface stuff and when I show you like the hexagon pattern pattern, so I'm going to use the noise thing here. And what I'm gonna do is I'm going to open the noise plug-in or sorry, opened a nice blogging right here. I'm going to select WEP. We can use WEP or we can use blades. Leave is fine, I think. And the only thing we need to do is we need to increase this noise scale. The plugin skill, sorry. Let's go with the string. There you go. See how we get that weaving pattern there. Probably a little bit more strength. There we go. So wants to be like cotton. Cotton or something. There we go. That looks okay. We hit, Okay. Now it might be a little bit difficult to project all of this texture. This again, is the kind of thing that you usually do when you're doing the final textures in substance. But if you want to, you can try and you can just press Apply to mesh. We're going to get that interesting noise there. It's not perfect because we don't have as much resolution. If you want to have a little bit more resolution, then of course, just, just do it. Now I'm going to add a couple of extra wrinkles here and there. Now the wrinkles for cloth follow the same rules they usually follow with skin, meaning that if there's like a wrinkled going down, there's usually going to be a little bit of volume coming up. So you usually want to add that volume on your, on your elements as well. We can add a little bit extra wrinkle here. And this is one of the things that they don't tell you about when you're working on characters and stuff. Lot of the cloth that juicy on like Uncharted and like any, any game that has a lot of cloth, the Gulf War and stuff. Most of that club has been sculpted like they do use some base meshes for, for the creation of like the basic stuff. But then they go in and they really, really sculpt except, except for when they use photogrammetry. Photogrammetry is taking a lot of pictures from a real garments, like someone wears a dress or a jacket or something. And they take a lot of pictures and then they just digitalize that, read topo it, and get it ready for, for production. That's also another way to do it. But one of the most common ones is this one that I'm showing you right here, which is you start with a simulated mesh and then from there you keep on working until you get it to look exactly the way you want. So going back to poly paint, we can poly paint this real quick. We can just grab like, let's say like a red color like that. And I can just say RGB, say color fill object. We RGB intensity at the most. So color fill object. And then I can grab whatever logo I feel like. Let's say freehand. Let's do like this arrow right here. I'm going to, I'm actually going to do the arrow with a mask. So let's do the star. In order to get rid of that fall off that the shirt has actually not. Let's not do this. Start. Let's do what's, what's a cool one that the error was cool. Hey, yeah, this one, the arrow. There we go. So let's do like the arrow pointing up. So in order to get rid of that on that mask brush, you also want your focus shift to be a 100. So the shape comes out pretty much perfect. There we go. We IMRT, we select the color that we want. Let's say like a yellow. And I'm going to say color. Fill object, O feudal object with a 100 percent intensity. There we go. And look at that. We got a very, very nice shirt ready for our character. So of course, if our character goes back to his normal color, you can see how this will translate into a very nice element. Now one thing that you definitely wanna do is make sure that there's no overlaps there. And one great advice I can give you that was given to me by one of my earlier teachers, is never, never, ever push the character down, always pushed the cloth out. Why? Because if you start pushing your character in, like if you, if you select the character and push the skin in just to make the clot look nice. You're pretty much removing organ since stuff from him. So it's always, always, always necessary to keep the right volume for your character. And therefore, you should never push the character in. You always push the cloth out. And there we go. Look at that guys. Perfect shirt for our guys. He definitely needs a couple of pants now, but the shirt is looking really, really nice. This is a very dynamic and very organic looking shirt. It only took us about 25 minutes to do so. And as you can see, the dynamics tool is really, really helpful here because it allows us to do this very, very fast. It doesn't mean that you're not going to be sculpting and modifying things in a traditional way anymore. It just means it's going to make things a little bit easier. Feel free to look up the documentation for the, for the, for the cloth elements to see what else can be achieved. But there's one more exercise that we're gonna be using or we're going to be doing, are actually going to be doing with this guy right here. So in the next video, I'm gonna be showing you nano mesh. So hang tight and I'll see you back on the next one. Bye bye. 24. Dynamics Part3: Hey guys, welcome back to the next part of our series. Today we're gonna be talking about dynamic, dynamic. So once again, and we're going to be talking about nano mesh, which is a really, really handy tool. We're going to have an introduction in this video. So we're back here with, let's call this guy John. I know his name is Nick, but I'm going to call him John. And John is a really quirky guy, so he likes to address, we'd like calming shirts and he is going to like a renaissance fair and he wants to have a chain mail, sort of like what's the cow? I believe it's the it's the word like like a little hat made out of the chain mail. So how can we do that using all the things we've learned so far? Well, the answer is actually quite simple. We can start by creating a mesh that's going to have the shape of his head. So what I'm gonna do is I'm gonna go here into my mask brush and then I select freehand. I'm going to do Alpha. And I'm going to draw the shape of the chain mail cow that this guy wants to have. So let's say something like this. All the way to the back and then all the way to the top. Similar to what we did with the shirt. So the first thing we want to generate this will generate a very, very clean mesh with this sort of elements. So, so something like this. There we go. That looks, that looks nice. So now what I'm gonna do, now that I have this shape, then I'm going to extract this of course. So I'm gonna go here into sub tool, down here into the extract that we thickness 0. That's fine. Oh sorry, extract except that's fine. Let's select this one and isolated because we need to fix it. As you can see, we have thinks that we don't want. So by using my palm groups grew visible or all the groups, those are going to be a different island, as you can see, due to the color. So I'm gonna select this guy, IMRT, invert the selection. And on the geometry, we're gonna say Modify Topology, Delete, hit it. There we go. So now I'm going to smooth this out. Well, where am I? Go back to my brush? Let's move the satellite really, really heavy, really, really, really heavy. And let's do a summary measure, 0.5 measure. Let's see how it does. It's probably gonna still tried to keep the ear, but we're going to smooth that. We're going to smooth even more. There we go. Let's do one more because we want half of whatever that distance is. Let's do a little bit more and let's do another mesh. In this case, we want this to be quite low. We don't want this to be super, super heavy because the heavier this is, the more intense the whole chain mill is going to, it's going to look so something like that. It's okay. I think we can even go a little bit lower. There we go. That's perfect. That's really, really nice. As you can see, we got this very, very nice element right here. So let's get rid of our isolation. Let's turn this off. And the first things I wanna do is I want to use a little bit of dynamics, as we've talked before in the last couple of videos, to get this to wrap around the character a little bit better. So I'm going to turn gravity on. I'm going to hit in this case, instead of heating it and see, I'm going to hit on x, contract on x, and I'm going to run the simulation. So let's stop it right there. Because it's looking really, really nice, but it's pushing this guy's a little bit too much. So I'm going to turn on symmetry and just move these guys add a little bit. We can even go to dynamics of division, but I don't think it's necessarily just yet. Now let's turn on the shirt. And this thing is going to be on top of the shirt. So we need to, by just using our brush, move this thing out of the way. Like that. There we go. So now we've got this line. It could be like an astronaut helmet, this well, so there's a lot of things that you can do. Again, remember the secret to see where she is your imagination guys. So the more you play with this, the better you're going to get. So the cool thing about this is that the geometry that we have, it's actually really, really good. And what I want you to do or where we want to do is we want to use a tool called nano mesh to create a chain mail pattern with actual geometry. Now let me show you real quick with this guy what nano mesh is. Here. We have this alone. They're actually not the cylinder. Let's do a plane. Planes a little bit better. There we go. So we have it here, the plane, we're going to make this a poly mesh 3D. There we go. And this is a lot of polygons. So I'm going to go into geometry and let's reconstruct subdivision a couple of times. So we go lower birth. So if I jump into C, c modular right here, and I go into my options, There's this thing called insert nano mesh. And what this does is it pretty much will insert any object that I select into each phase. So for instance, if I do this right now, you're going to see that by doing this. Yeah, I need to delete the hires that we go. By doing this, I'm going to insert a ring in every single polygon. And this is all going to happen in this little fragment here called nano mesh. So there's a lot of options we're going to be talking about here. How did I get this ring? That's very easy. Once you have this thing right here, you can press M and you can pick any object that you have here, even objects that are here that are just initialize. So for instance, this ring right here, it's pretty good. But the problem is, as you can see, that it's facing the wrong way. It's, it's facing whites, it's oriented to the y axis, and therefore it's not looking exactly how I want to. So I can jump in here. My meshes going to the rink section. And in the initialized step I can change this to align the z so it's facing frontal or for worse. Now if I do insert mesh with this tool right there, again, I press M and I select this ring right here. That's where it should be able to align, but that's fine. If we can't align it there, we can go here into the nano mesh tab and we can modify how we want this thing to be. So for instance, we can select Fit so that it fits the exact element or proportional, which is exactly how I dragged it. And then down here on the C rotation, we're going to have 0, 0. And we don't want any variable here. Let's say if we can rotate in y, there we go, x. So we're gonna do 90 degree rotation on x. And we don't want any variation here. So see how crazy this thing becomes, this very, very interesting tool because as you can see, we can generate a lot of very interesting different patterns with this whole thing. We can tell this thing so we can modify the way they look. But what I wanna do right now is I want to align this thing so that they fit the exact same elements. So in this case, we're gonna go to feel not, not feel fit, proportional. Let's do the proper size. Let's reset the whole thing. So rotation back to 0. There we go. Another thing we can do is if this ring treaty is the one that we want, I'm just going to make this a polymath 3D. So we know that this is the new one that I want. So let me go back here a couple of steps. There we go. And we're going to hit M. And we're going to select the polymers 3D. There we go. So now as you can see, this is looking way nicer because it knows that this is the proper rate. So by just using this thing on this thing, we're going to be able to create a very nice, very fast element. Look at this. I'm gonna make this smaller. Let's go to any polygon and then just start dragging out. And as you can see, we're going to start getting our rings. So I'm going to keep dragging right about there. And now I'm going to jump into the menu that we were taking a look at, this one right here, I'm going to start modifying things and suddenly it matches exactly what I want. So I'm going to increase this size. So as you can see, it's making everything intersect a little bit better. And we can start playing around, for instance, with X offset, which is going to rotate things around or Y offset see off. So that's also a good one. I think CLF, so this is looking nice. We can modify the rotation that slightly to make it look a little bit nicer. The size is way too much. We can of course, make the ring smaller, but I think it's okay. I want them to look like interlaced. So something like that is fine. And one of the cool things about this, even though that, even though it doesn't look like it, this is actual geometry, like we're actually creating geometry here. Now as you can see, there's gonna be a couple of spots like up here where things don't look exactly like we want now in a game or in that cinematic, you probably won't know this if this is just that extra and that's the ring that you're getting. But if you want this to be perfect, you need to make sure that the topology is as nice as possible, because the size of this things has to do with the topology and the organization of your elements. What else can we do? We could tell this thing, however, I don't think that's handy right now. Yeah, We're result. So let's say this is, this is working. Now let's say that we would like this thing. And now we only once you like modify and a couple of things around, if you like this element already, we can dynamic solo this thing. And what I'm gonna do is I'm gonna go and I'm going to hit Control Shift Alt to hide or Control Shift to HIV. Will I need to really hit the plane, the original plane that we have, that one right there. It's not letting me. So I'm gonna go down here into this play properties. And I'm going to say double, so I can see both sides. And now I should be able. To grab it. Oh, sorry. I'm going to go to poly groups. I'm going to say other groups, none of the other groups. Now we're going to go to nano mesh. And we're going to say show placement. We're going to turn on the show placement off. And then we go into geometry, and we go into Modify Topology. We say delete hidden, and that's supposed to erase it. It just wants, I think the only thing we need to do now is we need to delete this thing and this becomes like an actual measuring them. So it's so as I mentioned, I'm sorry, I just got stuck here. It's the first place mat. We're going to click Freeze placement because we want to phrase this thing and make sure that it doesn't move anymore. And then I'm going to go into geometry. And we're gonna say this convert BPR to G0. Because what you're seeing here, it's pretty much a preview render of how the geometry is going to look. We don't have the actual geometry just yet. So I'm going to heat, converts BPR to GEO, and that's going to convert the nano mesh into actual geometry, which is going to be really dense. That's one of the setbacks of this, of this technique that the geometry tends to be quite dense. But now I can actually select with Control Shift and tap on my element here, invert that selection, and then go into delete hidden. And there we go. We have a very nice chain mail armor that we can look through. And that's working really, really nice. Now if we were to assign like a metal material to this thing, it's going to look really, really cool as you can see there. And that's it guys. This is just another way in which you can use Dynamics to create this sort of element. And then nano mesh, which is this new tool that I'll just show you how it works. Very easy, very simple to create this very complicated patterns. Now, I, I use this very simple rain to create this element. But if you want to, you can create your own mesh. And as you saw, the only thing you need to do is have it up here. And when you do the dynamic mesh, that thing is gonna go into the element. Now, do not try to make this dynamic because if you tried to do that, everything is going to crash. But what you can do is, since this is actual geometry now, you can start moving this around and position it exactly where you want. So for instance, if you see a couple of links that are not exactly where you want them to be. You could use like multiple logical if you remember that one that only moves the topology of one single island and you can start like collapsing them. Maybe we can duplicate one little ring, you have it there so that it's like a broken link or something that's just bought it if I'm grading this assignment. So as you can see, not that asymmetrical, but again, if we want to, we can break the symmetry and use the brush to make this chain mail a little bit more asymmetrical. Cool, right? Well, do this exercise. I finished the shirt, finish the chain mill, little half here that are good that John has. And in the next video, as I promised, we're going to be taking a look at how to customize our interface so that we're ready for the last section of our introduction to see where all of these videos, and this is just a quick parenthesis to explain that this first videos, this first like sections and chapters, is just to get you used to the general tools of the element. In the next couple of sections we're in the next part of the course, we're actually going to jump into creating an actual character is the one that you see on the, on the, on the portrait, of course, of course. And we're going to be using all of this tools to create that character. So that's why it's very important that you get used to this exercises that you understand how the universe works, because that's going to make the whole project a lot easier. So hang on tight and I'll see you back on the next video. Bye bye. 25. Customizing the Interface: Hey guys, welcome back to the next part of our series. Today we're gonna be talking about customizing our interface. I'm going to be explaining to you why this is important, why is it helpful and how to do it? So let's get to it. So here we are. This is my custom interface. I'm gonna be showing you how to make this on, probably makes something a little bit better than this, because after using this for a couple of months now I've realized that I'm actually missing some tools. So why is it important to have this sort of elements? Well, the answer, It's quite straightforward. If you're going to be using a load tools very frequently, the best thing you can do is have them close to you, close to your handles, your options. So it's a little bit easier to, to pretty much navigate Dominions. That's gonna save you a couple of seconds. And if you add those seconds up throughout the weeks and months and years, you're going to be saving all the time. So as you can see, my basic or custom interface has DynaMesh right here. I have the lead hidden and which I use quite often when I'm working with DynaMesh, I got the decimation process right here, the sera, sera measure process right here. A couple of other things here and there. And of course it's purple. Why purple? Because I hate the orange one. I think it's a little bit too intense to be honest, so but that's up to personal preference. Let me show you if you ever find yourself with a custom interface and you want to work with the standard one, you only need to go here into the reference folder configuration and say restart standard UI. This is what I've been doing for the last couple of videos. So you can see me working on the basic stuff. But from now on I'm going to be using my, my custom interface. And that's mostly because we're in the jump or we're going to soon jumping to the creation of the whole project, like the big project. And it's going to be easier for me to explain how everything works using my interface. So how do we change the interface? Very easy. You're going to go here into the preference folder again or menu. You're going to go into configuration and you're gonna say Enable Customize. This is going to allow you, then to me implies to customize the interface. Now once this is the here, you're gonna see that a couple of dogs kinda like bump out like this part right here, this guy right here. And that's pretty much going to allow you to start moving things around. Now, how do you move things around in the Windows is Weed Control and Alt. If you hit control and ultra going to be able to pretty much any sort of thing around. So for instance, I normally don't use the homepage. Like, I think the homepage is something that you don't really need to have here. And we could have something a little bit more useful on this area. So if you drag and drop anything onto the canvas here, you're going to pretty much erasing. So that's what I'm doing right there. So let's go with the basics. For instance, I usually like to have my DynaMesh elements, so I'm going to hit Control Alt. I'm going to drag my DynaMesh, let's say right there. The reason I like to have my dynamics here is because it allows me to know whether or not DynaMesh it on. Because sometimes you think it's not on and it's actually on. So that dimension right there. Now with DynaMesh, I like to know what's the amount of resolution that I have. So I'm going to dock this as you can see, I can dock it a right about there. Now the only issue with having this is that you're going to lose a little bit of space like this. A 100 pixels probably are going to be lost because you're going to have more stuffing here. But believe me, it's worth it. Well, they'll usually polish is something that I work with DynaMesh, I'm going to keep polish their groups is something that I also like to have in there. So that's going to be groups right there. Let's see what else do we normally use? What we of course have the serum measure. We can have our serine measure, let's say. Up here. Now, see since the year measure button this a little bit bigger, you're going to see that it actually, it's occupying a little bit more space. So if you want to be like super OCD, you can start moving things around in such a way that these things don't impact the amount of space that you're wasting as much. Unfortunately, there's not like, what's the word? There's not like a dynamic way to see where the spacers and spaces are. So you're just going to have to kinda like drag and drop and see where things are going. I'm gonna go to the modify Topology and I'm going to select Delete Hidden. That's another one that I use quite frequently, so and that's going to be right there, delete hidden. And yeah, I think that's it. I think that that's usually what I, what I tend to use with this kind of elements. Now, if you want to, you can also dock brushes into the element. However, in order to dock brushes, you need to change things a little bit. So for instance, let's say I wanted to have a MIC molar and my cereal measure guides down here so that anytime I need them, I just click them down here instead of using the shortcut and that's going to be exactly the same thing. So I'm gonna go here, I'm going to select the brush first. So let's say similar. I'm going to go into brush now. And then from this point I'm going to select Control, Alt and drag, because otherwise it's not going to be SEC. So as you can see, my brush is right there. Let's, well, that's because we have this guy selected. Let's select the sphere measure guides for instance. And if you go again to my brush and then it is from here, sorry, it's not from this guy, is from this guys. So similar is going to be down here, let's say. And then we're going to have Siri measure guides, which is from here. There we go. So this guy, that's, that's, that's better. So as you can see, we have that nice little element. Now, this doc is debatable and allocable. So if you want to, you can always just hide it and you can actually saved stuffing here. I believe if we were to drop this here, we could save a couple of things. So that's not a place that I usually used to be on this, but it's there for you if you want to. So using that lower space, I'm going to go down here that actually, let's go up here. It's gonna make it a little bit bigger here, but I'm fine with that. Now the cool thing about this is that if you later on one to change it or modify it, It's going to be quite easy to do. So this emission master, I don't think we've looked at this thing just yet, but I'm going to do it just from, from this point because we're gonna be using it later on. So I'm going to say these 250 K, I use it quite frequently. And then these a 150 K, I'll explain what these things are later on. And of course we're going to need the repurchase current up here, and we're going to need the current. Again. I'll explain what those are later on. Another one I really like is the light. We're gonna be talking about life in the next video. So I'm going to drag and drop this sphere down here and I'll explain what that's feared those later. And you can start trying it. It's just going to move the light around that you're going to see later on why that is important. So let's say that we're ready. Let's say that we have all the buttons and things that we want. There's one that they really, really use and that's on the Export tab, this group thing. Whenever you export anything from ZBrush to like my arteries to the max, you want to make sure that your group function is set off, it's turned off because otherwise what happens is every polygon tends to be exported as a single entity. So you have a 1 million piece of sculpture. You're gonna have a million polygons in 3D Studio Max or Maya. And that's. Pretty much going to break everything. So good to have it there. And you can see that this things are overlapping, but as long as you can click on both of them, you should be fine. Once you're done, you're gonna go here into Preferences and you're gonna say Enable, Customize off. And that's going to turn off and it will cause much, everything else is going to remain like that. And the only thing you need to do in order to save this, so that every time that you want to use it is you can say save UI. So in my case, I'm going to actually save it on our projects folder so that you have access to it. So let's go here. It's good to here. Let's call this interface. So if you want to use my interface, you're welcome to just load that interface from this section. Preferences low the interface low DUI. Now, if you want this thing to always be the one that loads whenever you open, you want to hit store configuration. And what this will do is it will store that master like a profile into the root folder of ZBrush. And every time you open, it's going to be. Now finally color. I know it's something super stupid to be honest, like it's not really important, but it looks cool. So if you want to change your colors, it's going to be right here on the eye colors interface colors, that's going to be your signal. So what I'd like to do is I'd just like to drag my swatch number 1 and then big the color that I like, I like blues and purples. I tend to stay away from like greens and yellows. So they're like really intense. And since you are going to be looking at this thing for a long time, usually want something so you can go like this. And then let's go preferences switch. And let's grab like a, like a darker blue. There we go. And then what I tend to do is I just like drag and drop to the side right there, and then the slider button, this one right here. You also want to drag and drop that, and drag and drop that. So everything is now on the same color. So yeah, that's just a basic, a way to change this. We can save this again. We can just go, that's not that does not. You don't need to enable customize for that. There was going to save this UI exact same name. Yes. Okay, And I'm gonna say preferences store configuration, perfect. So now every time we start sculpting, it's going to be this same amount of colors, the same amount of elements and everything. And we are going to be pretty much good to go. Now if you ever feel lost and you feel like the interfaces way to BC or whatever, just make sure to go here, say wrist under restore stand there UI and you're going to be back to basic. So if you're teaching someone new and you want to show them like the basic way that C versus. So this is a perfect way to do it because if you just go here into configuration and say it restored custom UI, instantly going to jump into the custom UI. There's a lot of artists out there that actually share their costume UI. Some of them are railing dead. Some of them have a lot of stuff. I tried to keep it simple. Try to keep it minimal. But if you want to go super, super basic field for eats, here's the approach, is your interface and you're welcome to do what feels best for you. So this is it guys, this is just a short video on customization. Again, really important because it's going to allow us to work very, very, very fast. So in the next video, we're going to start exploring lights. We're going to be doing a small overview of the general principles of lights. And then we're going to jump onto our main project. So we're finally going to start working on the big project. There's just one more exercise with the lights in the next module. And after that, we're going to jump to the main project. Then we're going to be going over a lot of the stuff that we've talked about and we're going to be exploring some extra tools along the way. So hang on tight and I'll see you back on the next video. Bye bye. 26. Lights and BPR: Hey guys, welcome back to the next part of our CVs to that we're going to continue with lights and BPR. So let's get to it. Well, first of all, we need to load something a little bit more interesting than a sphere, right? Because we're going to be talking about rendering and rendering. Lights, shadows, materials, and stuff. Work a lot better when you have something more interesting to work with. So I'm gonna go here into our series. Let's drag and drop. Let's say, instead of Import, we're going to say load tool. And we're going to load our ileum poly paint. Remember the one that we poly painted a couple of sections ago, this tribal looking guy. So we're going to be working with this guy. And I'm gonna be showing you a couple of techniques that you can use to get a very nice render out of this guy. First, let's talk about cameras. You already know that we have this dynamic perspective turned on right here. So this is going to deform the object pretty much strain to convey a sense of perspective as if we were looking at through a lens. You're going to be able to change that here in your, where is it? Here on the on the draw menu, you're going to go down here to where it says your focal length. If you want to have like a very intense or very flat focal length, you can bring this up. So it's going to be very orthographic. Is you want to go down, oh, sorry, draw here in the focal length. You can go like really, really down. It's going to be like super fish died lands. So depending on what kind of like camera you're going for, for this particular render, you're going to be able to change that you are doing a portrait usually like a 55 is really, really good. Now remember when we're sculpting, we usually don't work with dynamic perspective turn-on. We'd like to work with everything but just like flat orthographic. But when you're doing renders, a little bit of perspective goes along way. So now that we have this, the next thing is we can actually set up a specific camera. Unfortunately, it's not like other softwares where you can create a camera and habits stay on the same place. But there's a way in which you can find like a good shot, let's say something like this is a good shot, I think. And then save this a specific position. You're going to go into the Draw section again. And down here. No, sorry, in the document section and down here on deem Hey, where is it? This thing just updated, by the way, at the time of this recording, this is now 20.521. So for some reason I'm missing where the where the thing is. A file. Give me just 1 second should be about here. There's, there's a place where we can actually see that. There we go. Sap link. So it wasn't document all along. So in the Documents section, you're going to go down here to where it says sapling and you're gonna go into sibling properties. And in here you can click this custom one element. And now what that did is it just saved this camera. So if I move my camera around and they want to go back to that nice camera, I can just go again to document. Click on the costume and it's going to jump right back in. So that actually might be a good button to have on our custom interface. So I can see Enable, Customize, Control Alt and then just drag the custom one. Well. Document Control Alt, let's drag this right there. And if we want to have a couple of them, Let's have a couple of them. So that means that I can have a secondary shot like let's say something like this. Let's say preferences. And it will cause myself there's going to be accustomed to. So if I create custom one, I'm going to jump to the one. If I create custom tool, I'm going to jump to the second one. And if you want to clear those, you just go here and say clear all. Okay, so that's going to pretty much save our camera. That's going to allow us to save our camera. And now we can start working with our colors. So how are sorry, lights helped the lights work. I'm going to click this thing right here. I'm going to click on this icon so that I snap the whole light menu here to the side. And this is going to make me, or are allowed me to work a little bit better. So the way the lights work is you pretty much have this little sphere right here that shows you how the light is populating the scene. So if you move this thing around, you're going to see that light in the scene starts moving around. However, we have an issue. You're going to see that the whole character, like the eyes and the face are moving. But the horns are not. The reason the horns are not moving is because right now I have this mad cap selected and probably this horns have that mad cap assigned to them. And the problem is, every single mad cap that you have here actually has light baked into it. So we can't modify or overwrite that light just by moving this thing around. So a good rule of thumb is whenever you're using, like the actual lights from from CBO, tried to use your standard materials down here. So I'm gonna go for this basic material here. And you're going to see now since this is the basic material and the horns are now responding to the whole thing. So if I move this thing around, you're going to see how this thing starts like changing right? And we have a lower light. I'm not relied left, right? Any, any kind of position that we want. Now if I go up here to this little circle that says BPR, what this is gonna do is it's going to render the whole scene. And one of the cool things about BPR hearing CBR, she's that you won't need to bring this into Maya. Or three experiments at quiche or anything. If you have key showed you a very, very powerful tool. But right now, this is all cheaper. So as you can see, depending on where I position my light, I'm gonna get a different result here for my character. Again, very, very handy, very, very handy technique. Now one thing that you might know this is that the shadows don't look as nice as they normally, whereas you would normally expect, right? And that's because there was a couple of things going on here. First, I have this for turned on. So the floor is actually acting like an actual floor and you're gonna see the shadow of the character on the floor. If you don't want that to happen, you can just turn off the floor. And whenever you do another BPR, the shadows of the floor are you gonna disappear. So as you can see here, after a couple of seconds, no more shallow floors. Again, if you do want Florida, the Florida have shadows, you can have this. Now, let's say I want to push the floor down the 0 way we can do it. And the answer is yes, the floor is always going to be on the lowest point on any given sub tool that you have on your character. So right now the sub-field that goes the farthest down is this body. So that means that the flow is going to be right on the bottom. But if I append a new tool, like let's say it's fear, see how the Florida push down. And I can select the sphere. It can move this here down and the floor is now going to be down there. Now the cool thing about this is that if you turn this off, It's also going to be working. So I can go back to this guy and turn this off. And since this is even though it's hidden, it's actually pushing the floor down. So now what's going to happen here is if I turn BPR, you're gonna see that the shadow of my character is going to be really, really low there. It's broken that take longer because to calculate some extra things there. But you can see the head floating in there. Again, you can decide whether or not you want floors on your character. If you want multiple floors, you can also have that by turning this little insight icons there. And what's going to happen is it's like if you had like four walls, It's not very sorry, three walls, It's not going to look the best, to be honest. It looks kinda weird, but it's an option, always good to know options, right? So let's keep the white open. Let's delete this as fear for now. And let's talk about the render settings because that's the next thing. Now let's say I have this very nice like three-quarter light. And going here onto the front of my character, if I can make a render right here, it's gonna look okay, It looks a nice soft shadow, but you can see that the shadow doesn't look really realistic. It's missing something, it's missing some punch, I would say, let's, let's get this closer. Look, something like that. Let's do one more time. And the reason why this doesn't look as good as a good is because we can actually modify and change a couple of settings on the render tab. So let me drag this into here, the render tab so that this shadows look a little bit better. So what's happening here? How supers doing renderings, without having to wait as long as we normally weighed in Maya and 3D Studio Max and stuff. It's using, of course, its own sort of calculations and it's its own sort of engine. But what it's doing, it's just pretty much doing passes. It's generating a color pass, shade with depth best, shadow pass, mask paths and then the floor pass. So by, by generating this passage really quick and then mixing them together, we get this final render that you're seeing right here. So one of the things that we're looking for is we want to make sure that this thing is done in the best possible way, right? So I'm gonna go into BPR shadow, which is in charge of doing the shallow passes you might imagine. And let's make sure that the shadow is not as dark. To lower that we're just going to push the GI string, G string, which is the global strength to 0.49 in this case. And if we do this again, since we didn't change the camera, only that passes gonna get affected. And you can see we've got a more softer, nicer look here on the whole thing. Breathing pretty handy for the render. Now if you want like a really hard shadow, you can bring the global string all the way to 1. Again, it's not going to take as long because we have not moved the camera. If you move the camera, all of these things are gonna take a little bit longer because they need to calculate again. Now if you've ever gone outside when it's sunny, you know that of course the shadows are not as intense as what we have here. So I'm gonna make them softer. And you also note that the border of the shell is usually not as sharp as you're seeing here. Now there's three ways in which we can control that. We can use the angle, so we increase the angle of the race. What's going to happen is that the shadow, especially as it goes away from the character, it's going to get software. You can see right here. So you haven't got software. So we get softer shadows all around a character which look a little bit nicer. However, however, you're going to see that it looks really ugly here. Why is that? Because maybe the angles a little bit too high, Let's give it a little bit lower. Let's do it again. And it's also because we have very few race. This is pretty much doing a rate trace render. So if you know what Ray Trace means, it's a lot of rays that gets shot into the scene and they calculate the trajectories of lights bouncing and all that sort of stuff. And depending on the result, they show you the image, right? So the more race let, let's increase this to like 50. Raise. The more rays we have, the cleaner the shadow is going to be. But of course, the longer it's going to take. So this is the same bus in any sort of 3D package. If you want cleaner renders, better renders, you're probably going to spend a little bit of time here. So as you can see, this is pushing the whole thing into like a higher element. But look at that, look at that nice shadow there. So that's a nice shadow, right? Like that looks a lot better. Now, another way is you can actually increase the blur of the shadow and that's of course going to blur the shallow. However, just keep in mind that the blur is really heavy, so it's probably going to take you a little bit more time to render. Now there's a very cool effect that we have here that's called ambient occlusion. If you're a gamer, you know what this is because you've seen it in games. If you're another game where you know what this is, even though you're not what's the word? Even if you don't know technically what that is, you of course have seen it somehow in your, in your life. So let's, let's do a quick search here. So ambient occlusion is this effect that happens pretty much everywhere where two objects that are really close together are going to occlude the light. It's not a shadow per se because they're not they're not just like stopping the light from getting there. It's more the fact that as, as objects are closer together, they're going to get this sort of effect. I'm not sure why that's thinking so long. Maybe it's the like I was downloading for nerdy or something. There we go. So this is the kind of render that you get from, from like a malocclusion. And this is exactly the effect that we're going for it. The reason why ambulate gluten is really cool is because as you can see, it will give us a little bit more depth through the whole details for the whole wrinkles to pretty much anything on your character. So in order to turn that off, you're going to go keen to rent BPR render passes, Sorry, render properties and just select ambient occlusion. Would this now the BPR AOE is going to get turned on. And now if I take another render, I'm only going to render the UI. You can see there it's rendering it. And what I'm expecting to see is I'm expecting to see a little bit more strength on the shadow, on the crevices of the character. It should look a little bit more intense. It should look a little bit more. What's the word detailing in this case? So let's just wait a couple of seconds here. As you can see, it's sticking. It's gonna take about 20 seconds, 30 more seconds. That's one of the cool things. It got a little bit faster. So there you go. Now it might not be extremely noticeable right now, but if you go here into the render pass, you're going to see that we now have this BPR render the ambient occlusion for the BPR. Now this best is really important. We're going to be talking about these guys in the next video. So just keep them on the, on the back of your head for now. Now, let's say we want to do a little bit more interesting light setup. So what can we do here? Right now we have this light. Let's imagine that this is like a sun. So I'm gonna go here into the color. I'm going to make this warmer. So I'm going to make this very warm shadow right there. And if I do this and I wait again a little bit, it's going to be a little bit render. Now, one thing you can do to make your renders a little bit faster is the following. I'm going to press Esc to cancel c. This sub-pixel anti-aliasing render quality, if you lower this to like a one there and there should be a little bit faster. Of course, it's going to look a little bit worse, right? Because. We're not having as much of a sub-pixel element. Another thing you can do is you can do your ambient occlusion and then turn it off. And then once you got your nice light setup, turn it on again. But again, that didn't take that long. So as you can see, we have these nice little or nice light coming down here. Now, in the properties, you're going to see that this light is actually emitting a shadow. If you don't want a light to emit the shadow, just turn that off and that's it. If you go here into the background. None, not the background, Sorry. The nothing that one's fine. So the one thing you can do is you can actually chart on another light. So I'm going to click this thing, turn on the light. You're going to see that we now have a second line going in here. So I'm going to go quickly into the Render tab, and I'm going to go into render properties. Turn off, I'm with occlusion. And let's take a look at how this looks now, we two lights. So we do lights. One of the things is going to happen is you're going to start competing against each other, right? Because you have one light coming from the side and then the other one coming from the other side. This is not so much to the super-rich, but a little bit more to do with like a rendering in general. So one thing that you can do is on this second light, you can start modifying how this light affects the character. So for instance, I'm going to double-click. Let's increase the intensity. If you double-click, Let's turn out there. If you double-click, the light will go to the back. So what I wanna do here is I'm going to double-click so the light goes through the back and I'm going to push it so that we get this very nice rim lights you that. So now if we take another BPR, well, I'm, what I would expect to happen is I'm going to have the same sort of like nice shading that we have on the front with this main light. And then this rim light is going to help me get a different effect right there so I can see it. I can see the rim light going there. Of course, the shadow is competing against this. So I'm gonna go here into the intensity. Let's increase the intensity a little bit more. And one of the things I can do is you can actually, the shadow is off and I do want shallow off because otherwise I'm gonna get a lot of a lot of information. I don't want that. So let's try that like super intense light because I want this light to be over the first light. Let's see if we get what we want. So it's getting there, as you can see, it is working. However. Unfortunately, the shadow of the first light is obstructing the second light. Now one thing we could do, of course, is we could go to the first light and turn off shadow. Or what that's gonna do is even though we are going to get this very nice rim light, we're not going to have any shadows anymore. So let's do this again. There we go. So it looks okay, but it's not exactly what I want, right. So again, lights here and see worse, even though they're good, they might not give you the best result as if you were to light your scene in marmoset key shot or my our 3D Studio Max. Now one of the cool things about the licenses you can see here that we can actually scope with this lights on like you can sculpt and you're going to be seeing aren't real time like how the general thing is going to be looking at. It's not bad, It's a good seller. So with this done now guys, in the next video, I want to show you how we can actually use the slides to grade them a little bit of a better effect with the general thing on the other character. And we're going to be doing something called render passes. You already saw them, is this thing right here. The render passes. This is a very, it's a little bit of a technical issue and this is the only time we're actually going to jump out of seawater into Photoshop. Hopefully you guys have Photoshop or access to Photoshop or a similar project like like GIMP for instance, so that you can do what I'm about to do. So yeah, let's let's stop the video right to your case. And the next one we're gonna be talking about passes and how we can do a little bit of a composition in Photoshop to get a better render than what we have right here. So hang on tight and I'll see you back on the next video. Bye-bye. 27. BPR Renderpasses: Hey guys, welcome back to the next part of our series that we're gonna be talking about, BPR render passes. And I'm gonna be showing you a technique that's going to allow us to bring this guy into Photoshop to get a more interesting render. So what I'm gonna do is first of all, I want to find again, the nice custom shut that we have, maybe, maybe this one even now because someone is better. So what I'm gonna do this, I want to do this, this sort of like headshot, right? And I want to use the power of the render passes to create a very nice composition. So the first thing I need to do is I need to check the document size. So I'm going to go into document. I'm going to clear all clear. And then I'm gonna go again, need to document and save this new shot as custom one. Now, if I take a new render right now, remember we don't have anything. Let me turn this light off. I'm just gonna keep the first light and let's turn shallow on for this one. There we go. So if we do a render here, you're gonna see that we get this interesting, interesting effect. We've already done this before. But I want to show you this. If I go into the render and they going to render passes her rather basses and I mouse over this, you're gonna see that width and height of my document right there. So right now, this character is being rendered at 1473 by 858, which is not like a standard size, and it's also not very good in regards to resolution. So let's do a two k square composition. It's very easy. I'm going to go into document. I'm going to turn proportions off so that we can set both elements of the different types. I'm gonna say two k and two k right there. And now I'm going to say resize. This is going to give me a warning. I'm going to say yes, the document's going to look horrible. Don't worry about that. Just hit Control N, drag a new one thing, heat T to go into, back into edit mode. And we can just keep custom one again. Now, even though if I do this and I take another render, It's gonna take a little bit longer. Why is it gonna take longer? Because of course it's going to be rendering a bigger image. Now one of the things that you might notice is that this is not actually frame, do the same size that we had before. I'm actually doing like a close-up on the image. But if I check here on the render, pass, it my mouse over this, you're gonna see that we're actually getting exactly what I'm going for it, which is this big image here on the 2k resolution. So unfortunately, you can also see that there's a lot of wasted space. There's a lot of empty space on top of the kid and on the bottom. And I actually want to cut there on the on the chest area. So what I'm gonna do is I'm gonna go to this option is right here. I'm going to hit zoom and I'm going to assume this out. What this Zoom is doing is it's zooming out my work area and my Canvas. So this is going to be a little bit of a performance hit for your computer because you need to be looking at 20 2048 pixels overall. But it's going to give you a real solution that how this is looking. Now one thing you might have noticed that I forgot to mention on the, on the customized interface thing was the color of the background. You can customize this here on the background, so you can select pretty much any color you want. I typically go for like a dark gray, but you can do whatever you want. So again, document. Back and you can select whatever color you want. So let's do, let's do it like a light gray so you can see the difference. So now with this Zoom button, you're actually seeing the elements. So I'm going to be able to, to really like going there and find the exact element that I like. So I think I like this, this be a little bit better. So I'm gonna go again into document, clear, All clear. Document custom one. There we go. So now if I do a render, I'm going to be creating this final render is going to take a little bit longer, so just bear with me for just a second. Well, I'll explain that a couple of other things. But now I'm going to have like a really big interface, like a really big resolution image that I'm going to be able to take into Photoshop. Perfect. So as long as I thought it would, I'm going to go hearing to BPR render properties and I'm going to turn on back again. And when I say BPR again, it shouldn't take that long. You should only do the ambient air pollution now. And now that we have this, we're going to be going into the actual creation of the maps that we're going to be taking into Photoshop to get a very, very nice render out this guy. So this is the, I would say millenarian technique because it sits a very old technique that people use to create renders. Nowadays there's a lot of other methods to do. Some people are really good at using key shot. I personally like to take things into marmoset and do like the full production pipeline of UBS textures and everything. But if you're doing just like a concept, this technique that I'm going to be showing you right now, it's going to be really, really helpful for you. So what we're gonna do is we need to export all of these things. We need to export all of this maps into Photoshop. And we're going to be combining them to do some very, very nifty tricks here. So we could just click here and save this as a PSD, whereas a PNG or tiff Photoshop and do one by one, but that takes forever. So hopefully, or thankfully, there's a plugin here called receivers to Photoshop. It's going to do the exact same thing. The only thing you need to remember with this plugin and you can actually click, I think you can press Control on top of this thing. And it's going to show you like a preview. Just make sure that you have a UI BPR, that mask, and I'm gonna go here wheat lights. So now I'm just going to say sent to Photoshop CC. It's not finding the application, haven't done this in a while and probably after the update it's missing it. So what I need to do is I need to select where my Photoshop essentials. So I'm just gonna go again, see us looking for the application. So I'm gonna go to my software nodes. Yes, this when we go and it's looking for the foolish of executable, we go. Okay. So as you can see, it's going through the motions of doing this whole thing. It's rendering. I actually have Photoshop open on my, on the background. So let's just wait a couple of seconds and what I'm expecting to have it. So I want to have like a file with all these folders. If it's not on the file, that's fine. We can just copy and paste them everywhere. And what we're going to be doing is working out to be doing some sort of compositing. So if you've never heard about compositing, compositing is, is we're pretty much going to have a lot of images. It's not exactly this like 3D compositing, but it's just to make a point, you're going to have a lot of images. Render passes. There we go. So we're going to have a lot of images here. And what we're gonna do is we're going to combine them in such a way that we recreate. The same element that we have in Photoshop. However, since doing layer so we're going to be able to modify and tweak things around so that we get a nicer effect. So we're just waiting here a couple of seconds. It's rendering shouldn't take that long. I'm going to pause the video real quick guys, this is going to be just to jump for you so that you don't have to see my screen for a long time. But anyway guys, so we're back. This was again, just a little jump for you, but the thing finished and there's one thing I forgot to mention that the plugging that and I'm going to show you in foolish up in just a second. But by doing this light passes what it actually did. It actually render several different lights, not the, not only the one that I have selected, but several different lights that we're going to be using to create our composition. So if we go here, let me, let me make the layers tab a little bit bigger. You're going to see that we have this huge folder. And inside this huge folder we have masks, effects, geometry, lights, and the base layers. So what's the base layer? As you can see, the base layer is just my layer. If I go into the material now, you're going to see that on the material layers, we actually don't have anything. So we can get rid of that one. I'm actually not going to get rid of it because I'm going to show you a nice little trick is going to work very nice. And then here, here's where the magic happens, because as you can see, we have a lot of different lights that we can use to create a more interesting effect. Now, all of these slides, as you can see, are set to screen. So they're going to be or, or we can actually use them to combine the final element or the final result of her character into a more interesting effect. Now if you want to, you can actually go back to the base layer here. Turn this one off. And if you start turning this guy's on, you can just pretty much work. You're elimination or rebuild your illumination from scratch. So let's say I want like this rim light right there. I like that one. And now let's go for like more direct light, like this one right there. And then let's go with this one now. This one maybe I like it, but it's a little bit too much for my life. So I'm gonna go to 80 percent opacity. And again, this is one of the beauties about this process that we're going to be able to on the fly modify how we want things to look. Maybe I want my rim light, which is this one right here to a little bit more intense. So I can go here, I can go Control L to the levels and just start pushing my levels either up or down. And that's going to, of course give me a little bit of a different result. So it's crunching the lights a little bit too much. Let's move a little bit. Something like that is fine, Perfect. Now a couple of other tricks that we have here. We have the geometry, which is that depth is going to allow us to blur the character and make this look a little bit more like a, like a photograph. But I'm gonna do that at the, at the, at the end. I'm going to show you why in just a second. So we also have the ambient occlusion, which is really important. And we have the shadows, which in this case the shadows are only affecting like the main light. Now this shadows don't seem to match with the new light information that I have. So I'm actually going to turn those off. Now, the ambient occlusion, again, cool thing. We can go into the levels and if we want to, we can push the ambient occlusion into like a more intense effect. So again, doing this on the fly here on Photoshop is going to be a lot more easy for us to do, then doing it directly on what's the word on the zebra, right? Another cool thing is we can, of course go into our light section. And for instance, this guy, the word you're seeing right here. We can change the hue, can go Control U to change the hue. And maybe we want the light to be a little bit greener, a little bit redder it a little bit or injured like look at this, makes for a very nice effect. And the cool thing is. It's not only changing the light, It's also colorizing the whole character. So you're going to see like a blend of course is going to make this thing look really, really interesting. In my, in my opinion, we're working at two k. So two key is going to be really, really good. So that's going to allow us to do some very, very interesting texts. Now, let's say you want to turn this purple or like a blue light here, like affecting the whole character. But you don't want this blue to go all the way over here. No problem. We have masks. And if you've ever used Photoshop, hopefully you you're a little bit of experience with Photoshop. We can paint out areas that we don't want it to be affected by this light. So maybe we only want like this interesting like white light coming from here from the site, which again works, interestingly, works okay with our element. Now, let's say we want to add a little bit of a spicule, right? Because that's something that our character, it doesn't have right now. Let's say we wanted to do a little bit of a shine to the skin. Well, I'm gonna do is I'm going to turn off the poly paint information here. This is a little bit from the bass street, but hopefully you, you get it. I'm gonna go here to the reflected map to get this very interesting. Look. I am going to do a BPR real quick. And I'm going to graph the shaded element from this BPR. You could have torn or I could have turned the ambient occlusion off before doing this so that I wouldn't have to wait as long it is. So let's just wait a couple of seconds here for this to finish. And what this is going to allow me to do is I'm going to be able to use this map to control which parts of the character I want to be very shiny like maybe the ISO want them to be really reflective. And which parts I want them to be like a little bit flatter, right? Because every object that this has something to do with, this has more to do with render than anything else. But every object that you see on, like everywhere has this sort of effect. So I'm going to click here and I'm going to save this. Let's go. I'm going to say that on the desktop for now, I'm just going to call this BPR composite, let's say Photoshop, and let's call this specular t. There we go. So I'm going to do here, I'm going to open that file real quick. Pick it right. There we go. And then I'm just going to drag with my M and V key. I'm going to drag and drop which shift on top of this guy. Now this element, I'm going to have it on top of everything else. And this is going to be on a it can be overlay, can be lighten, it can be screen. I think screen works a little bit better. And what I'm gonna do is I'm going to use Control L to push the colors. You see that? So with this, I'm going to be able to control this sort of like plasticky skin and then bending how much reflection I want the skin to have. I'm going to be able to move these things around. If I want to. I can control shift you to make this a white. So not color, but I actually like the color and then of course, lower the opacity because we don't want this to be like a completely shiny. So as you can see, it's pretty much like adding a new material on top of that character. And it's going to make this look really, really nice. Maybe, maybe I want the eyes to be really reflective. So I'm going to bring this back on like here because the eyes are really reflected right there. And what I'm gonna do is I'm going to add a black mask. So I'm going to have a mask right there. Let's erase everything here with a black brush. High that height, the height, the pilot. And then with a very hard brush, I'm gonna make this more intense here with white. Now as you can see, I'm going to be able to make the eyes a lot more reflected, which would have been a little bit more complicated to do directly on. There we go. So now if I want to, I can go again to this guy Control L, two levels and just like punch this, a reflection either up or down depending on the effect that I'm looking for. Cool, right? Let's do vary a very last trick. Now, if you guys are unfamiliar with Photoshop because I know this is a intro to see rationality Intro to Photo shop class. So if all of this looks like completely alien to you, don't worry, we're gonna do a very nice render for their final project directly in sewerage. This is just in case that you know how to use this kind of softwares and you want to try a couple of extra things. So I'm gonna go to the very top, and I'm going to hit Control Shift Alt E o, those four keys, which is gonna give me a final image that's combining all the layers that I have right now. And I'm gonna go to the effects. And you know that we have this, sorry, on the geometry, and we have this the BPR depth. So what I'm gonna do, let me turn this off. Let me turn everything off, to be honest, actually, let's drag this all the way out, like this. There we go. So we can turn everything off and we just have our main color. And underneath that, our depth, what I wanna do is I wanna do a little bit of a camera blur. You know, when things are closer to the camera, they are more in focus and as they go away, there are more out-of-focus. So white is the things that are closer to the camera and black is the things that are farther away from the camera. So what I'm gonna do is I'm going to go here, M, select all of these things, control C to copy channels. And I'm going to create a new layer. And I'm going to say alt, click in control B. What this is gonna do is I'm going to paste these alpha channel into the layers right there. So if I turn everything up again, you should see this red color on your character like this. Now I'm going to go back to channels. I'm going to turn off Alpha. I'm gonna go to this top layer. I'm going to say Filter Blur, lens blur. And on the lens blur options, you're going to be able to select Source alpha1 and look at that immediately we get this very interesting depth of field. Now, you can of course, increase the amount of blur focal distance or decrease it depending on the kind of effect that you want, just going to decrease it. And I think I can go with a little bit of a heavier radius. There we go. I'm just gonna hit. Okay, perfect. So look at that. Now this horse is out of focus. This horn is out-of-focus. Half of the face is out of focus. And we get this very, very nice, interesting look to the whole character. One last thing we could do, I'm going to look for like, like a cave interior. Maybe he's like a dweller of the depths. So I'm going to go for something that kind of looks like a cave. And I'm going to try and find an image that has a light similar to what I want that he has right now. So yeah, I guess this works. It's copyright it when I want to have any issue. So let me see if I can find that F31. I guess this one could work. You're not seeing anything, right? Sorry. So I'm trying to look for some for one that's not too bad or too too obvious. So something that works. Okay. You're shy, I guess this one I think this one's fine. Yeah. Perfect. So I'm going to copy this image, paste it. Let's make it of course super big. It's going to be blurred, so I don't care. I'm going to embed this flip horizontal, right-click flip, flip horizontal. So this light source is on the, on the side there. Let's do something like that. And now the cool thing is we have this mask so we can grab the Mask, grab the element, and then just mask the whole environment. We can invert the mask Control I. And there we go. So now it's just a matter of modifying this and it looks a little bit closer to what we would expect. So it's going to be definitely darker, something like this. And we're gonna go Filter Blur, Gaussian Blur. And we're going to blur that halo of this. Now this is, of course it's going to blur the mask. That's fine. I'm going to rebuild a mask in just a second. So something like that. Okay, so again control and then let's disable the mask or sorry, Delete Layer Mask. And then we're just going to do this again and controlled I. There we go. So as you see here, now we can just crop this image so that it frames the character a little bit better like this. And we have a very, very nice render offer character that looks nothing like what we have here. And that even if we turn this things back onto the colors, like yeah, of course. So we're just gonna look cool. You can see, it looks cool. We've been sculpting this, but this is nothing like having this. This looks more like a photo, more like a final render. And it's going to push your render, send your characters to the next level, which is exactly what we're looking for throughout this course. So this is it guys, this is a huge or the end of this initial breakdown of older more are the most important things of ZBrush. Just to do a quick recap, we've done, we've gone over subdivision levels. Dynamesh sees fears, nano mesh, see modeler, and cloth or a non-regulatory dynamic cloth. We did BPR, we did poly paint, we the, the layers, I believe even Booleans, hard surface techniques. So there's a lot of other tools that you have up to this point. My biggest advice before we jump into the big project is that you guys review all of this stuff. If you feel like you have not conquered or fully understood any part of the process so far. Go back and see it. Okay. Go back, check the video again, tried to do the exercise that we did on that video so that you understand how it works. Because we're gonna be doing a big project now, and that's going to involve our law tool. So if you don't feel comfortable with any of the tools, then the final result might not be as good as you might think. I also want you to encourage or I also want to encourage you to always be checking for new stuff. For this initial introductory introduction for ZBrush, we decided to pick the most important things that are going to be helpful for your beginning career here in C rich, but there's a ton of tools, there's a lot of techniques, a lot of different tips, tutorial districts, and then stuff that you can learn by combining all of this like major or core elements of C brush in order to get a more interesting result. So always be learning, always be improving. That's my, my personal motto and one that I share with you guys. Because every now and then there's going to be a new update, there's going to be new things and you always need to be on top of the game. Okay, So this is it for this video guys, in the next one we're gonna start with our projects. So hang on tight because things are going to get really exciting. Bye bye. 28. Project Overview: Hey guys, welcome back to the next part of our series. We're going to start with the project breakdown. It's time that we jump into a, an explanation of how we are going to be attacking this project right here. So you've probably seen this guy already from the thumbnail of our videos, but this is the first time in video that I'm actually recording the project. And this is the guy who the hero that we're going to be doing. We're going to be using a lot of the training techniques to get this guy into this very nice final render that we have here. But before we do that, I want to do a quick introduction on one of the most important things that I think gets what's the word for? Gotten quite a bit. And that's planning your stuff like before you do any sort of project, I always recommend you guys to plan things out because if you plan things out, it becomes so much simpler instead of having to guess and then double like, yeah, like double guess yourself and try to find what the best solution for each specific thing is. It's a lot better if you already know going from the basics. So I know that the body, Let's change this to a white letter. The body is going to be done with seizures. That's a no-brainer for me. I'm gonna do see spheres to make sure that the proportions are right. I'm gonna be doing this guy in T-pose. So I'm going to write here T-Pose. And then at the end, I'm gonna be showing you some techniques and tricks to post a character. So we're going to be doing this on people's. We're going to have to Hello of what's analyzing back and forth to different kinds of things. Eventually the body is going to be replaced. It's not going to be like a fool, but it's going to be several different parts. We're going to have like the like the armed guards and the gloves and the face and everything is going to be different. The hair, the hair is going to be sculpted. Both the character's hair and the shoulder pads like all that food that he has, that will be not impossible but really difficult to do with fiber mesh. And it doesn't really go with the style of this particular character. The chain that has, we're going to be using C spheres again. And we're going to be using something called curves, which I believe we didn't cover as much on the first sections of the video, but we're going to be talking about them later on. So we're going to be doing curves, the windy elements of the cloth. So the cloak, that's of course going to be dynamics. So let's call this dynamics. That sort is more like, I'm 90 percent sure that we are going to be using similar because it's a very symmetrical element except for the pump because the palm I'm not sure if it's within o or when you you might correct me later, but that one's probably going to be a lot of hard surface techniques. So that's one of the reasons why we picked this property, because it has a lot of stuff that we covered so far in a more traditional, realistic element. We're of course going to poly paint this thing. Where of course is going to add materials to the thing. And we're going to be a rendering the character to get like this very heroic kind of rendering inside of ZBrush. And that's it. The character is asymmetrical, he's pretty asymmetrical. So that's something that I need to make sure that you understand meaning that. And I'm actually going to draw on top of this. I sometimes like to draw on top of my concepts just to help myself. So for instance, this thing, like I would say from here down, it's symmetrical. So no problem there. Like this thing is going to be quite easy. This thing is going to be quite easy. Everything is going to be secure up here. We're going to have a couple of different things that we need to consider because even though the forest, we could say it's symmetrical, the shoulder definitely is not. There's a lot of things that I'm not seeing like I I'm not sure what's happening here. I'm not sure what that thing is. We're going to have to analyze that later on. The face is pretty symmetrical, pretty cartoonish, which are going to be fine. And yeah, Everything else is, it's an easy concept. It looks like an easy concept, but it's actually not that simple. So there's gonna be some parts of they're going to be tricky. And one of the main goals of this whole series is that you see how we can utilize all the different things that we've learned so far in order to create a concept like this. Now, I would encourage you to follow along with this guy, tried to do the exact same product for this particular guy. Just that the Jew, again, further understand and learn the tools and techniques that we're using. Because if you tried to do something else, then a little things that I'm going to be doing for this guy might not translate perfectly to that specific project that you might pick. However, later on after you've finished this one, I totally encourage you to go ahead and do other projects as well. So try and do whether you like any sort of realistic super cartoonists, stylize anything that you'd like. You're going to have more than enough tools to work with this kind of elements. So yep, worked ready to go, guys, we're going to start with the first section, which is going to be the blocking of the general character we're going to be using again, see spheres, DynaMesh, and the basic stuff for construction. And then we're going to start jumping one by one. Like pretty much. What's the word? Knocking down every specific base. Now, there's one extra thing that I like to do. And I again, strongly encourage you to do it as well. And that's to make a list of all the things that the character has. Because one thing that very often happens is that you forget about streaming stuff, dude, you're so focused on doing the character that you forget about the elements. So I'm going to go by section. So I'm going to start with the head. So the head has of course, the face, it has the eyes. I don't see an open mouth. So we're actually going to sculpt this character with the mouth close. That way. We're not going to have to do a lot of fancy tricks with topology and stuff. So no mouth and of course hair. So that's like the head section. That's the three things that we need to worry about the head. Then I'm going to say shoulders. And we got the first coat. We got the left shoulder path. And the left shoulder pad has three sections. Shoulder path. It has a bottom plate. A has a medium platelets called this mid plate. It has the lion plate and it has a chain connection, let's call it because again, see how this rope goes all the way to the back. I don't know where that thing is going. It's going somewhere. It has to like anchor to something, but we're going to have to pretty much embed ourselves a solution there. Maybe there's another, this thing is on the backside. Might look weird though, but okay, Were we need to find what makes sense. So there's a chain connection which I'm referring to as this circle, and then we got to change. So I'm going to write here 2 times chains. And it has a pendant. And let's call it a locket. Dependent is the thing that's hanging the, I'm calling this dependent and then the Luckett is this thing right here. Again, I'm not sure what's on the other side, so we're going to have to embed later on. And then here we're going to go to the chest area, which not much to, or let's call this the body because there's not a lot of things. You only think importantly on the chest that I want you to note here is that just a belt that goes across the element or the across the character. So the chest belt is there. And then we got the braces. We got the gloves. We the hip Let's call this hip protection or a belt. It's more like a belt, right? I think it's like a belt. And then we got the griefs and the boots. I'm not sure if that's named for the whole thing, but I'm going to select the top bar. Then the bottom part has some neat paths that are like a separate thing. And then after this we have the sort. So let me move this up. There we go. So for the source, It's just basically through puberty. It's the it's the promo and it's the handle. And that's it. Not well, of course, anybody we're missing the coke. Hang on coke back here. And the reason I have the globe and the shirt as different pieces, it's because the belt is going to allow them to have them as separate pieces. That way it's going to be a little bit easier to manage as well. So all of these things, this is pretty much a preview of how our substitutes are going to look because we're going to have pretty much one sub tool for every specific thing or specific thing that we have here. So just keep that in mind because it's gonna be, it's gonna be important for that, for the general process of our character. Again, this organization and just general planning before jumping into sculpting, I consider this to be key. I always do this whenever I'm starting projects like this. Because if you don't do this, you're gonna lose track. You're going to forget things, and then it's not going to look the best it can do. So just do this quick breakdown. You can copy this one. This one is also going to be available for you guys on our documents. Let me see if there's where it kicks. So let's call this project breakdown. It's available to us and say PSD if you need to. And and yeah, so this is it guys, this is it for this video. In the next one we're going to start working on this guy. So hang on tight and I'll see you back on the next one. Bye bye. 29. MainProject Zspheres: Hey guys, welcome back to the next part of our series. Today we're going to start with our main project after going over the basics and now we're going to start with the CSF, your skeleton. So I'm going to jump right into ZBrush and I'm going to go here. I'm going to select my C sphere because this is what we're going to be starting, starting with. But I want to show you a nice little trick that you can use to get your image in here. There's of course, the usual option of going here into our open element or a Photoshop file, getting our image as close to the center as possible. And then up here you can have this see-through element. So we can use this as a way to kinda get the image in there. But there's another way, and that's by using image planes. Now, I personally don't like image planes as much in zeros because I find them a little bit annoying and a little bit difficult to control, but it's there in case you need them. So it's very easy. You're gonna go into texture. You're going to find first your front view, of course, you're gonna go into texture and I'm going to change the size here on the, on the buried bottom place here on the image plain sight thing. I'm just going to move this down to like a 50 percent because otherwise it's going to be huge. It's going to pretty much use all the canvas. So I'm gonna go here into the image, and we're just going to select a JPEG file, which is our main element here, open, and there we go. So now the image is going to be there. Now, the problem with having the image there is, as you can see, I can move the thing around and the image is never going to, whoops, always going to be facing on the front view. Now, if that's something that you don't mind, then go ahead and work with this. You can also create your own collapsed like I could grab like this thing from ZBrush and just bring it in here as a, as an image and it's going to be just fine. But yeah, so I'm going to use this as a sort of a measurement. I think it's a little bit too small, but the image is really big. So actually let me, let me fix that real quick. So let me show you here in case you're new with Photoshop, this shouldn't be that much of a deal. Of course, it was going to go here. I am going to go into the project that we're working on, which is this one. And let's open this image. And what I wanna do is I want to just crop this thing so that we're only seeing the important bits. So there we go. Got a little bit of the handle. There. There we go. So perfect. So now we're just going to save this as Paladin. I believe this is like a Paladin character from like World of Warcraft. If something's, looks like that. And if you want to clear this control N, That's all you need to do. And then go back here into texture, load the image again. In this case, we're going to be loading the other JPG that we just created, this one right here, open, it's going to be on your folder as well in case you need it. And that's it. So now we can start building. So in the same way we built our octopus, I'm going to focus on having a sphere on the top and a sphere on the bottom right here. So I'm going to move this around. This is going to be like the stomach area. It's going to be kind of thing. And there's going to be the chess, which as you can see, it's a little bit bigger. Now usually the, the body has this sort of like bean shaped. So you always want to have a little bit of gesture on your, on your LMS right there. So something like this. Now I won't be able to match it perfectly because of course this character is post and we're not posing him just yet. I just want to get like the general proportions done. So for instance here, oh, one thing I forgot to turn on symmetry before starting. It's very important. You always want to have symmetry from the very beginning. So again, top area, which is the ribcage, and then bottom area which is going to be like the pelvis, scale down the what's the word? The let's go back to Q, scaled down to the stomach area. There we go. This guy with w, I'm going to move it up and then make it slightly bigger. We e, just scale it up. You can, of course, go back to Q and rotate your camera so that you are like as close as possible to like the, like the reference both. So like this you can see that's like that, the center light. So if that's, if that's useful for you, feel free to do it. Just keep in mind that we are again following or doing this based on the character for the legs here. I'm actually going to add this as small spheres first. And then I'm going to draw another sphere and the legs are going to come from that sphere because that's fear that I just added is going to be my, what's the word? My hips. Those are the hips. So I am going to go, we queue to the front view and just keep this as nice as possible. They're going to add my kneecaps right here. And legs usually have a little bit of volume here and here, which is the calf's and the thighs. So I'm gonna go with scale. I'm going to scale this up a little bit. You can see that the character doesn't have as much muscle. Just a little bit to have something. There we go. Move this back. Usually have this sort of curvature there. Perfect. So that's like the main shape. Again, I'm not worried about like matching the post. Yes. Yet that's something that we're going to be doing later on. I just want to match the general volumes. Then I'm going to do the same thing here on the upper, upper area. I'm going to match this with the like the shoulder socket. And then from here we're going to create the arms. So the arms are going to go down here to about there. And then we're going to have the elbows at the middle section roughly about there. Let's move them back. Usually your arm comes straight, like really straight and your forearm comes a little bit like forward like that. There we go. And with my E, I'm just going to give this a little bit less volume, going to add a couple of extra spheres there to add a little bit of volume to the forearm and a little bit of volume to the to the main arm like that. There we go. Again, it doesn't have to be perfect, but you can see that right now. I think they're a little bit too far apart. So that means that the main, like chess has to be a little bit bigger. And then this guy's, we w, we can move them to the side a little bit. It's a very stylized character, so he has this sort of like wonky field to it. Now, again, don't worry too much about the proportions just yet, because we're gonna be working with them in the next couple of videos. Now you can see that the head is really big. It's the size of the head is almost the size of the chest. So what I'm gonna do is I'm going to add the, the neck and the head. Again just as a general shear. This is a very cartoonish character, very cartoony looking, cartoonish looking character. So I'm going to find the ankle there. So that means that my legs are a little bit small. And a quick way to do this is if you go into the skill section, you select this and select the bone, you're going to scale everything up. There we go. So now if I go with q and w, sorry, q, just step outside of the element. So it's like I had the one there. There we go. We should be able to match the general look of the character. And there we go. This is the base mesh that we're going to be using to start a character. But that's it for this video. So after we have this, the next step, as you already know. Is to get this into workable geometry. Now, of course, if you wanted to, you could do the general. What's the word? You could jump into? The actual like fingers and feed and stuff. And I'm going to show you a quick nice trick that we are going to use in order to avoid doing a lot of work there. So I am going to make the risk a little bit bigger like that. And I'm going to clean my canvas now. I'm going to keep it clean because again, as I mentioned, I personally don't like working with image planes here in ZBrush. I find them a little bit obstructing And, and I also think that they worked like it modifies the way drum Mao's works and does shortcuts work. So if you feel like something's working weirdly, it's probably because of the image planes. I am going to have this initial blame though on the backside here. So I can just lower the opacity there to get a general sense of the scale of the character. I'm going to go down here into the adaptive skin section. And remember, adaptive skin is going to create an actual geometry that we can work with because right now we're not working with geometry. You can see we only have 25 points here. So that's not DynaMesh, That's not nothing. But if you press the letter a, you're going to see this preview of how the general geometry is going to look in these case is not that bad. So I'm going to click Make Adaptive Skin. And there we go. I'm also going to save this real quick here for you guys. So in our C Tools, you're going to have the Paladin start. See sphere. In case you're having issues with the C spheres, you can just load this in, make it that hip skin and then just save it. That's a sphere right here. So now with this, I can start working or it can start modifying the proportions to get this character into its proper position. One thing that I'd like to do is I like to soften everything because you usually get those weird lines from the, what's the word from the DynaMesh. And now it's just a matter of using our old thrust worthy tools like the clay buildup to start giving this guy for. So remember the first thing you wanna do before doing any details, any like Maine or secondary shapes is the form, the silhouette. So I'm going to use my brush. I'm going to be using my clay buildup as you're seeing here to start giving this guy the four minutes. Now this guys has of course a very easy like strong, jolly, very strong profile on his head. So I'm going to start using my trim dynamic and I'm just moving this around. This is real time by the way, I know I'm moving a little bit faster. But again, just try to remember all the tools that we've used before and utilize or, or implement them to our workflow here. Now, here in the neck we have an issue. The neck is usually not like this. Of course the neck is like a cylinder. So what I'm gonna do is I'm gonna use my clay buildup to remove all over the volume here and flatten this so that we get our nice little cylinder here. That spike that we have there on the back. That's not something they usually get. Now we're not gonna get into anatomy. I strongly recommend you get our course, the character creation for games where we do a demon and we cover anatomy more in-depth on that one. But in this case, I'm just gonna do a quick like trapezius right here that could be a little bit of more mass. And I'm not thinking about Muslim, so I'm thinking about silhouette, like I went to see a strong silhouette of this guy. Now of course, this things are going to be blocked in, are going to be pretty much. Obstructed by all the different details that we need to tomorrow, right? But even then, we still won this week. Advice I can give you is try to have a midline so we stand there. You can draw like your middle line here and you can draw like your island. So even though we haven't done any like details, this is a very traditional approach to this kind of thing, but the works, so I'm going to carve here a little bit. Then we have the sternocleidomastoid mastoid use, which is a muscle that goes in here. The chest is very puffed out. That's not what we're going for. This guy seems to be very, very fit. So I'm going to use trim dynamic to trim this down, push the chest back. But we do want to have that nice curvature here on the, on the front of the character. Now, I can't see you on the concept here. See the shadow underneath the pectoral muscles. So he does seem to have a little bit of pectoral muscles. So I'm going to add a little bit of volume here indicating where I want my pectoral muscles to be. And I'm going to use my trim dynamic to create a little bit of a step. So see that. Just a very basic blocking right there. Now, the arms we usually don't scope the arms this lower disclosed to the body. So I'm going to use my mask Ben or my mask lasso rather to select the arms. Move the pivot point to the shoulder joint, which is right about there. And then invert the mask to move these guys out like this. It's usually about 45 degree angles that I like to work with. And there we go. We just soften this up. And there's a very important muscle that we have here underneath the arm, which is the the, I'm blanking out with this in most dorsi. Latissimus dorsi, which goes, comes from the backside of the character and goes all the way to the front. It's gonna give us our circular puffy chest here on the site. You're usually have the ribcage right about here, which is not going to create that for us because we have this thing right there. And now in order to avoid having this like tiny waist, I'm going to add a little bit of fat here, which are the obliques. These are the obliques that we usually have here on the, on the side of the character. And all of this is gonna get simplified, very, very nicely simplified. But we do want to have like the general shapes right there on the insight here. I don't want to have like this super skinny legs now remember this male character, so he should have some sort of genitalia. We're now going to scope the Ginny Taylor, but we can add the volume of where we would expect the genitalia to be. Now on the site. We want to add or give him a little bit of a bot. So let's start filling in all of this area. So he has a little bit more mass down here. So again, I'm not worrying about it. You can see that the muscles are not well-defined or anything because all of this is going to be covered. So whenever you're doing a club character, you don't really need to worry about the details in the strands and the stripes of the muscles. You only need to worry about the volume. So I'm going to use infinite here to inflate the chicks, get them close together. And now let's just give a little bit of volume here to the little x so they get this nice interesting effect. There's some muscle that we usually have here. So I'm just going to A little bit of volume there. Again, not super worried about that because it's going to be covered by the armor. Actually all of this is going to disappear. We're not going to have a body, we're just going to have the armor. But it's good to have it. Let me get this image on my other screen just real quick. There we go. Now, this guy, the thigh muscle usually pushes outwards like this. And then this guy, the calf muscle pushes backwards like this. So see how we get this very nice S shape all around the character. That's what we're going for. This huge head that I normally wouldn't do this kind of characters, but this is how the character looks. So we're going to have to roll with it. Whenever you're working with a client or something, you're gonna do what they tell you to do because that's what they're paying you for it. So it's important that you never back off from a project. Just, just take the project and learn and improve, be flexible on the things that you can do. So there we go. Now, before we close this video, I want to add the hands and a little bit of an indication of feet. So for the hands we're going to use the insert multi mesh. Remember this guy's, we saw them when we were doing the hard surface things. Well, there's this insert multi mesh body parts and this guy actually has some very nice like hands, feet, and stuff. However, there's also this insert multimedia tune, which it's a little bit closer to what we're looking for. So if I go here into the feed, for instance, I got this like medium boot or the boot. I think the bubble is good because it's kinda like flat and the character has this sort of flat elements. I'm going to turn the camera around, select the bulb boot, and then just draw the boot, something like that. And then we're just going to position this with our gizmo. Scale it down if needed, so that we get our boot. And that's it. It's gonna give us a very nice book. It's a little bit long, I think, but we can always cut it. Remember, we can just hide this, delete hidden. Remember that's why it's very handful to have this like customized interface. And there we go. So this is going to be a good way to start the blocking of our armor. And we're right now we're just looking for the general proportions. We're not doing any sort of like sculpting or anything. We're just doing. General, general looks here. I strongly suggest that you have your feet pointing forward. Some people like to like royalty their feet like they like to do something like like this. It looks cool, but it's, it's, it makes it really difficult to do a lot of stuff with the organ to be doing. So, I strongly recommend you don't do it until the very end if you want to have a little bit of variation stuff. There we go. For the hands here on the Insert Multi Mesh tool. We also have some very nice hence. So I'm going to use this a vase arm right here. And the reason that the base arm is good is because it has five fingers and there and the flea is based out that we're going to be able to, to work with them. So hence, I usually like to make them slightly bigger than you might think or imagine. I'd like to create them out towards the bottom like this. A little bigger. And again, we can always like sculpt them and give them a little bit more form is just a base mesh. There we go. Dynamesh, and that's it. We got everything ready. So if you think or if you feel that certain things are wait too long or too short or whatever, and where you can always like, grab everything. I'm gonna go here to the center and just scaled your arms in a little bit. Because I do feel like the arms a little bit long. And yet, since this is the base mesh, this is the best position guy. So this is the best part for you to fix any sort of proportion issue that you might have on your character. So trying to get like this basic shape is the best thing you're going to be? Or is the yes, this is the best position for you. So try to get to this point guys, to where you have this very nice basic mesh. I'm also going to save this as Paladin base mesh in case you want to start this or any other character with this base mesh, this is going to be helpful for you. But after this, you probably won't have any other like C2 because otherwise the folder file becomes very, very heavy. You're going to have the final one of course. But yeah, I'm part of the exercise of course is that you get to do this right? Like you, you on your own, finish doing this whole thing. So this is four, this be the guys in the next one, we're going to go over a couple of techniques that I like to use involution before continuing, we degenerate proportions of our character. So hang on tight and I'll see you back on the next week. Bye bye. 30. MainProject Proportion Guides: Hey guys, welcome back to the next part of our series. Today we're going to be talking about the proportion guides. And I'm going to show you a nice little trick that I would like to use in order to get this to work. So here's what we had before. Here's our simplified version of the Paladin. So let me show you what I mean, but proportions. If you've drawn before, if you've done any sort of characters study, you know that characters are usually measured in hertz. So when we take the head of a character, if we draw two lines, Let's create a new layer here. Let's draw two lines, one on the chin and one under hairline. Usually, this measurement is what tells us the measurement of the character. So I'm just going to duplicate this lines. And you can see that the second head, it's landing right there on the nipples on the chest. That's good. That's a normal proportion for a character. The third head is roughly add the navel, which is also good. In this case, it's going right there. The fourth hit is underneath the crotch area, which again, it's working nicely. And then the next hit, as you can see here, is going above the the kneecap, which again is doing good. Thus 66 had in this case is going beneath the kneecap right here. And then the 7.5 is falling right on there or on the, on the floor. So this character is a seventh heaven character. Usually we will work with Eighth, have characters that make them look a lot heroic. In this case, this character looks heroic and looks very interesting because he has a really big torso, really big upper area, and really small, really tiny like final x. So just keep this in mind. Now what can we do to make this easier for us in foolish? Well, if we go here into Photoshop, we can use those measurements to see how our proportion, so it's looking. So I'm still using my see-through method here. I'm going to nail the head right there. And right here, I'm going to start seeing whether or not my proportions are good. And what can I see? They're not good. As you can see, my body is way too tiny for this gigantic kit, so I'm going to mask all the body. There we go. I'm going to invert the mask. I'm going to freeze the transformations here with Alt and click on this little circle. Move the pivot point too about the neck there. And I'm just going to start making the neck longer or the whole body longer. And at that position or this position, you can see that now my chest is a little bit closer to what I'm looking for. Probably need to lower this a little bit. And the third one, which is the navel, you can see it's way too high. So I'm going to lower everything here to make this thing a little bit bigger. And proportions are great way to find if you're, the general things that you're doing are working or not. So you can see that here's my kneecap. Many cups are a little bit. Hi, so I'm going to bring them lower. And then I'll probably bring the whole feed like lower as well just a little bit. So checking proportions is going to be super, super important for us guys all throughout this course. And we're going to be using this image quite a bit to make sure that everything falls into place. Now, I'm going to start working on the face now. And for that, I'm going to move these things right here. And that doesn't mean that I'm going to do the whole face. I'm just going to be blocking in certain areas so that we start getting a little bit of her voice or getting a little bit of a better result here. So I'm going to first make sure that all of that things are done. And I'm gonna show you a quick trick here for that, for the face. If you've done traditional sculpture and probably you've done it before, hopefully you've done it if not, don't worry. It's not necessary, but it's always good to have expertise, heads, sculpture, proportions. One of the ways we sculpt the head is we do like very deep cuts on the, on the element. Like we, we start by doing like this very intense cuts. We'd like a spatula to get this like super fragmented like this, like this thing right here. And then, and then we'll just build from there. So I'm going to show you very quickly how we can do that. There's a couple of wasted. The first one is wheat are select lasso. So I'm going to use my select lesson. I'm going to get rid of the ice there. I'm going to delete hidden in DynaMesh again, you're gonna see like this visor thing going in there. It's not perfect, but it's there right now if I mask this out. And then with my brush, I move this in like this. Going to be able to push this deeper. And the DynaMesh should help me with trim dynamic. Of course, we can get this flatter. And this is going to create kind of like again, the visor of the face, which is gonna give me a very nice way to get like the general shape male hits. Let me go back into ZBrush. Or this male hit in particular. You can see that it's a very flat like brow, forehead and they're very flat and nose and then of course the volume of the elements. So I need to definitely move these things around. So I'm going to start moving what it's going to be or what's going to become the nose is going to be something like this. I get very flat there. So think about planes. Think about like, just like very geometric shapes. Don't think about the eyes and think about the eyelids or any of that sort of thing. Just think about the general shapes of the face. So as you can see here, very flat forehead. There we go. And then very flat nose. And this very flat nose is going to create a little bit of fat of an element there. Let's push it a little bit higher, like that. There we go. And then down here, of course, we're going to have the mouth. Now for the mouth, we're gonna do a line just to get where the mouth is, roughly going to be underneath the mouth. We're going to carve a little bit because there's a little bit of a dip underneath the bottom lip. And then we've got the chin, which we're just going to block in real quick. Now you also remember that we have the zygomatic arch, which is gonna give us a very nice sharp line and sharp highlight right there. This is where light comes into place because if you wrote it this light, you should be able to see where the shadows are falling so you can use your light as a way to sculpt the general shapes of your elements like this. We're missing the ears. The ears are on the side, the head, you divide it by 2. And down here that here's what we're going to find the year. So I'm just going to add the volume for the years for now. Like that. Yes. A little bit of a bigger ear. Usually the ears are aligned with the eyebrow. So right about there. Now, I would expect this Brout to be like cleaner. So I'm going to Open up a little bit of spacing there. Let's check out the general proportions and it's looking okay. I think the heads looking a little bit smaller, a little bit long. So I'm just going to mask the half here. And I'm just going to bring it down. It's a little bit better. Let's make it a little bit bigger. There we go. And DynaMesh and we just keep cleaning. It's going to look super messy. And, and I always loved this part of the project because you guys don't get to see this process at first. You just see the thumbnail with the perfect render and they're like, Oh yeah, I want to do that should be super easy. And then you get into it and he's like, oh my God, this is looking horrible. How do I clean this up? And it's just a matter of moving, cleaning and sculpting. Again, sculpting is one of those things that's a little bit difficult to teach. It's not like Maya or leg on real-world, you can pinpoint everyone to the right direction. We're like, yeah, just press this button, use the shortcut, uses stool and that's it in here. You actually have to develop the skills. So there we go. Now let's add the ice already just to get like a general shape of what the eyes are going to be. These are huge ice as you can see. So we're going to cover this ice quite large. Right now. It looks like an old grumpy guy or something. So yeah, roughly like that. And then we're gonna go see plug-in subtotal master. And we're going to mirror this to the other side. There we go. Now if you feel like their weight to our barter, way too close together, you usually want to align this, like the center of the eye should be aligned to the corner of the mouth. But he's somehow this like this long cartoonish math. Again, trust me, it's going to look better. Suddenly the beginning, bushing the seed depth here, erase this, something that I like to do quite a bit. I'm going to erase certain areas and then just rebuild the volumes first. And later we're going to keep I think that the just like think of this just as a, as a basic thumbnail of the character. It's a very broad nose. So I'm just going to trim this here a little bit. And we would expect to have it like that, like the wings of the nose right about there. Now if you want to, you can add the islets. He has this very like nice-looking, sharp ice. So it's got to be kind of like this. And you can see that it's not completely circular. It's a little bit closer to like a like this. Right now he looks angry but he's not angry. He's like determines, right? So so let's do this sort of determined look right there. There we go. I think it looks a little bit angry right now and it's because the eyebrows way to 10. So let's lower that a little bit more. And usually here underneath the eyes are at the side of the eyes, you're going to see a little bit of a hole. We don't have enough geometry to, to work on some very nice islets or anything. But again, we're just looking to get this. Into a nice position. So I'm going to move now into my neck and the neck. And this is something important, as you can see here. The only thing we're going to be seeing of the character is like a bust, right? We're only going to be seeing right about here. So the only important areas that I should focus on are these areas, everything else in regards to the leg muscles and stuff, I really shouldn't be worried about. Now, the neck, as I mentioned before, ASA cylinder. And the cylinder usually shifts towards the front. So I'm going to move my neck in such a way that I create this on there. So I'm going to use again my clay buildup or I'm going to use my diminished sometimes I'll show you what I mean. Like we should have this sort of like cylinder going up like this. So all of these things that you're seeing here, That's extra mass that we really don't have on a, on a human being. So I'm going to delete that. So we get this very clean looking cylinder like that. And now this is way too thick of course. So I'm going to push the cylinder and see how everything starts getting cleaner and cleaner. That's exactly what we're going to think about. Any shirt or t-shirt that you have. You might, might have some sort of like a V neck kinda shape that, that's kinda what happens here. Like the neck be the AES standard brush. The neck goes towards the front like this, towards the clavicles are, the clavicles are those little bones that we have here. And these bonds are like the handles for bicycle. They go all the way back here like this. So you're going to have this sort of connection and this V shape that you see that's the sternocleidomastoid use bone or muscle that goes from behind the jaw line to the front. It doesn't create a volume here. That's a very common mistake. It does not. It goes really close to your neck. So if you see a side view of a hat like this is not the perfect volume, but if you see a side view of a head, you're going to see that we get this sort of like overhang here, see overhang and then inclination going to the back. That's what we should be focusing on. So I'm going to add a little bit more volume here on the jaw line. And how like stronger jaw line. There we go. You can always use the term dynamic to clean forms up. Look at that. Beautiful. And then we can add a little bit of trapezius muscle bound here. Usually on this area, there's a little bit of a black hole. And then soft and symptoms of them. In here we're going to have the pectoral muscle, but of course we're not going to be seeing this pectoral muscle yes, yet or not for this character. But you always want to have the forms of the character blocked in. Because when we do the suit and when we do the Cloud for this guy, it's going to be easier to have some sort of reference to know how big of her chest he has. Now there's a very important muscle that we don't see because he has all this for. But that's called the deltoid, which is right here. And this delta is, it's going to push the silhouette quite a bit. So I do think I need to add it here just to get like a strong looking character. And so everything feels a little bit more natural. There we go. So as you can see this here and just focus on this area for now. Is looking good. If we take it, if we look at everything else at the same time, it's going to look really weird of course, because nothing has been, no work has been done on the other, on the other parts. But our character is looking good from the chest up thing. I want to have a little bit of an extra volume here. I'm not convinced about the ice, to be honest, so I'm just going to select them and I'm going to delete them for now. I think they're a little bit too big. So I do like the face, like I think that's a nice shape for the eyes right there, but there's some more work than we need to do eventually. So right now, in order to not get distracted with everything else, I'm just going to work with this. Now the VIP question here as before, we move on, since we are already working on the head, should we separate by the cloth from the character like should we have separate sub-scales? And the answer is yes. It's a lot easier to have everything separated so that you can work on specific things before or yeah, before jumping on other parts of the character. So if already, if I already know that this is the most important part of the skin of the character, this arrow right here. Why not split it, right? So I'm gonna go down here to my poly groups and you can see that right now this character has a lot of the poly groups. So I'm gonna do a group visible. And then I'm going to select specifically the parts that I want to keep as a separate sub tool, which this seems just about right. And I'm gonna say septal, sorry, polytopes group as well. There we go. So now with that done, I can go up here to the sub tool palette and I can select Split, group, split. Okay? So now if I want to, I can increase the geometry on this guy and start working on the rest of the head without having to worry about debugging. And that's exactly what we're going to be doing in the next chapter, in the next video, we're going to be working more here on the face with a nicer geometry now in order to get to a better position, because once we nailed the head or at least we get as close as possible to the final forms of head. It's going to be a lot easier to just continue moving along with the rest of the elements. So hang on, tight guys and I'll see you back on the next video. Bye-bye. 31. MainProject Sculpting the Head Part1: Hey guys, welcome back to the next part of our series. Today we're going to continue with the sculpture of the head. So let's get to it. This is where we left off where we did the final split with the Pilgrims. And now what I'm gonna do is I'm actually going to turn off the body. We're going to select the head right here. Turn off this thing, just DynaMesh real quick so everything gets closed. I usually don't like having this like weird like borders. So I'm just going to use my trim dynamic to train all of this. This is not going to be able to anyway because it's going to be covered by cloth. And it's just makes it a lot easier. So if later on you want to like, have like a render of just a bust of the character. And it's a very nice way to do it. Just like pretty much like clay right there we go. And the mesh and then no holes. Perfect. So now what I'm gonna do is I'm gonna go into my resolution and I'm going to increase the resolution for my character. Let's DynaMesh here. There we go. And I'm going to start using my damien, the standard to sketch out the general like parts of my character. Now one thing you can do is you can similarly are similar to a Whitman before you can position your image here, you can zoom in real close to the head. And then just jumping to ZBrush, see-through and just match like the, the, the, the general look of the head like this so that we can start getting into like the actual like shapes of the head. Yes, like a really strong jaw line. You can see that the eyes are really, really high there. And I'm going to push the nose like this. There we go. So you see that's sharp eyebrow right there. So even though I know that that's the element that I want to do, I'm going to start adding in here on the other side so that we get that's sort of like definition there. So that means that here we're going to have the element of the eye and then here we're going to have the volume of the cheekbone, the mean, the standard. And we can draw the mouth or word of mouth goes Something like that. Then this is the little pit there underneath. And yeah, that seems good. Now, of course, it might seem good when we match it there, but once we see it here, things might not look so perfect. So that's why it's very important that yeah, even though we're kind of like tracing things, you also need to have this or develop this sort of like artistic way of matching things without having to rely on like the perfect image plane. So I am going to take that into account. Like, I know I want to have like this sort of like sharp eyebrow right here and then has this very like proteins looking cheekbones right here. But I need to incorporate the principles that I know about sculpture, which means that I need to push through certain things in and out of depth of perspective to get exactly what we're going for. So he has like this chiseled jaw right here. So we're going to do that. I'm going to use my trim dynamic two to get this like very squared off. There we go. And then usually you get this sort of like volumes is like a doughnut shape here underneath the lips. So I'm going to add that right now. See that. Let's clean this. The mouth will usually push out. He creates this sort of barrel. They sometimes call this the barrel of the mouth because the mouth, the teeth of your mouth will push out and create this sort of element. And inside this barrel is where we're going to have the lips and stuff. So let me show you how I would do the lips for this guy. I'm gonna draw from the corner of the mouth. And then getting there, there we go. That's where we're going to have the, the lips. Now he's more like smiling can like, like small smirk. So I'm going to add that like small summary there. Now as you can see, we're still missing geometry. Like we need a little bit more geometry to capture, to really capture that, that detail. And one of the main things that, that gives us character, it's, it's like it's looks, It's the nose. So I'm going to really push the nose to be as close as possible to the character. And he's a very, again, very stylized character. So he has this. It's not like eagle. It's not like a hook. What's very sharp here. So again, we trimmed that mic. I'm just going to sharpen this thing. Sharpened the sides of the nose right there. Give this really, really sharp right there. And then we make them in the standard. I'm going to start the finding like where the main areas of the mills are going to be like this. Now, this doesn't really show on the concept, but we have this nasal labial fold, which is a fold that goes from here all the way to the, to the mouth. Now the bigger or the more intense that full this, the more that the weirder or the older wiser your character is going to look now, see how he's meld is really far back. That's not something that we see here on the character. So I'm going to push the mouth for Worth. And we're going to push the jaw line length backwards. There we go. That's getting so looking a little bit better. And he is my clay buildup to start like carving away from this area right here. And I'm going to start creating the lower eyelid. Even though we don't have any eyes just yet. Just having this sort of like effect here are the forms is going to help me. Now on the skull we usually have a flat surface here. I think this a square looking school is really freaking me out. So let's round this a little bit more. See how the head looks really square right now. So I'm going to use my brush and just going to push this into a war. Amongst like that. I think the nose is a little bit too big. Make it shorter. Move the mouse down. He looks really angry and I don't think in the character's ass angry. He seems to have like, Yeah, there we go, That's a little bit better. So just modifying the like the sharpness of the eyebrow right there. Now one thing that you're going to see is that the hair is going to actually play a huge role on how the character looks. Now, I hate how this ears look. So I'm going to use the insert multi mesh again to insert a couple of years that look a little bit better. So let's erase the ears real quick. There we go, BI, and then let's go to body parts. And then we got the ears right here. Is just again, a base mesh for that for the years. So just draw the ear. They're in there this year, sorry, usually really weird relief like monkey-like. Just going to move them around and position them right about there. There we go. So as you can see, we're chiseling away. We're just modifying in and moving things around. I think the neck looks a little bit thin right now, so I'm just going to make the neck a little bit stronger. And for that I'm going to add a little bit more volume to the muscle here, which is called the trapezius muscle, which is back here on the other, on the back side of the character. Of course. There we go. That's out like the Adam's apple. That's going to help give a little bit more strength to the general element. And then let, let's try to add the ice now. So I'm going to go into sub tool. I'm going to append a couple of ice. So sphere. There we go. And we're gonna make them smaller. Position them where they're supposed to be. Like I'm I'm trying to see the distance that this guy has from the corner of the eyes to the rest of the elements. So I think that's a good size. See plug-in mirror. Okay, there we go. So now we can start adding like that. Like the islets, like the blackout of the islets. So we're going to have an eyelid here. Select the Long Island. It's going to go all the way to this side. And then the shore one, it's going to be down here. I do feel that the eyes are a little bit high, to be honest. Let's do a quick block out of the hair. I have mentioned that the hair is going to play a very important role. So I'm just gonna do a quick block out of the hair. It's supposed to be asymmetrical, but let's do it symmetrical for now. Here's gonna have like something like this and then like all those volume down back here, I guess just the quake quick look out to just get the general shapes going to DynaMesh here. Dynamesh. The asymptote like this, like this, like think's going on to the side. I know, I know guys, I know this looks super ugly, but again, it's important for me to show you the real process. Sometimes you see a lot of like very pro guys like showing you only like the end result and they're just like tweaking a couple of wrinkles here and there. With this beginner scores, our idea is to show you all the process like how it looks really, really ugly up first and then we're gonna get, we're, we're gonna get all the way to the final thumbnail that you see on the, on the video course. So so yeah, so don't worry, we'll get there. I never disappoints, so let's keep going here. There we go. So I'm going to position this kinda like the same pose of the character has. And now having that, I'm going to start moving things around. Like this nasal labial folds and making him look like really, really old. One thing we could do is we could quickly sculpt like the lights, kinda looking towards us like that. Just to get an idea of how things are going to move the light towards the top. So let me see what the issue is. What's the issue here? I think the mouths way to further out what I have to push it a little bit. And then we need to start carving out a little bit of sharpness there on the the brows like this. Yeah, It's definitely helping. And then this here is going to be really tough. I'm gonna change my alpha to a round alpha 2 good link. Softer results were going for this picture ish, look that kind of look. It's usually really, really soft. So maybe another bubble here on the side of the nose. I can see a little of mass like going down here. We usually have a couple of muscles here. So what we need to do is we need to imagine how this guys are going to look finished. There we go, see that's getting closer, right? It's just a matter of being patient case. Be really, really patient. Take your time for me right now. I think we've been working on this for like 30 minutes or 40 minutes. Character like this usually takes hours. It's going to take us probably about 12 hours to do the whole thing. If my calculations are right, It's about 12 hours for the whole project. There we go. I do want to add a little bit more fun sharpness here to the front of the nose. We of course need to polish the lips. Well, we can give them really, really, really soft for now, just like this. So now we see if we, if we take the hair out, he kinda like loses his charm. That's what I mean by having this block of the hair. It's super simple, but it's going to help, It's going to help us visualize how the, how the whole thing looks here on the side of the, of the lips. Here's where we get the volume. Perfect, That's looking good. Let's go to the front view and make sure that this also looks good from the front view because sometimes we worry too much about specific BOS and then when we take a look at other poses, it looks like weird. So for instance, I think he's mouth looks really small. So I'm going to push the corner of the mouth like a little bit further back, give a little bit more volume. And we're still going to have the same sort of like volume here on the, on the, on the Profiler we're looking for on the, on the main line. Also going to get like a nicer look. I'm going to add a little bit more cheekbone here. He kinda reminds me of flicked boss light-year or something. I mean, carving here. I'm not even though I'm sculpting and this position right here, i'm, I'm looking at this silhouette right here. Because I want to push this cheekbone. There we go. C. So we get the very nice like faith into that, into the side of the head. That way we can use the term dynamic to get that very nice plane here underneath the eye. Now this cheekbone usually goes all the way back to where the year is going to be. So we can give this year a little bit of silhouette. Because he serious, a little bit funny. And again, we can train them match the same sort of visual. There we go. Let's scrub a little bit here underneath that. Carbons, carbons smooth garb and smooth. It's going to be a lot of that. Can add a little bit of an indentation here on the on the brow. Here. We're going to keep it simple. We're not going to have this actually is not going to have a little detail that we wouldn't have pores and stuff because it's a more of a cartoonish look. Let's see how we're doing on time. Okay, I'm going to stop the video right here, guys, this is a good blocking for that, for this first part, like take a look at how it was like a couple of minutes ago, like 50 minutes ago. I'm just going to click my history. This is what we had nothing. And we went from having nothing, just a base to looking super ugly. And to find out looking like something a little bit more decent. So again, this is the process guys, and I strongly recommend you take it one step at a time. Because if you watch the whole series and then you try to do it on your own, you're going to feel overwhelmed. It's going to be too much to take. You're going to want drug, I want to one, you're gonna want to jump ahead into like that. Cool bars are like textures and stuff with the renderer and the endergonic collectors are going to rush through this air which areas which are really, really important. So in the next video, we're going to be working on the mouth. The mouth is really important. We're going to keep on sculpting here the details of the head and the Yap. So hang on tight and I'll see you back on the next video. Bye. 32. MainProject Sculpting the Head Part2: Hi guys, welcome back to the next part of our series. Today we're going to continue with the sculpting of the hair of the head. Sorry, so let's jump right into it. We're going to be working with the mouth now. So for the mouth, we definitely need a little bit more resolution. So I'm going to increase the resolution here. I'm going to say DynaMesh. And I'm going to show you a nice little trick here. I'm going to use my damien a standard, but I'm going to use Alt to create like the sharp line that the upper lip usually has. So here we get this very nice sharp line. So it's going to create the nice transition there. And then we're just going to fade this out. I'm going to use my trim dynamic to kinda like flatten this faded into the, into the rest of the head. Now usually on the top leap we get this nice little like indentation coming from the, from the nose. So I'm just going to add that there now unfortunately we do DynaMesh. Some of that things are gonna get lost, but that's fine. So now it shouldn't be that much of a loss. And immediately just by having that sharp line, he is lips look at lot sexier, right? So now what I'm gonna do is I'm gonna go with mask pen and look at this. I'm going to mask out the top lips like this. And on this corner very carefully I'm going to trim down that mass because the lower lip comes from underneath that ope upper lip. And it does something like this. Now the upper lip or the lower lid curls out and he has this sort of border. It's this sort of like a fleshy, fleshy border down here. Well, the important thing is that it goes underneath the upper lip like that. Say now we're gonna move this out. And bending. How, let me, let me double-check here that the character, how big he doesn't seem to have a super big leaps are so big fleshy leaves. So we can also go here and with a trained dynamic, just trim this lips down so they're a little bit sharper like this. But again, the important thing, or one of the important bits is that we want this lives to look like they're coming from underneath the upper lips like that. See how that looks a lot tighter, a lot nicer. Now we can always use the paintbrush. We're just going to pinch the lips together and make them smaller. And we can just soften them in a little bit, just a little bit. I'm going to push this out. Now. He has he seems to be smiling a little bit too much on my side and on the, on the constant piece a little bit more like serious. I'm going to make him a little bit series. Like not disinterested, but just serious. This irate here. Like the corner of the eye is pushing up. We're going to be talking about the ice shortly, but the shape of the ice is also really important. Now one thing that we do once we want to give this lips a little bit more volume. And one of the ways to do it is by carving. Even though it seems like counter intuitive, we're going to carve underneath this islets, lips, sorry. And then we're going to add this sort of like volume here. Now the upper eyelids creates a little bit of a pocket here on the side because that's the point where a lot of the muscles connect. And they create this sort of element right there. Now in this case or in this character's case, his chin seems to be like really prominent. So his chin seems to be like pushing the lips are towards the lips quite a bit. I do like to, even though this loops are super soft, I like to have like the like the border there just to show that there's a sort of for the division. And then that's the corner. In our case, we're going to be working with this closed ellipse character. But sometimes or if we were doing like a character for production, we would open the mouth so that we could that work. And the way to open the mouth, It's very simple. You mask out the lower jaw. You literally move open, rotate the mouth open, and just carbon and the whole inside of the mouth. It's a little bit for tedious process to be honest with them. That's the way to do it. That's one way. Another way is to wait until you have all debris topology ready. And then just do it on the typology like on the final typology elements. So I'm going to add a little bit of volume here. There we go. Smooth this out. And again, what that's going to help me, It's going to help me push the cheekbones up a little bit like that. Now let's jump onto the eyes for just a second because I do think that the isoline, a little bit of work. Let me go back here so that we don't see that caught like very ugly cut. And the first thing I'm gonna do is I'm going to use my standard to create again the sharpness of the eyelid because the islets are actually really sharp. Like you're going to see your take a look at the, a close-up of fungi. You're going to see that the islets are like like border. So I would like that you don't like steps or something. So we're going to have this eye here, then we have the tear duct and then the other, the lower eyelid going beneath the upper eyelid. Again, that's important. The lower eyelid, same thing as with the lips. They go beneath the element. Now, of course this is way too much. There's got soften this up. I'm going to use my brush to push this thing. Now you do want to have, when looking at from beneath, from below. You want to have like this sort of like curvature. Let's push this in. So we don't want to have a little bit of that border, but again, not that much. Now up here on this area, the eyelid is going to push in, of course. This out here on the side. On this side, we usually have a little bit of extra like skin, like going down. I'm going to I'm going to minimize the amount of like oh, careful there. I'm going to minimize the amount of islet that we have there. And then here, as I mentioned, it's a little bit of extra flap of skin. I'm going to smooth the head out. Let me turn on the hair just to see. Again, the general. The general shape, I still think my jaws a little bit weak, meaning that it's really, really small. So I'm going to give him a stronger jaw. Am going to actually bring it looks like, oh, when Wilson, I think, you know that guy from aisle has been so many movies that wow, this is a typical link catchphrase. So he, he kinda reminds me the full when Wilson. So the secret of stylized characters are one of the secrets of Silas curators is keeping it simple, like don't overdo it. Because when we overdo it, that's when things start looking like really, really weird and really they go into this like uncanny valley kinda thing. So I still think that he's heads should be further forward like this. His faces throughly really flat. One of the ways I know that that's happening is the shadows. Let me take a quick render here and see how the shadow barely touches the lips. That's exactly what we have here on the concept. So that tells me like if I were to analyze this thing, it tells me that this phase see how it's not that deep. It's like really, really flat. So that might be something that we want to, to incorporate in our, in our character. So if we see it from the site here, like Yeah, of course we're going to have a little bit of an inclination going here, like this. But then we're going to want to have a really, really flat I think I want to give him a little bit like larger nose holes right here. And here's Damian standard again, just to keep this nice and circular. He's know, seems to be really straight. And right now I have this curvature here. So I'm going to push This guy's up and bring the tip down. Saying with this wing, I'm going to I'm going to bring the wing down. So a lot of back and forth, back and forth. Now, when you're working in the studio, one of the cool things is that you're usually going to have an artery that's going to be able to guide you through the process and say like No, no, no, he's too flat or yeah, I know that the characters way we fly them on the concept, but just add the more volume, add more depth to the face. Like that's the kind of thing that people are going to be giving you pointers about on your daily meetings and stuff. Because trying to figure this out by your own or on your own, It's, it's usually quite complicated. Usually the concert artists will also provide you with a little bit more information here for the character is not going to be just like this, just one view and that sibling, you're usually going to get a little bit extra, extra elements. Now here what I'm gonna do is even though there's not a line there, usually like hairdryers have a line going from the eyes down. So I'm just going to sculpt it and really soften that up because that's going to allow me to have a little bit of a better plane. They're very good. I like how this is looking. He says, look sad though, see how the eyes look a little bit sad. So let's fix that. Let's And the reason the ice looks sad is because they're very droopy. So what I'm gonna do is this, I'm going to mask this area which is like the brow that I quite like. And then with my brush I'm going to push the eyelid up into into the browser. Then we're going to carbon the lower eyelid, something like that. And we DynaMesh that's gonna get like culture or it's going to get close. So it's gonna give us a little bit of a different look. Going to bring the tear duct down. Book. Let me go back here In re re mirrored the ice. I'm going to bring the tear duct down. And it seems to really close here on the on the coordinates. A little bit weird, to be honest. I like the shape of the eye. So a little bit weird. Just a lot of moving and pushing clay around. That's that's our daily routine when we're in production. So hopefully you like this process and you're, you're happy with how things are. Because again, sometimes people think that this is magic. It's not magic. It's just a lot of patients. Patients and a lot of work. Yeah, that looks a lot better now, what things are we missing to make this guy look even better? Eyelashes, of course. So I can just quickly scratch the eyelashes or eyebrows there. Actually here I rest. And if we had the eyes like actually like nicely painted and stuff. Because this guy, for instance, has his eye looking to the side. You can, of course a scope DI. So people like to do it. It's very easy to use and they too like carving the ion and the little reflections. And that's going to give you a nice indication of where it's looking. A lot nicer, right? I still think that the head is a little bit where the concept seems to be a little bit more elongated. I think my eyes are a little bit too high now. So I'm going to bring them closer in and then just like lower them down like that. And then the chain. They don't want to cartoony fight this guy a little bit more. So I'm gonna, I'm really going to push the chin forward a little bit more. And then let's really separate it here by adding, remember, fairly fate fair temperature gardener and his godfather in godmother. I'm not sure the name in Spanish. It was Las Meninas. He goes which is the ferry. Very odd parents, I think it was with the name in English. There was this like superhero that he liked. That was a, he has this gigantic red chin. So it's just going to push the chin there. So as you can see, pushing the chain, pushing the forums to get him into a more stylized approach thing, we need to sharpen the E like the, like this profile right here. So I'm going to flatten with my train dynamic very softly to recover the sort of like, Yeah, that's better. Nice. Yeah, I like it. Again, I'm going to try and match it here to my, my original character as looking good. And it's just a matter of smoothing down and trimming them. Now we're going to be doing the subdivision method with this guy. And that's definitely going to help us push the forms into a nicer place. But as you can see here, this is not looking bad, this is looking quite nice. I would say. I think we can incorporate this line here. That's going to give it a lot more form. So even though we're doing like stylized character, that doesn't mean that all the principles from like traditional sculpting does not, do not apply. This, this actually is looking quite nice. Again, just take a look at how it looked. A couple of videos back when we had absolutely nothing. I'm recording this back-to-back. So I have by my undo history here. But if you don't, you can just like low the previous sub tool and check this out like this is how it looked. Just like a basic blob of nothing. And then now after pushing this a little bit further, we're going to have our nice element. So yeah, this is looking nice. I like it. I like, I really like it. So I'm going to save this real quick. Let's go up here. Let's say this is Paladin 000 too. And the app. In the next video, guys, what I'm gonna do is I'm actually going to jump onto other parts of the character. We're going to start doing the blocking of other parts of the character. So we're going to leave the face for now and we're going to jump on to D arms. We're probably going to probably need to work a little bit on the arms to get them into a nicer shape like the bicep and all that stuff. Because the arms are actually quite simple. You can see here on the, on the concept that we can split the arms as well because they're hidden beneath this thing. So yeah, hang on tight and I'll see you back on the next video. Bye-bye. 33. MainProject BlockIn Upper Chest: Hey guys, welcome back to the next part of our series. Today we're going to continue with our character and we're going to start with the blocking of the upper chest. So let's get to it. This is where we left off. This is our character looking quite nice in a good position, I would say. And a one good thing, one would have it to have a tube blocking the general like shapes of the character to make sure that everything is falling into its proper place. So what I'm gonna do in this video might be a little bit of a short video. We're just going to start adding stuff and doing a quick blocking of where things should be. So for instance, I'm going to place this a sphere. I'm gonna make this symmetrical. And I'm going to use this to create a character has all around the hiss like body. So the firm goes really high here and it creates this lion sort of like main all around the characteristic covers it. It goes above the, what's the word? Above his shoulders. He would create this sort of like big mass right here. Dynamesh, of course. And I'm just going to use my clay buildup to just give a very quick strokes here, just to give me an idea of what this thing is, right? So it should be something like this. Now I can't see the back of the character, but I can imagine that this thing false, very much like, like for code or something. It's probably going to have a little bit more volume here on the backside and then it starts getting slimmer and slimmer assay goes to the front. So yeah, this is just a quick blocking of that thing right there. If you wanted to, if you want to be a little bit more intense, you can use like your snake hook to give this layer like for like appearance. We're going to be doing a nicer what this, this thing later on. And if you want to give this like this, a spiky Harry element, the look, just like do it like that, and that's fine. There we go. Now he's body looks really weird, of course, because we have not done any work on the body and he looks really small. So I'm going to jump into the body and I'm actually, I'm going to make the body a little bit larger, bring it forward or further up so that it matches with the proportions a little bit, a little bit better. Now on this thing He has like a big shoulder bet, so I'm not gonna do any sculpturing for the shoulder. But what I can do is I can add like this big square. Just imagine that this is going to be like the shoulder pad. It's really big, really thick because it has three layers. And the shoulder that's going to be right about there. It's pretty much like touching the head of the character. So something like this, right? For graphics. So that's going to be the shoulder, but I think because it's a little bit too much. So this is why this blocking phase is really important because before we jump into, into actually sculpting all this elements, we need to see what works and what doesn't work. Because sometimes that concept artists will draw or will present things that look really nice on a picture. But once you have this like actual character here, it doesn't look like it's going to work. So for instance, let's add like a ring model. And this is going to be like my belt. So this is going to be like the belt. And I can use I can use my brush to create like the hands like this, spikes here on the front. Then like the spikes on the bottom. And this belt, Scotty like really, really tied to race through this character like he has a really tiny waist. So again, we're using this, this technique, this quake like blocking of the elements just to see how things are going to look. So here he has this sort of like a lion. So that's kinda like that, kind of like the belt that this tells me that the arms and everything else, it's a little bit out of proportion. Because if I take a look at the concept, and if I turn this around like this, the size of the chess and everything seems good, but the arms, It's a little bit small. I'm going to go to the arm and I'm gonna do a quick blocking here. So what I'm gonna do is I'm going to mask out where I imagine the tracers to be. Something like this. They'll sort of like the erasers invert the mask. And I'm going to go down here into my deformation palette and I'm going to use this inflate that deformation, that's going to inflate the elements, kind of like doing an extrusion. And the reason I need to do this is to see if they fit with the rest of the character. They do seem to feel like they're close to what I have, but the arms do seem to be longer on the concepts. I'm going to grab my arms, move this booth point up here. I'm going to scale them down. I can rotate the pivot point and then scale with y-axis and then just push them down. See that? So because if I take a look at the concept and you can see it here, There's a little bit space where we're supposed to see like the vice it. So if, again, if we were to draw here, I can imagine that this biceps going all the way to this area here, see? So that's like the arm. And then we got the forearm here. And then of course the hand so you hold the hand is broken. It seems like it's like off the off-center or something. That's fine. It's just, this is where it were. Our work as 3D artists comes into place because we need to find out what's the best proportion in order for us to get closer to this sort of like detail. Now for the legs, we can also start like sketching real quick, like this is where the Neopets are going to be, for instance. And then we had like really, really thin looking ankles. So we can like really stylize those ankles right there. This seems to be a little bit thicker, like the like the legs, the legs are pushing a little bit further out. So think of this like, again, like just the base, which is just a reference to see how the general proportions of your characters, of your character is looking. Because if this doesn't look good, if, if the main proportions of the or the main elements are not looking good, then we shouldn't continue until we can fix and then figure out what the what the main issue is. So for instance, I do like this legs. I think they they look nice. I think we definitely need to push the calf's out. Both the outer calf and the inner calf got two of them. So we get that nice little definition. There we go. Let's push this down. Let's push this further back to really push that. This is called the gesture. So we're really pushing the gesture into like cartoon territories. I think we can make this guy is slightly thinner, closer to the concept. And now we can add a plane, for instance, or a cube or something. Even though there's fear is fine. Just to get a general idea of how this long looking things are going to look. So I'm going to use my snake hook. See how I get this Nico out. All right, go that's the that's like the main flap. We've got cloth brushes and we're going to be using later on. And then on the, on the bag we've got like two flaps. So let's just again the snake hook to get like the two lateral flax. Hear that? And then we got a final like back flap here. Like that, like the main cape, right? Like that, DynaMesh. And the mesh will just move this out. This is not the final mesh, this is not the final anything. It's just the general look. Because if this looks good, if the proportions of my character look good here, then everything else is going to look at little people over. Or what's the word? They don't think that this is sort of like blocking general proportion. Step is important. They jump right into like sculpting and stuff. But look at this like this and wet. That's a strong silhouette. Like we take a look at the whole silhouette of the study BPR real quick. So everything is flat. That's a strong silhouette. It's a little bit feminine, I think, but that's just the way the character looks in regards to this lower side right here. But if this works, then everything else is going to work. What else do we have? We have, of course, the the chest area, the what's the word that this light color thing. So let's add another light sphere. Let's make this really, really small. Bring this in here, and then just push this here. And then just like carve this out. So it looks like the like that thing from that from the concept which is a sort of like look very sharp color. Sure thing. Going on, coming all the way from the reckless DynaMesh down real quick. So imagine all of this things like blending into, into the rest of the elements. That's where we going for like this is like the final silhouette of our character that weren't going for and having all of this elements like precent right now, it's gonna make it a lot easier to, to find and measure and make sure that everything looks exactly as we want. So I do think he's chest looks a little bit too feminine, so I'm going to give it a little bit more on this area, like a little bit more like strength. So it's not like a like a wasp shirt, so something like that. And now one thing we can do is make sure that the proportions are right. So a quick way to do it is, let's append a cube. Let's make this like really, really thin, not super thing, but just enough. Let's position here on the beginning of the hair and then Control Alt and drag to create this thing. And then both of this control alt and drag. Control hold and drag. Control Alt and drag in there. I can see guys and you guys hopefully you can see as well that his chest, navel, crotch. Perfect. So the top foreheads are perfect. Now for the legs, my my personal mistake, I usually make the legs weight too short. That's like my Achilles heel. So that's 2, 3, 4 technically. That's where the legs should stop. I believe on this one we have 1, 2, 3, 4, and then 5, 6, 7, so yes, 567. So that means that my legs are a little bit too long. I don't think there are too long though. Let's let's let's do a quick check. Like one thing we can do is just mask everything here. Move the pivot point to the center, like great about their invert the mask and we can scale them down. I think if we do that, like if we scaled the legs down, he's going to look like a dwarf. And he doesn't look like a dwarf. So I am going to keep the legs like this. Again, this is where it, where sometimes the concept artists are not. Or the concept has a lot of forced perspective and stuff that we need to ignore and follow our artistic gut to make sure that everything lines up as nicely as possible. It looks, it looks good. So I'm going to give these guys, these guys here are going to be really important in order to make sure that I don't lose sight of my my basic shapes right there. So as you can see, even though this is not a video or another one of the lessons that we're doing, any sort of like real sculpting, having all the different shapes, like having Oldham, the main force of the characters. It's going to be really important for me to understand how things are, look at, how things are, are, are panning out right? Now if we turn off the, for, for instance, we're going to see that my proportions are a little bit off and that's fine because we're never gonna see those proportions. But I'm going to just like fix this real quick. So I'm gonna use my brush. I'm going to inflate this real quick. Dynamesh. Well, careful there. Let's move DynaMesh. There we go. Let's see usually a little bit more DynaMesh and then we trim dynamic. We need to bring the shoulders down. So we're going to push the shoulders down. And if you want to, you can feel all of this area. I actually think I caught more from the character that I should have, we should have grabbed only like the head and little bit of the neck. But that's fine. You can even like isolated this real quick and quick ways. Rush, insert. Let's do like a primitive brush. Let's do like a sphere. And we're just going to insert this sphere. Right where the, where the chest is supposed to be. Smooth it out a little bit and just give it like the replication sort of shape. There we go. And now we can just fill this in. And if we need to extract any sort of like armor and stuff from this area, it's going to be a lot easier to do from, from this particular point. So this should look good. If this part, we doubt the head does not look proportionate, does not look good, then it doesn't matter how cool the head looks. That means your body, your character is looking bad. So, so yeah, that's it, guys, this is it for this video. I'm going to stop it right here. And in the next one we're going to start focusing on some other parts. Probably we're going to work on the on the on the cloth. So hang on tight and I'll see you back on the next video. Bye bye. 34. MainProject Zsphere Retopology of the Chest Part1: Hey guys, welcome back to the next part of our series. Today we're going to continue with the main project and we're going to be working on the chest. Now we're going to be covering this C sphere 3D topology technique. That's really, really cool. So let me show you. First of all, before we jump into actually creating a clean mesh for the chest and the arms, we need to do a little bit of clean up here. Now, I don't want to be working on everything here. I just want to focus on the main parts. And if we take a look at the character right here, you're gonna see that we can pretty much divide the upper chest from the lower part of the character like this belt right here, it's a perfect opportunity for us to create the flaps of the cloth as a separate piece. We're going to be separating them. You can see that there's like a belt on there. It's a perfect place to split the character pretty much. Now, I do think that these proportions are a little bit awkward, a little bit off. So I'm just going to move this shoulders a little bit down so that it's not super, super intense. Let's modify the arms here a little bit. Again. I like to keep my arms as straight as possible. Now what I'm gonna do is I'm going to use my select lasso to cut out the chest piece, this thing right here. So I'm gonna say poly group over here. Good visible. In birds, this election grew visible. So now we should have two poly groups right there, 12. And then I'm going to say sub tool split. And I'm going to say groups split. Oh, actually, there's, there's like that triangle right there. I want to have it on the same piece. So let's just hide this in birth. There we go. Let's do another poly group. Group visible. There we go. And now we're just gonna go subtotal groups is split. Okay? So now we're going to have to substance, which is exactly what I'm going for. Now this sub tool, I'm going to very quickly sketch out the general look and feel of the shirt so I can see that the it has a sort of tall like neck thing right here. So I'm going to mask out where I would imagine the neck thing to be. So it kinda goes around here. Well, just a second. There we go. So it goes like around here, I'm going to invert the mask and we W, I'm just going to move this out as if it was like an extrusion or something. And then with my MOOC brush, I'm just going to start moving this around and creating the general shape of the thing. So it's lower or not as high on the, on the back part here as it's supposed to be here on the, on the front part. So let's do something like that. Again, this is just a sketch, so, so don't, don't worried that much now this thing, and you can see it here on the console again, let me show you. Actually goes all the way up to his chin. Give me 1 second. There we go. So see how far up this like neck goes. So this is like the short neck and then there's a longer piece of, of thing that goes all the way to the top. However, it doesn't go all the way to the top on the back of the head. So it's roughly above there, like the first little like element. And then I'm going to mask this out. And I'm going to push this guy like to create this sort of like element. And I'm going to smooth this out to keep it as clean as possible because this at the end of the day is just a a blocking of the whole thing. Now, I don't want to give this guy a little bit of a higher neck back here. Otherwise it doesn't make that much sense. So sometimes again, you're going to have to play around with what makes sense and what doesn't make sense and adjust things accordingly. So we're creating this sort of thing. There we go. Dynamesh, just to clean this up. And now this is asymmetrical, so I'm going to break symmetry and this flap goes all the way to the side. So I'm going to use the clay buildup. So we have like one flap going here to the side and then right beneath the pectoral muscle right about here. We've got this very interesting cut going like this. So this is filled with cloth. Again, not worrying too much about this. There we go. And now we can write them in a standard. I'm going to do the second flap, which goes right about there. There we go. Let's mark the first flub. A little bit nicer. There we go. And then there's a third flap going right about there. Like following the same like curvature of the, of the chest. Kind of like that. And I don't see in the other flap, so it's just those two flaps. Now, of course here on the front we're going to have like the main trimming is gonna go down like this. It's going to do this sort of thing. And then we have 1, 2, and 3 sort of like button things like this. I don't care much about those because we can add those later without much of an issue. And then we have another trimming and like here giving us a sort of symmetrical look to the whole thing. And this thing goes up here and we've got this thing. So as you can see, a nice blocking of the shirt right there. Like it's gonna give us a nice little detail of how things are going to look. The problem is that it looks really bad. Like e doesn't really look like, like any sort of thing that we're gonna be using a level 2. What's this thing? That's the sphere that we added. Let me delete that one. There we go. So it looks okay, but I want to fix it a little bit. So this guy right here, now with symmetry on this one, It's actually goes a little bit higher. We are definitely going to see his chest right about there. We get to see the chest line right about there. And that's like the first little flap is supposed to be a little bit more square than one we have there, of course. And then the tall slab going a little bit higher to be honest. So a little bit more like that. There we go. I'm not too worried about that. Just yet. We're going to be changing this things around now, this thing, those go in a little bit more. So it's this sort of like a cone like shape that we need to create. And it's important that we get this as close as possible to the final like shirt that we want. Because we're gonna be using this to recreate or Er2 to read topologies. We're going to create a clean topology for this thing in a new matter. So note that we have this sort of shape ready. We can start working on the main parts of the, of the shirt. So let me show you. The way we're gonna do is do this is we're actually going to be using C spheres and we're going to be doing a process called topology. We already know that by using Siri measure, for instance, we can reconstruct the subdivisions of the object in such a way that the topology flows better and gives us better results. Now for this particular shirt will be way better if we can manage to capture the shape of the whole thing with we clean topology. So what I'm gonna do is the following. I'm going to go into geometry, sorry, septal. Append, I'm going to append one sees here. And I'm going to move this c sphere up with a stick up above. I'm going to move it right below the main light shirt right there. Now this is fear. We can scale it down. Doesn't need to be that big. Let's turn transparency here and just get it right there on the middle. Let's start off transparency now. And now that that's selected, I'm going to go all the way down here to this place that says topology. Now into Topology section, I'm going to say topology. And this will pretty much allow me to start drawing and start creating new topology for my object without having to leave this subtour, which is perfect. If you already are familiar with topology, you know that we can do re topology like in Maya or in 3D Studio Max or whatever. Well, the way it works here, it's actually really easy. You're just going to bring my draw. So this all the way down to one. And you're pretty much just going to tap and create vertices like every single tap to them. Adding here, it's creating a burden. And in order to connect the vertices, the only thing that you need to do is you need to click one vertices and then connect it to the other one. And there we go. So if I click this one and then this one, there we go. If I click this one, and then this one, there we go. So that's creating, as you can see, a frame, a body frame error or a, a mesh topology that we're going to be able to use in order to create the whole thing. Like we're pretty much going to reach, apologize the whole element to get a very clean, very sharp looking chess piece. Now, there's one little caveat with this thing. When they're richer, placing points, make sure that you do not cross them out like this. Because if you keep pressing pointers start, you're going to start getting weird topology. You wonder topology to remain as a squared as possible. So one quick way to do this, and this is the one that I actually recommend is start doing like this, sort of like six sack first. Like this, like going around. So you see that problem there? I did Control C and when I click my new element, you can see that instead of continuing decline in sexually going from here, the reason why that's happening is because for some reason, Sievers thinks this was the last C sphere or last little dot-dot-dot that I added. And that's not true. So one way to clean this up is just click outside of your object, click on the last point and then just keep drawing. So whenever you get like that we're looking thing, just get it on one side, like outside of the object, click there, and just keep drawing. Now, I'm going to go back all the way back because one thing that I do want to do is I want to have symmetry. And Cemetery is going to allow me to advance a little bit or move a little bit faster on the main like shapes like this, flaps and the arms, like the side of the chest. And then once we get here, I'm just going to break symmetry and rebuild everything there. So just press X and you're going to be ready to draw with symmetry. So for instance here I'm going to start drawing. And you can see that my mesh is getting drawn onto my element. Now the important thing here, the thing that you want to keep in mind is you want to try and follow the main lines of your sculpture. That's why it's very important that we have a previous sculpture. Because if we just go to town and start doing this without having. Clean, like measuring thing. It's going to be a little bit difficult to find or understand where our topology should follow. So as you can see, I'm just following this whole thing down here. And then let's create like a little square there. And now we can start like unifying the whole thing. It's going to be a little bit of a tedious process because you're going to have to do click, click outside and click click for instance here, I can continue a little bit. Let's stop there and then click, click outside. Click, click, click, click outside. If you've used three topology in Maya or 3D Studio Max, you probably know faster methods of doing this. However, since I want to show you all the nice little tools that we have here in ZBrush. We're going to be doing this. There we go. Now if you want to, you can always add like a new point right there. And if you get that thing, you can always delete the point with Alt, pretty similar to what we do when we do our spheres. So for instance, see that line that's going into like the infinite, that's bad, That's a bad line. So let's erase that one. So let's go, Oh, Careful there, outside and then click. Let's do 1, 2, 3. There we go. And then 121212, there we go. And it's just a matter of filling this out. Now if you press W, you can always move these points around. So for instance here I'm going to move this so they relax a little bit more and then back to Q, which is the Draw section. And again, click, click, and there we go. Now, do we always need to have a squares? Now we can have a couple of triangles here and there, as long as you know where to place them. So for instance, here, we really don't need triangles. Yes yet. So I'm just going to say again, Q. So click, click outside, click, click, click, click outside. Not the, not the fastest way to do it. I understand that, but it's just one way. Now here it's important that we pay or we follow certain protocols with our topology. So for instance, even though this pieces like super ugly, we can ignore it for just a tiny bit and say, okay, you know what, there's going to be like a square here, like a very sharp square. I'm just using this as a sort of reference. And then from here, I'm going to jump and create another like small square here. And then this square is going to have like a little bit of fun nucleation there. Let's W and move this thing out. There we go. So as you can see, we get a cleaner mesh than what we had before. And we're going to be able to modify and give thickness to the whole thing later on. So now we just fill all of these things in. Let's keep going here. And here's where things can get a little bit like messy, right? Because we have two lines here and then we have four lines here. So let's just simplify. Let's say from here to here. And then let's say from here to here. And let's just have a triangle here. It's not, it's not necessary for us to have the perfect geometry because we're not making this character for like any major anything. And even if we were that, that triangle right there is not that big, It's not that big of a deal because it's a section that's going to be EC2 to control. Now, if you press your letter a, you're going to get this super ugly looking thing. And that's not what we're looking for, right? Like what we would expect to get like a flattened material. Well, we're going to be using an adaptive scheme later on to convert this topology into actual geometry. So you're going to want to go to the adaptive skin and bring DynaMesh resolution to 0. So now when we press a, as you can see here, we're only going to get this thing right here. Like, like an actual like flat surface eating. Now if of course we bring this down to one, this actually represent the exact amount of square sin element and elements that we're creating. So as you can see, this giving us a very, very nice clean topology. So I'm gonna, I'm gonna not stop talking right, because I need to explain everything that I'm doing right here. But I'm just going to start moving a little bit faster here to do go around the general thing. So one thing that you want to keep in mind, whenever we have this big silhouette changes like the chest, you usually want to keep like deadline. Like they're like you want to follow the line of the actual chess. So for instance here, following this line all the way around to the back area. And then it seems like those are really close together. So I'm just going to flip. I'm actually going to erase them with Q. And then Q, I'm just going to go there, right there on the middle. Careful. They're always see that, see that line that's going through the center. That's problems. So that's, that's the thing that you want to avoid. Going to delete that. And let me go here again. Let's start here. Let's outside of the object. Click, click, click, click, click. There we go. Outside, click, click, click, click outside, and we just keep moving. Ice click, click, click, careful there. See how we got that weird looking element. So I'm going to do the full what's the word topology? First? I'm just going to keep moving down here, are back here. There we go. Let's do for instance, click, click, click, OK, careful there. So click and click. There we go. Click, click, click. There we go. Now you can always check with your letter a to see whether or not the things are looking nice. If you see polygons missing, that's because we are still missing. The connections show. You won't get any sort of connection until everything is complete. W is to move these things around, and that's it. So I'm going to pause to be the right here, guys. I'm gonna, I'm gonna stop right here so we don't go like extreme, we overwork. See that line right there. That's an issue. So let's get q and let's delete that guy. There we go. Oh, no, I did not. There we go. Let's go back to topology and say Edit topology so we can continue work. There we go. So again, outside of the object queue, click, click. There we go. Make sure we're Symmetry selected. Sometimes, if this not play nice, just erase everything and R3 and rework it. There we go. There, there and there. Perfect. So as you can see, this is looking good. So again, as I was mentioning, I'm going to stop through the array here. I guess I'm going to finish this area. I'm just gonna complete the squares. No big change in topology right here. In the next one we're going to continue working down here. So hang tight and we'll see you back on the next video. Bye-bye. 35. MainProject Zsphere Retopology of the Chest Part2: Hey guys, welcome back to the next part of our series. We're going to continue with the CSV reader biology of the chest. So let's get to it. This is where I left off and as you can see, I finish connecting all the little dots here on the front side of the character, and they left this area badly on purpose, I can show you how to deliver the fixing. So first things first, what are the issues I'm seeing here is that the polygons here are really stretched out like this are really big polygons and I might want to have like extra elements. So I'm going to press a to go back into edit the topology. I'm going to press Q for draw. I'm going to start here in the middle. And one thing you can do is you can just like cut through the elements. And the little spheres are just going to snap to the surface, which is really, really cool. Like this. There we go. So by doing that, we generate a new mesh that follows a little bit more closely the general look of our element. Now, if you feel like certain points are not going exactly where you want to. Remember, you can always use your brush or the MOOC key w. And just like select those little dots. If it lets me move them out There we go. Just move them up there we go. 0, 0. And since we have symmetry on, we're going to be able to modify it. Now, I'm not too worried about those guys because eventually we're going to be sculpting them. So that's fine. Now here what we can do is we can simplify with a little bit of what's the word of triangles. So for instance, we can do something like that. Go back to draw and say, Okay, you're going to have a triangle here. Oh, careful with those long lines. Remember always step outside of the object. So that's a triangle there. And then we just move this guy in there. We delete this guy. And we're just going to go back to q. From this guy, we're going to go there. And then from this guy we're going to go here. And then to finish this area from here, we're going to go here. Again. The only reason why this is certainly acceptable is because this is going to be hidden behind the what's the word behind the cloth right now? Don't worry too much about those points, that points bat, so let's get rid of that one. And now we can keep moving down here on the arms and stuff. So for the arms, what I'm going to try to do is I'm going to try to find this position right here. And what I'm gonna do is I'm going to like follow the flow of the arm like this. And then we can just keep doing like the, the mainframe of the, of the polygons here I'm just gonna do a little bit here. There we go. Keep going here on the underside. There we go. And we'll probably going to do one more. There we go. So now you already know, again, I'm probably gonna do this off camera just to save a little bit of time, but we're gonna, we're gonna need to connect all of those so we get actual quotes. Now on this here, this is where the important thing is going to happen. So I'm going to connect this guy right here. There we go. And I'm going to connect this guy right here. We go. This guy right here. And this guy right here, those two squares I need, because this two squares are gonna continue their topology down into the side of the character. So from here, I'm going to start going down like this. See, all the way up there. And then from here, we're also going to go down. Click this, connect there, there, there, there. And one can quickly jump to that one. You don't always need to tap outside of the object. You can see that the last joint that just selected, this is still selected. You can just cross and that's fine. N, As you can see, what that's going to give us, is this nice like site there? Look at that beautiful site. Now, the trick here is we need to connect this area. And this area is a little bit of a complicated area because people sometimes mess up with the proper topology that we need to have there. So let me show you real quick. It's actually really easy when you find this point right here, this one right there. Instead of trying to make this flow into the chest, you want half of it to flow up into the arm, and the other half to flow down into the chest. So going back to Q, this guy is going to connect to the arm like this. And then from here we're going to connect this guy right here like that. Now from this point, this one is the important one. We're going to flow into the chest like that. Same with this one. Flow into the chest. Like that. Same for this one flow into the chest. And that's gonna give us clean topology. So let's just be careful here because we want to make sure that the last point is actually touching. I'd like to that like weird overlap that we get there. So let's go here. Right there in the middle, there become. So let's go up here. Middle, middle, middle, middle, middle, middle. Careful that last one was not the middle. So tap middle right about there because this is going to be covered by that, by the belt. So it's 1234 up, one to o. Careful there. Click, click 1, 2, 3, 4, and then 1, 2, 3, 4, 5. And then with your W, You can just start moving things around. Again. Don't get too worried about this because we're gonna be doing sculpting. The only reason why we're doing this and it's very important for me to explain to you and for you to understand is the reason why we want to do this is because this will allow us to have a cleaner like a very, very clean topology that's gonna give us sharp edges on the clause is going to make it look like it's actually modeled and not just like a bunch of clay like thrown together. Like it's gonna keep everything nice and clean. Now you might be wondering why am I doing this sort of like construction here when this thing is asymmetrical and the reason is because we have the other side. So I'm gonna do the whole thing first as a symmetrical piece. And then after that we're going to start modifying the topology in order to get the exact sort of like elements that we need. Like this chain system. There we go. Perfect. So again, if we isolate this real quick and we press letter a, look at that, that's a very, very clean mesh. That's going to allow us to work very, very nicely. Now, I am going to add one more line right here down the middle because I think it's a little bit too stretched out. So I'm gonna go with my cube and I'm just going to start here and just start cutting around. Just to have a little bit of a better geometry. If we were able to use Maya, I would probably do all of this in Maya just because it's a little bit faster to be honest. But it's not bad. It's not really, it's not that bad really. The only thing that I would love ZBrush to have, and I think there is an option will be like some sort of like soft selection here so that it's moved south and it's just like covers the whole surface with I don't think we have it just yet. One of the cool things about Seaberg guys in about every single piece of software is that every time you think that it needs something believable that are not engineers and beta testers and everyone probably already saw through that issue. They probably already have like a hard time trying to accomplish certain things and they gave the feedback to that, to the developers, in this case, pixel logic. So just, just keep that in mind because eventually it's going to be there. Like usually all those kind of tools are going to be there. For instance, if you're looking at this video, it's probably because you saw the new like cloth features here in ZBrush see verse 2021. And that's something that we've been asking for pixel RGB for a long, long time. Because it's really handy in, for me personally, I used to use I usually use marble is marble is a signer, which is a really powerful software bots. It's more money, it's more softwares that you need to learn and it's always better if you can have as many things as possible. So, so now we have clots so that eventually we're going to have a lot of very cool stuff. That's why it's very important for you guys to always be up to date. Let's do like a weird like diamond here. It's not perfect, that's not like perfect topology, but it's going to be good enough to give me a little bit more resolution here so that we didn't have to simplify, simplify more than what they want to. There we go. Oh, careful with those crazy lines there. See that? Because that guy right there, sometimes it won't be an issue, but sometimes you will actually get some very weird element right now it's not an issue and might not be an issue later on. But to be honest, I always like to keep my like mesh clean. So if I need to rebuild something, I'll just rebuild it. It's usually not that MATLAB. Like up until this point, guys, we've probably been working on this for what, like 30 minutes at most, 25 minutes. It's not that bad. Believe me, when I was when I was learning Zimmer's like 2012, there were a lot of tools missing and things that we can now doing in just minutes to hours. So it's not that bad. Remember 3D, any 3D production requires time, it requires patients. So from here I'm going to push up like this. And then from here, here. And let's have a little triangle there. There we go. Let's just move that up so that it's not creating this like very weird-looking fold there. Because this is going to be an important part that we're going to need to sculpt. And again, the better the, the topology that you are able to get from this process, the better your scope is going to be. So let's just keep finishing this little touches here. Therefore there, remember again, the rule that I will always tell you. Sometimes I forget just step outside of the object before moving to the next part. Here we go tap, tap, and there we go, tap, tap. Usually I would suggest you to have your favorite music on the background. Get yourself a nice drink or something. Because this sort of tedious process that sometimes we need to do there better when you're distracted with something else and you're just like on the stone doing it. There we go. So that looks really good. As you can see, the whole mesh for the shirt is ready. Of course, the arm should go a little bit farther out, but I can easily extrude this. We'd Q mesh or something without having to worry that much about the topology, the fact that this is not completely straight, that's also fine because we have very little polygons, so it's going to be very easy to just move them around and make sure that they're as sharp as possible before we do the next sort of elements. So I'm going to stop the video right here, guys. And in the next one we're going to figure out how to do this asymmetrical, how to modify the topology to get this asymmetrical cuts. So hang tight and I'll see you back on the next video. Bye bye. 36. MainProject Zsphere Retopology of the Chest Part3: Hey guys, welcome back to the next part of our series. Today we're going to continue with the topology of the chest piece and we're going to be working on the details of the little flaps that it has. So let me show you how we did this. So the reason I mentioned did this is because I already tried doing it. It's not that I try that I was doing this. I actually recorded the video and I messed up at the end. So I'm going to show you here real quick, just a quick recap. So again, so we don't have to spend that much time on this topology process, which is a little bit tedious and just show you the step-by-step what I did. So after we were done with the creation of the main mesh here, and you can see the history right here. What I started doing was I deleted the main points right here on this area where the flap is going to be. So I deleted all the points that I needed. And then starting from the top here, I started rebuilding all of this little part here with a nice edge loop that's going to follow all along the border of the element, the border of this like flap. So by doing it and rebuilding that little flap right there, you can see me six sagging around and creating that little thing. That's going to make it a lot easier when we jump into the serum measure the queue remeasure elements to finish this. So again, just continue to flap there. Rebuild this topology. As you can see the little like points dancing there on the screen. Hopefully this is more than enough information for you to understand my process, but I'm just following this and completing and following this tight line here on the, on the outline of the element. So then on this side, we also needed to move things around and delete a couple of points here and there to rebuild those nice little triangle piece, as you can see there. After all of this is done, after all the reconstruction is done, you can have some triangles here and there, that's fine. You can see me having a couple of triangles here and here. So that's completely fine. After you're completely done with this, the next step is to go into making this actual geometry, and I'm going to start from there. So the way you do this is you're gonna go to adaptive skin and you're going to make sure that this is density set to one DynaMesh resolution set to 0, so that you get a flat surface instead of like the DynaMesh surface. And you're going to hit make adaptive scheme. So up here, you're gonna get this, which is perfect. This is a very, very nice element that we can work with in for our character. Now before we bring this into our character, into this element right here, I'm actually going to be working on the main flaps and stuff in here so that we don't have any other tools bothering us. So the process is quite simple. First I'm going to go into geometry and I want to remove this little dotted line that this thing has on the, on the borders. That's called a crease. You're going to find that hearing the geometry tab on the crease section and you're just going to hit on crease all that's going to remove all the creases and it's going to be cleaned. Now the first thing to do, and that's the thing that I want to show you because that's where I messed up. I was doing here. Let me show you. I was I was doing this. Where is it? It's this one. This one. And this one. So I was already done. We'd like all the flaps and stuff, but the problem was that I forgot to give it a thickness from the very first step. And then later on we had some issues with geometry and stuff. But anyway, just to show you the right way to do it, you're gonna go into your SI model and remember B, z, and then M, C molar. You're going to go into Q mesh and we're going to do Q mesh all polygons because we want to give the shirt thickness and we're going to push this out just a little bit. Something like that. Should, should be more than enough. Then we want to create the edge loops for our trips. So I'm going to go into the edge option. I'm going to select Poly Group. I'm going a polygon, this guy. And then this guy impress all to have a different color. Let's do a different color, like orange, just fine. Which is actually this guy. And then the third one is this guy right here. Now as you can see that this one is not going exactly where I want this to be. So a quick way to fix this is to go into Q mesh or, or sorry faces and go into poly group a single poly. And I'm just going to start. Let's give it a different color as well. That's fine. And I'm just going to select all the poly groups pulley loops that I need, which is all of these guys right here. There we go. So what I'm gonna do now is I want to make sure that I only have the front part of the because as you can see, it's actually going all the way to the other side and it's not exactly what I want. So what I'm gonna do is I'm gonna say poly group, same thing. Single poly. And I'm just gonna do another, let's give it another go with a different color. Let's try it. That guy, Paul group, group, group. Careful here not to touch the border because you can even change your border option to something like move so that if you by accident press a, a, an edge, you're just moving it around and you're not creating the same polytope. There we go. Another quick way to do this would be to go Control Shift click on this island right here. There we go. And then with a selection tool, select lesson, you can just eliminate like this corners right here. There we go. Same thing down there. Just eliminate these guys. And just by, usually by touching the surface of the elements, you should be able to get rid of them like this. And we should have like this very flat element, just like the front side of the thing. And you can go to poly groups and say group visible. And we're going to have a different color, different than everything else. So I'm gonna do the same thing here. I think that was a little bit faster. So let's try again. There we go. And then this guy, we're just going to eliminate all the clips that we don't want. Oh, let's. She's the manually. It's making me a word for it. That's one of the things that some people are really good with polynomials. I always struggle a little bit to be honest. So there we go. Careful not to hide any faces that we don't want to, Hey, we just want the front faces right there of the whole tree. So same thing, group visible, let's give it a couple of colors, so it's like a completely different color. There we go. So now, now we can just select this guy right here and go into Q mesh. And we're going to do the poly group all. And this is going to push the public group out like this just a little bit. We don't want that much of a fun indentation there. We're going to do the same thing here. Now. We got a crash. Oh man. Hopefully. Hopefully see where she was able to save this as why it's important to save often and frequently because unfortunately, softwares are unstable. So sometimes you get that sort of stuff. Let's just wait a couple of seconds. Let's see if we get this. Okay. Perfect. Clean this and yeah, it seems like we do have are recovered. So before doing oh, wait, no, that's not. Whenever you got your quick sip here, some of them are going to be a document and the other one's going to be the project. Go for the project. Document is just like a screen grab of the object. So before we move any further, I'm just going to save this. Save S. Let's call this. Let's go to our C2 here. Let's call this Paladin shirt. And actually to work a little bit better, I'm gonna go back here to my, my Paladin. We can now delete this guy. We could also delete this sphere. I'm going to do it. Well, before I do that, let me save this just in case we need to recover this like this thing. Now I'm going to delete this. I'm going to say append, and I'm going to paint this pellet and shirt. There we go. And now we're going to save this again as 06. That's why versions are really important because if you need to go back and fix the shirt, you can do it. So let's go back here. Let's turn this on again. And we should be able to grab our BCM again, our C modeler, and just Q mesh. Another pulley. Oh, okay. It seems like sucrose doesn't really like that, that particular flap. Now one of the reasons why I think this is happening is because there might be some weird geometry in there. Maybe this last cue mesh that I did created some like weird elements. So let me, we don't need to load any of those guys because we have our own say right here, Paladin 0, 6. So we'll just draw a T comma or sorry, t. Let's grab this guy and let's go to geometry. And I'm gonna go here and there's this unwell Welt all. So that we don't have any like new points. One way in which I'm gonna see if we have like weird geometry, if this, if I tried to turn on dynamics of division, and it seems like it's working. So that's not, that's not the issue like geometry is actually not that bad. Another issue might be that there's a lot of complicated. What's the word poly groups? So what I'm gonna do is I'm going to isolate this guy and this guy, and this guy, like the three flaps that I need. And then all of these pieces right here, I'm just going to say poly group, group visible. So we should now have only like three groups right now. I'm going to actually show you what the idea behind this process. And then if it crashes again, I'm just going to stop the video finished with on my own without having to bother you guys with like opening and closing the program. So what I wanna do here is I'm going to use my c modular With Edges set on collapse. I'm going to collapse this edges, see there. So what this is gonna do is it's going to get rid of that little edge there, but it's going to keep the flap on the other side. Now the only thing about the collapse is you wanna make sure that the edge always collapse to the same like depth. So I'm gonna make this one. So I want the top polygon to go down. So I'm going to try to position my mouse closer to the top polygon. And that's going to make sure that, that top, sorry, top vertices. And that's going to make the tub Bursey go down into the jump because if it's really low, it's going to go the opposite way. It's kinda like distance sensitive or something. So as you can see this, It's making sure that my flap or the flap of this element is as nice as possible without creating like just the harsh border. And some of you might think wouldn't even easier to just like sculpted and make sure that it looks really nice with the hard surface tools. Yes. But it's never going to look as nice as if you have like, nice geometry like this. So just to show you, let me press here on the geometry or the dynamics of division. Look at that, like that flap, like getting that sharp, nice line there would have been impossible. Just we'd like a sculpture and we're going to push that even further. So let me give you just one more try here on the, on the queue mesh of this other island right here. And let's save this wants to play with us. So I'm going to say poly group Island. Okay, it worked. Perfect. So we're going to push that out a little bit more. Oh, it crashed again. So as you can see, it's really not that difficult. I'm not sure why that's crashing that much. Usually doesn't happen that way. But I'm gonna stop the video right here, guys, I'm going to finish both other flaps using the same technique. I'm just going to q match them out, collapse the borders. And then in the next video, we're going to continue with the details of the clot, so hang tight and I'll see you back on the next video. Bye bye. 37. MainProject Chest Sculpture Part1: Hey guys, welcome back to the next part of our series today we're going to continue with the chest. So let's get to it. This is where we left off after ZBrush was crushing on us as used in the past video. Now, I did finish the flap on this first element, but they decided not to do the flap on the second ones. And I'm going to show you why in just a second. So if I click dynamics of the vision right now, you're going to see that we actually get a very nice cut there that we could actually use for our own benefit to make sure that the flaps look a little bit sharper than they actually look. However, we do have a little bit of a weak area in other parts. So let me show you what we're going to be doing here. First. What I'm gonna do is I'm going to go back here and I'm gonna go into poly frame. I'm going to press on the border. So I'm going to say insert because I want to insert edge loops and I'm going to turn on dynamics of division so that I see a preview of how this is going to look. So for instance, if I insert an edge loop up here, so you have the neck becomes way sharper. That's what we're going for. That sort of sharpness is exactly what we're going for. We could add one here like on the back side and one on the front side. And that's gonna give me a very sharp element as well right there. Let me turn this off so that we're not confused with everything else. Now that the neck is looking very nice, looking very, very sharp. Now, if you remember, our little element here has a little bit of a spike right about here if I'm not mistaken. So what I can do is I can actually add one line, one edge loop right about there to make the flap look point here. Look at that. I'm not worried about this elements right here because those are going to be ECE to just like smooth out and change. Now see this line here that's really soft. It's not really as sharp as this guy. So here, let's change that. Again. Let's turn this off for just a second. And I'm going to insert a one line down here. Oh, I mean, certainly multiple edge loops. Why is that though? Or is it spiral? All I think it's because it's a spiral. So it's going all the way up, that's fine. Well, actually it's not super fine To be honest. So I'm just going to sharpen it. Let's see how it looks. Dynamics of division here. Okay? Yeah, it's fine. It's not the end of the world. It's fine. It's going to keep it sharp there and that's fine. So that's because I left the spiral earlier. And I'm going to do one line Right there. Let's do dynamics of divisions here that looks nice, very sharp, and we're missing just one right about there. So I'm going to turn this on just to see where this goes and is gonna go right about there. Again, I'm not too worried about this, like sharp lines that I'm getting. This. We're going to be able to push them out and they're actually going to help me get some nice wrinkles in there. So look at that very nice, very sharp looking element for our, our shirt. I'm not super fond of this things, but again, and now for a solution, we'll fix it. I do want to have this little bit sharper. So I'm Peralta going to insert one right there and one right there to give this a little bit sharper birth and look at that. That look great. So now if I take a look with this thing, the overall character you guys it does, this is starting to look really, really nice, really close to what we have here on our concept, which is this nice like lion effect here. So now there's definitely certain things that we want to fix. So let's jump into those. I'm going to turn everything off except for the half I wanted to hit on and probably just the head to be honest. Maybe the eyes are good, maybe the hair as well. Just to give us a little bit of an idea, I'm going to use my brush and symmetry on, on this guy to give a little bit more of a tiny element there, I'm going to push the pectoral muscles out. And the thing that we're going to remember about this, this shirt is that we're not going to be doing any sort of DynaMesh or, or see remeasure anything. We're going to keep it just like this. So that means that the geometry, I need to go down here into dynamics of rotation. Turn that off and then do divide the by the, by x2 for the bytes. So with four divides is going to be easier for me to go here and start fixing like this wrinkles and stuff. We're only at less than a 100 thousand polygons and we're already getting this very nicely done now this is where asymmetry is going to come into play because we're going to have to modify this asymmetrical. This is where I'm going to modify this so that the thing is not as a wife here on the neck. So again, x symmetry on. Let's make sure that this looks good like the, the main thing is we want this to look cool, right? Like we want this character to look, to look nice. So see how this is like floating way too much. There's two options there. We make him bulkier, which I think is not a bad idea. Or we bring the the, the thing down. So I think we're going to have to make him bulkier. So let's give him some protein so that he is beefier, especially here on the on the backside of the of the chest. Because what we want is we want him to to fill the space that we have here on the shirt. Let's try this on. There we go. See that empty space there. That one's fine, but this one's way too high. So this is where probably going to start pushing this down and then pushing this up. So this is sitting nicely on his all his body. Let's push this out and let's push this out. There we go. So this page right here. So with my term dynamic, it's going to get rid of that pinch with smooth, smoothed out. Not too worried about that one because it's going to be on the backside where we don't really see it. And then just smooth all of this pinches like the weird pictures that we have, those are going to be gone. Now this one, I do want to keep it, but I want to keep it a little bit softer. So I'm just going to use my trembling dynamic on this particular one to to modify or make sure that it looks like there's like a chest division there. But again, I don't want this to be like super intense. That's why having clean topology is super important guys because as you can see, we're able to create a very clean looking shape without having to work that much on the sculpture. Imagine if we had tried to, we tried to sculpt this like from a sphere for something from scratch, it would have been a nightmare. It would have been super difficult to, to get like this precise looking element right here. Now that we have this, we can add a couple of divisions is the 12. So now we're at a million polygons and now we can start adding things like the trips. So for instance, you can see that there's a little bit of a trim here on the underside. So I'm going to go to my light box a and on my brushes, I'm going to select this stitch brush. And let's do like a traditional, like this speech, like a clean stitch. Now see how it's dragging around the surface. That's good. But I'm gonna go to stroke and I'm going to go to lazy Muslim gonna increase the lacI radius so that we have a little bit of more of a margin there to, to create the trim. Well, the smaller. Here we go. Now you definitely want to take this slowly. The trim looks as clean as possible. I'm just comparing the size. It does look like a proper size, so I think we're in a good position there. And then we're just going to continue this. So for softly, softly, Let's go a little bit closer to the center. There we go. You have to do it several times. Is better because so you see how this is not like following the proper form. If you need a longer stroke here with the least serious, will go further or shorter depending on and how fires you can move the needle on this to look as clean and as nice as possible. There we go. That's a lot closer. Steady hand. Now let's go here with this one as well. I'm going to stop there. Start. Perfect. Look at that. Very nice job. I'm not particularly fond of this one, but I think we can fix it with just a little bit of a more brush here, but so a little bit crooked. We can, we can fix it. Again. Sometimes having a little bit of like that sort of variation is finite. It makes it look a little bit more organic. Now we have this very nice like golden trim here. And unfortunately this dream that I have right now, and if I grab it like this stitch brush, it has extra things that we might not want. But remember, we can always change this. We can use like this, like squared. And since we have the element, we have this thing right here, as you can see, it's getting this ohms. Now one thing we can do is go into the stroke tab. And if we remove the lacI steps, Let's do one lazy step. Now that's giving me a very weird-looking thing. Let's illustrate this alpha 59. And let's, because I think the other square was yeah, this is a little bit closer. So we make it smaller. I mean, it's better but it's not perfect, right? So let's go back to our first element. We can just go back to the light box. Double-click here and it's going to reload that one. I just want to make sure to urge, want to see if this is going to be like a good element. Let's go again to the stroke increasingly see radius. So we're going to have something like this. I mean, just from a from a from a thinner lines, something like this and then that nice line. Yeah, and I'm going to erase that one. I just want to see how it looks to make sure it looks closer or close to what we want. So in this case it does, it does look similar. Eventually we're going to have like one line here and another one here, and another one here. So that's good. And we need like the strap here. This trap of course is going to be different geometry. But as you can see, you can get a very nice idea of how this thing is going to look. Just like a quick sketch right here. So again, if we turn everything on, we're going to see that things are looking nicer. Just turn that block off. Yeah, look at that. A lot cleaner. A lot nicer. So I'm going to stop the video right here, guys, in the next one, we're going to start working on those nice trimmings that the jacket has. And we're going to start adding like the rest of the elements like this, like button here, this other thing that's on top. And yet we're just going to move around with all of those different things. So I come back and I'll see you back on the next one. Bye bye. 38. MainProject Chest Details Part1: Hey guys, welcome back to the next part of our series today we're going to continue with the chest. So let's get to it. This is where we're at right now and we're in a very good position. It's now time that we start working on the details of the chest so that we can get this looking very, very nice. So what I'm gonna do here is I'm actually going to isolate the chest so that we can focus only on the jacket itself. And I'm actually going to start colorizing it because there's a lot of details that are going to look a lot better if we colorize them. So here's what I'm gonna do. I'm gonna go into my colors here. I'm going to pick like the green color this guy has, which is something like this, like a deep green. I usually like to go with like middle colors so they're not super intense. I'm gonna go RGB, color fill object. And that way if we change back to any other color, it's going to be perfectly fine. Now what I'm gonna do is I wanna do the trimming. So let me show you here on our worst reference file. There we go. So you can see that we have this gold trimming going down here. We have this thing right here. This, once I'm actually going to be adding them as separate pieces, they seem to me like a like a different border. So I'm going to have them as a different border. We have also this golden trend here, this gold chain going around the neck, I would suggest, or I would guess, and I don't really see where this starts, like it's not going inside the character. You can see that we're missing the goal, UPI kind of like stops, then we get like a black piece. So I'm just going to follow the concept and do exactly that. So in order to create that, what I'm gonna do is the following. I'm going to go into my mask pen, brush, freehand, and I'm going to go into stroke, stroke, Lacey mouse. And I'm going to turn lazy mask for the mask pen. So now if I start drawing, I'm going to have the masker right there. I'm going to turn my focal shift all the way down so that the mask is really, really sharp. As you can see there, we're going to be shopping in a little bit more even so, if we take a look, it's relatively thick. The line is it's kinda thick. Something I'm going to go for something like this. I'm gonna increase the stroke a little bit more. So let's do a higher leasee Radius, even higher, I think, breast control and then change anything because otherwise, you're going to be changing something else. There we go. So we're gonna go here to the corner. And then this goes down. And it curves out a little bit. So very, very nicely there. I think I'm going to zoom out so that my strokes a little bit better. There we go. I don't mind about that, but if you want, you can just erase it like that. And in this case I can press L to turn my my lacy mouse off. Remember click Control and then click L. It's not getting enough. So turn it off. So I want to sharpen this corner a little bit more. Like really sharpen it. There we go. Perfect. Now I'm gonna go, I'm going to turn symmetry on because the flaps here are actually quite symmetrical. I'm going to go into stroke again, turned Lacey mouse on. And let's see, it's kind of far away, so I'm going to go row the boat there. What I mean by far away, it's there's some space. We go and then just keep pushing it back here. Perfect. So that's the the golden trim right there. Is it following? It seems like this is a little bit asymmetrical. So I'm going to turn symmetry off and then just give it its proper mask. Right here. There we go, right about there. I think I'm going to hide it under the flap. That's a good position to like finish the element. And then I'm gonna go here into a stroke again terminally cmos off. I'm just going to square it out on both ends. So it's like a very square flat element. We can do the same thing here on this leg, little corners. So you can draw and then square this out a little bit. And like trimming it down. There we go. Same thing over here. Let's add a little bit of extra volume there. And then we trim it down. Perfect. Now there's one more, which is this side one that we have there. So I would imagine it will come like on this side. So I'm gonna go again with this guy, control Lacey mouse. And then we're going to do make sure to keep it like the size of the brush as close together as possible so that both trims look nice enough. So in this case, I'm going to take some artistic liberty because I can't see where this is going. But I would suspect that this is kinda like following the same shape of the chest. So we'll expect something definitely smaller. Let's go for like 16 or something. There we go. So we'll expect this to follow the shape of the chest and then go down here like this. So I wouldn't see when we see it from the side of utopic closer to the center. So probably something like this. And then I'm going to rotate this to make it sharp, a sharp turn right around there. Let's give it another go. Maybe. I mean, you don't see it, but maybe these guys are like connected. I don't think they are. But maybe there no, You know what, maybe this guy's are connected like the tough guys so we can connect them in just a second. So I'm going to go down here and then rotate around to the front like this. There we go. That looks a lot better. Luck, nicer. So now what we can do to make this thing so a little bit more interesting is we can connect this trimming, just make the brush a little bit smaller. We can connect to this trimming down here with a little bit of a square position like this. There we go. So that's going to give us an interesting look on the in regards to like sharpness. So now what I'm gonna do is the following. Pay close attention to this because we're going to go to the masking section. And what I'm going to say is I'm going to say Sharpen, Sharpen mask. So that as you can see, he was a very, very clean cut. It's going to get rid of any blurriness that we have. We can even give it another sharpness. And it should like really make it super, super crisp, which is exactly what we're looking for. Now with this, if we want to, we can of course, come back here and delete. Maybe that's a little bit too much. So I'm going to blur this a little bit and then sharpen it again. There we go. I think I think that's a little bit better. Because I don't want this to be like super, super sharp where you can see the actual pixels. So I say, I think that's a lot better. And I'm going to go down here into my pup about modifiers. Modifiers. Hey, where are you on? Deformation, sorry, information. I'm going to invert the mask. I'm going to go into the inflate. Or if you're not inflated balloon because the balloon will actually give you like it's going to crash your software. It's a, it's a, it's a good tool but it's something scratches. It's I'm just going to extrude this out. And when they take the mask off, look at that, we get the various nice trimming all around the element. Now here is where we're going to see a couple of mistakes, where we might want to go. And just like fix a little bit, because this is going to be extruded when we do the inflate option here. It's pretty much like an extrusion. There we go. I think I think that's it. Like we don't really need to go like super, super high. Now one other thing we can do while we're here is we can already paint that as a separate material. Well, it's not the material is pretty much just like a like a yellow color. So I'm gonna go with like a pale yellow here. I'm going to say color fill object. And that's gonna feel only the yellow treadmill. Which again, it's going to make them look really, really nice. So that's done. We've just finished that thing. So now it's time to add like a couple of other details like this thing right here. Now for that thing, I think we can very easily do it with a little bit of Q modeling. So I'm going to go here to the poly mesh, initialize key cube. Let's do one more solution on either side, PQ. And let's say make poly mesh 3D. There we go. Go here. Sub2, append. We're going to append the polymath 3D. See where this, because I don't see it. It's right there in the middle. Perfect. So we're just going to select this guy. Push it out. And let's see, it's really thin. So we're going to make this really, really thin. Let's scale this down. And you can see that we have like a little bit of an arrow here to the side and then like a place where the button would go through, right. Like we don't see the button but we have it. So what I'm gonna do is I'm gonna go b, z, m, so that we're going to see modeler. And we're going to select Q mesh inset. And we're going to inset. Let's turn the poly frame on. There we go. Yeah, that's about it. I think that's about right click so that we get the same element. And then we're going to dequeue mesh. And if we select these Q mesh and bring it Up or back, eventually it's just going to disappear like that. Perfect. And it's just a matter of creating the little peak here on the front. So I'm going to do Q mesh, bring it up. And then we're gonna do is scale. And we're going to scale it back down like that. I think that works. We can have been collapsed this edges. So let's collapse this edge and this edge. Careful. This guy. Oh, we want to collapse them to the center. Actually. I mean, we can collapse them first and then just move it a little bit. There we go. So I'm going to go edge. I'm going to say Move. We're going to move this edge to the center right there. And then I'm going to push this out. Move it down. There we go. Now the only issue with this is that right now, if we sub-divide, remember we can do dynamics of division here to see how it's going to look. So where is it dynamics up? If we do dynamics of David's going to give us that very weird looks. So in this case, this is why I like to use my support edges with my eraser brush. So I'm going to insert one right here, one right here. One right here, close to the hole. One right here. 101, right here on the border, one right here on the other border. So pretty much every border you want to do, you want to like support. So one right there. One right there. There we go. So now if we turn on dynamics of division, you can see this is going to look way sharper. We can also add one like here on the very tip. And again, what this is gonna do is it's gonna make it look really, really sharp, which is exactly what we're looking for. Perfect. So we're just going to position this thing where we need to. So it's roughly halfway beneath the chest. So we'll be right about there. Let's rotate this around. There we go. Perfect. So now we're gonna continue by duplicating this and a very easy way to do it, since we don't have any sort of division, even though this dynamics of division is turned on it, it's actually not a real subdivision. So this is really handy for us because we can do Control Alt and just bring this down. And now this guy is going to be its own, its own element. It's not an instance though. So if we make any change to one of them, we're going to have to make the changes for every one of them or we can just erase and then go back and fix it. So that's the second one there. And then the third one's going to be right about here and about like waist height. So I'm going to rotate and duplicate. So they fit very nicely there, perfect. Now as you can see, they do not have a poly group. Like if we take a look at this, the, they don't have any polygons, so that's going to mess up a lot of things. So first thing I'm gonna do, I'm gonna go to Publix, I'm going to say group visible. So all of them share the same political. Now if I want to do anything, they're all going to be affected. Now turn this off. I'm going to just go color fill object. Turn RGB on. Again, color fill object. So now if I change back to a white color, those are going to be nicely set. And remember, eventually we're gonna get renders out of this thing. So right now it looks just like paint, but we can make it look a lot nicer later on. And it's going to look very, very cool with that, with the full character. So going back here to the character, we can see that this line is actually going in a little bit further than I thought. And then we have that black line. I'm not sure what that black line is though. It looks really, really weird. There seems to be a trimming coming here under new one of the flaps. So let's set the trimming real quick. I'm gonna go back here. I'm gonna go with my clay. Like the mask pen again. And I'm just going to mask this out and down here and then just clean this. Careful there. I accidentally tried doing something that I shouldn't have. So I'm gonna go back to my clay buildup. There we go. And I'm gonna go here, stroke, turn lazy miles off so that I can clean that area off. There we go. And it seems like we have a little bit of an extra. Let's turn it on again. Stroke Lacey mouse. There we go. Oh, this stroke, lazy mouse. So it goes a little bit higher here. So I'm just going to make it go higher. There we go. Um, I'm gonna make it go higher, but follow the same pattern here. It's kinda rewrite like that's a weird part for the whole thing. Let's turn this off pain there and then get rid of the paint. You're going to have to look a little bit of patching here and get it as straight as possible. There we go. Well, in bird mask, Bill again into deformation and just push to inflate so that it matches the same or as close to as possible to the same one. And let's just drag and grab this color. Let's invert the mask just a second. So we can grab the proper color. Again, RGB color fill object. There we go. And I was just a matter of using trim dynamic to blend those little guys together and that's it. Perfect. So we got the trimmings. Wear a jacket. Very nice, Very, very cool looking, I think we're looking at it is possible. Remember is one of the reasons why this is possible right now is because we have clean topology. If we didn't have clean topology, then making this would have been quite challenging, to be honest. Now, let's say we want to do this piece right here and we want to make it easier than just like I actually now to be honest, this part of the whole process, it's sometimes better to just keep it simple. People sometimes like to over-complicate things. So by just using a square, it's going to be more than enough. So I'm just going to position this this is very close to the chest. So two like this area right there. And as you can see right about here, Let's rotate. It sits right above there because we're seeing a little bit of the trimming there. There we go in this broth Broth. So probably something like that. And then VCM similar. And I'm going to go Q mesh, just going to push this out. And then with Q move, I'm just going to move this polygon. We can even use like the MOOC tool. Since these are just like flat polygons, we can just use this. I don't know where this answer, so I'm going to suspect that it ends on this other trimming right here. Again, some artistic liberties that we need to, to make when working on this kind of project. Because if we don't have access to the to the actual like, what's the word? Let's do q. Michigan. There we go. The actual concept artist, and it's a little bit harder. There we go. Let's hit Alt to get a different backup. And then again with my brush or big brush. I'm gonna move this down. So it sits right there on the chest. And let's do one final Q mesh. That sounds good. Then my brush again. This, and this. It's kind of like Box modeling, right? It's pretty similar to what we would do in my own stuff. Here. I just want to make sure that these things are us a line as possible because these things are going to sit there as an overlap sort of thing. So keep it as clean as possible. There we go. Now, we need to create, of course, the little roundness here. And then there's like a golden trim here. Let me show you what we could do here. I'm gonna go again with VCM and I'm going to bring this out. And then we're gonna do a little bit of an inset. This is something like that. And then I'm going to grab, we're actually not done. And instead I just want to scale this scale. Let's do polygon center. There we go. That's what I was looking for. So now I need to select this outer faces. So I'm gonna go and I'm going to hit Alt or Pauli group. And I'm going to hit this guys with old. There we go. Look at that birth defects. So now we've got that nice polytope going. I'm going to hit inset with poly group island. Let me do a quick soap because less than remember, this thing crashed with that. So I'm going to do an inset particular island like that to generate the trimming. And a little bit worried about that one, but it seems to be working fine. I'm going to do another one. And that purple thing is going to be my trimming. So now it's just a matter of grabbing again my cue mesh island, Pauly group island right here. And we're just gonna move this once and then twice. Why? Because that first one that I did is going to be a support edge. Now, if I go again into geometry and dynamics subdivision, look at that beautiful thing. It's going to look exactly as I'm expecting it to look like that nice little border. Now I think this is a little bit like skewed. So it's probably something more like this. So I'm going to rotate this and then just modify if I need to. Remember, we can always use the Move brush and just like push things around. Now the only issue that I see here right now is the fact that this thing is what's the word? It's not as sharp on the other tip. So that's easily fixed. Remember we can go to the full-frame again. Let's do Shift D to get rid of our dynamics of division. And I'm gonna go to B, C, M, which is the modeler. And I'm going to select Insert, and we're going to insert. Let's do like one on the shift, the one on the bottom and one on the top. That's going to keep it nice and thick. And then let's do 10 here to keep it like that sharp, nice corner. And then we're going to need here. There we go. So now we press dynamics of division. Everything is going to be really, really nice and tight. And the cool thing is they also share polytopes. So it's going to be easy later on to just select the politics that we need and paint them either green or yellow depending on the kind of element that we need. Finally, and not to make this video any longer, I'm just going to append a new sphere, which is going to be the button. And we're just gonna make this like a really flat sphere like this, like in Spanish we call this lambda. Which is, you know, that those soups that they do, The looked like this, like an M and M, you know. It's going to look at M and M. I'm not sure what the right word is. Let me select the black color, say color, fill object through the color real quick. I know that the video is going a little bit long, but bear with me. Let's select that mom. Like that particular Poly Group, which is this one right here. Maybe we need to turn off this thing. There we go. That one's this one. That one alone. Never mind. We'll do it later just as a final touch. And to give things a little bit more organized, you can see that all of these guys like this for SAP tools that we have here are related to the shirt. So one thing we can do to keep things a little bit nicer is create a new folder. Let's call this shirt. Shirt. And now if we want to, we can just like MOOC tools into the folder. And that way we need your chart on or off the shirt is going to be a lot easier to just like grab this whole folder, turn it on and off, and it's going to turn everything on and off. So let's say we're working with the body for some reason. And that we want to turn the whole thing out instead of going one by one, we can just turn everything off and that's going to keep it nicely organized. So let's take a look at how everything is looking right now. Let's go back to a normal color and look at that. Look at that shirt. Looks really, really nice. One final touch. Sorry, sorry for going so long, guys. I know this probably gonna take you a little bit longer. And this is just to try and keep everything in, in just one video. I'm gonna go here to the shirt and I'm just going to move it with symmetry on. I'm going to move it, move the sleeps into what are going to be the what's the word? The RPS. So that's it. I'm going to stop the video right here in the next one, we're gonna do a couple more details here on the shirt before we move on to the next pixel. So hang tight and I'll see you back on the next video. Bye-bye. 39. MainProject Chest Details Part2: Hey guys, welcome back to the next part of our series today we're going to continue and probably finished the chest details. So let's get to it. This is where we left off. I know that the last me that was a little bit longer than what we usually do, but hopefully you've learned a lot of stuff with this thing. So I'm gonna go here to the folder. Let me open the folder. There we go. And we're just going to open the folder select like let's say that shirt right here, and shift click everything else. Let's turn to this little eyes on. There we go. So what I wanna do now is I want to keep the cloth a little bit more texture because right now it just looks like, like clay, right? And even though our concept doesn't show it, the colors should be a little bit different. Now, one issue here is that my colors might not be perfectly matching, and it might be a good idea to have the proper colors right now. So let me show you how we can fix this. So what I'm gonna do is I'm going to go into masking. And I'm going to say mascot by color. So I'm gonna say mascot by saturation. Or we can try and mess by hue intensity poly paint. There we go. So I'm going to go mass by poly paint. And I'm going to select this guy, say, okay, oh, okay, I was selecting the wrong thing. So I'm going to say mass by Pauli paint, and I'm going to select the green elements. So now it's going to be very select the whole green color. I'm going to invert and I'm going to find the proper green now, I don't think I can jump outside of C brush unfortunately, but we could bring the image plane, remember the image thing that we did before? So I'm gonna go into sleep login, sorry. Where is it to know its not to texture, image plane, load image. And let's select our JPEG file. So let's look at the palate. There we go. So now even though our image is occupying the whole space, I'm just going to drag and drop and get the proper color, which is this deep green color. So it's going to be a lot easier to just like color fill object. And there we go. So now that's supposed to be the proper color, and I'm going to grab the little bit lighter tone. So let's go for something like this. And yeah, we're going to have to play a little bit with this thing. So give me a second. There we go. Invert the mask and then color fill object. There we go. So yeah, that's a little bit closer. Eventually we'd lies and stuff, we're gonna get the nicer color. So since, since this is also green, let's say color fill object right now. And there we go, The yellow, I think we are close, but if we want to change it, no problem. Again, mascarpone pane, select this guy, okay. Invert the mask. We select the proper mask, less and less by Pauli paint. And instead, let's grab this yellow. There we go. Let's hit. Okay, there we go, IMRT. And now again, we can just select the proper yellow, which since this is like a gold trim, we might not find the exact pale yellow right now. So let's do like a little bit of a brighter like that. Say color. Fill object O. With a mask. So again, my poly paint. Okay, in Burton mask and now color, color fill object. There we go. That's a little bit closer. Let's go to the little pins there and say color fill object as well. Perfect. So now we're a little bit closer to the genital. Eventually we might add or make this trimming like actual metal gold color. So we're gonna keep it like that for now. For the texture, I'm going to get rid of the, I'm gonna get rid of the image plane here on texture. Let's just keep Control N. And that's going to go away. Now for the texture, I want this like cloth texture. So I'm gonna go down here to the noise element, the noise menu, which is surface, sorry, surface, and this surface, I'm going to add noise. Now what noise is going to do? Let's cancel list. So like the shirt and select noise, white noise is going to do is, as you can see, it's going to add this sort of noise to the whole thing. Now one of the cool things about the noisemaker, it's going to be able to add like surface detail. Make this look a little bit more like actual cloth without having much of an issue. So I'm going to go into the noise plug-in and I'm going to select the we can go play or we can do with any of those as good. I'm going to do played. Let's Play and say, okay, now we need to increase the noise scale, but in the plug-in scale, we need to reduce it to see how we're getting those nice little squares pretty much everywhere. Like the cloth texture, the noise scale. We're going to have it at 0 because we don't want any noise above debugging skill. And then on the string, this is where we're actually going to see like the thing's going either in or out for object. So you can see how that's gonna give us an interesting texture right there. See, Now the only problem is that you probably can't see that this is doing this sort of like three-dimensional effect to the whole thing. And it's not actually like flowing nicely with the Cloud. It looks very weird here on the shoulders and on the elements. And this is because it's just like projecting on three sides the 3D elements. So one thing that we can do is get like a very quick UV for this elements so that this noise works a little bit better. Because if I do this right now, this is what we're going to get. It looks good here, but it doesn't look good everywhere else. So I'm gonna go to the lowest of the visual level. And I'm gonna go to login. I'm going to say UV master. I'm just going to hit no symmetry on wrap. What this should do is it should give us a couple of cuts here and there. In order to see your costs, you can go here to UV map, morph the UB. And yeah, I mean it's not the perfect UB by far, but it should give us a little bit of an interesting detail. And hopefully now if we go up here, we go into our surface detail, edit, and change from 3D to UV. See how the pleading works a little bit nicer. So now we should be able to modify the scale again to get like a smaller, nicer plead effect like this. And strength wise, probably want to do a little bit more. Here. There we go. I don't want to mix basic noise, so I'm going to have that 0. I don't want to have any strength by mask. And there we go. So as you can see, that's the noise that we are going to, if we hit Apply to mesh, we should get some nice noise. Unfortunately skewing me color and I don't want color. Let me change an option here. So we don't want Kohler. That's the Noyce. And you can see the noise there. I think we're going to miss the mark here. Let's increase this and see if we can manage to find. Let's just reset everything for now. There we go. So we're going to have to go like low, probably like that. Let me change instead of please let let me do with so I'm going to do with the width. There we go. I think that that one, it looks a little bit better. The plead was looking weird. So now we can find like the perfect extra day or we go That's more like it. That's what I'm going for. That very nice, like cloth effect, like Canvas effect. And I'm going to exaggerate it a little bit more than we would usually work because it is supposed to be a cartoonish element. Color blend 0. So 0 color blend. I should only get, or I only want to get like the actual and see that. So let's bring the skill up a little bit. And we need to let sprinkler push the string-like quite high. Let's say one. Like not letting me. That's weird. We can push this up. A little bit more effect. There we go. Okay, look at that, see quite a difference, right? Like now we're going to get that very nice square. So if I heat up like two mesh, most of the details should be kept. But there's going to be a little bit of parts where we might not get the same element. Now as you can see, this is really helping the whole thing because it's going to make it look a lot more alive. We will be doing a little bit of extra sculpting later on when we do the post because we're going to need to change the general flow of the thing. So I don't want to do any sort of wrinkles or anything like that just yet. On this guy, I am going to remove dynamics of division and make an actual subdivision. So let's do Control D a couple times. And there we go. Now our chest is looking really nice. We have a very, very nice detail. And if we take a look with the head, which is the other piece that's very, very complete or not super complete, but closer to completion. It's looking pretty, pretty good. So I'm going to stop the video right here, guys, in the next one, we're going to work with the hair. We're going to start polishing and treating it like a better looking here because we're definitely going to need that before we move on with the rest of the elements. So hang on tight and I'll see you back on the next video. Bye bye. 40. MainProject BlockIn of the Hair: Hey guys, welcome back to the next part of our series. Today we're going to continue with the blocking of the hair for our character. So let's go to it. This is where we're at right now, if you remember in the last video, we just finished the nice shirt right here, which is looking pretty tight if you ask me. And that's time that we started like sculpting a little bit more of his hair. So I'm going to pull up my reference on the other screen. And the way we usually do here is there's three ways to do here. And I'm going to start talking a little bit about theory. Well, I'll start like pushing and moving things around. But the main ways we do hair is by haircuts. Sculpted here. Look what I'm gonna do here. And an actual here like fiber mesh. So in this case, I'm going to be using my DynaMesh element to start blocking into here. I just want to cut the main shapes and the main elements of the hair. So for instance, I see that this guy has like a middle like crevice going down here. Careful with this guys. Remember whenever we get like this, like holes on the mesh, just inflate them. Really like intense and that's going to patch them up. It's one polygons are really, really thin and they create that sort of thing. So I'm gonna go here to the front. And I'm going to start, as I mentioned, blocking into here. So we have this like very intense the vision here down the middle. Usually this kind of divisions go all the way to roughly here at the back of the head. And then we have like layers. So we have this first layer, which is this big, big, bulky, like a lot of here going down here. And then we have a second layer coming in right about here. And creating a little bit of play here with the hair. Let's DynaMesh, snake hook. So I see like a little bit of like a crazy funny hair going out like that. There we go. Second one. And then we have like a third one over here on the side. The side like this. Dynamesh, DynaMesh, all of that. And again, the main idea with this is we want to create the main shapes of the character. Later in the next couple of videos, we're going to be polishing this here. And to do that, we're probably going to have to split this into different sub tools, like some sculpted the pieces. So for instance, this hair right there. I really like how this guy's looking. It's close to our reference where we have like this crazy hair. Like moving up. I think we can exaggerate the hair a little bit more like this. There we go. There's going to be a little bit of like a whole. They're less is more and that's one of the secrets to the good friend of mine taught me when we were like bouncing ideas around about hair. Less is more so people sometimes think that they need to worry about like the like the actual, what's the worst? Like H strand of hair and stuff and know you you definitely don't want to do that. It's going to be too much. So for instance here I'm just going to sketch out how I would imagine this hair Chu, to play out here is asymmetrical or most of the times it's asymmetrical. So you definitely want to pay attention to keeping it asymmetrical. So this part right here, as you can see, it's going to be my top layer. Now let's give you the allele for the fun, nicer color like this. Whitish blonde color to the sky has. So let's say color. Fill object. There we go. And now what I'm gonna do is I'm going to start moving this other side of the hair. So I'm going to use against snake hook to push the little like strands of hair that are common like flying their incentives in a very similar fashion like we have the main here, here. And then there's like a secondary hair being pushed. It's pretty much like two layers, like the topmost layer that's pushing the whole head around, the whole hair around, sorry. Then the other one. So since I know that we have two different layers, one good idea is to divide them. So what I'm gonna do here, so I'm gonna go into my select lasso. And I'm going to select like this part of the hair. Let's isolate this. So yeah, like I think this is perfectly this whole dike section of here. I'm going to go to Bali groups. I'm going to say group visible. And I'm going to invert the selection. I'm going to say group visible as well. So now we have two groups and one cool option that we have with DynaMesh is that we can go here into the DynaMesh options, geometry, DynaMesh, and we can say groups on. So what that's gonna do And then we're gonna increase the resolution a little bit. What that's gonna do is it's going to keep the groups as a separate pieces. So instead of having to like divide this into two separate sub tool, I can keep them as separate pieces. And then if I want to work with this, I just like it inflated this a little bit to give it a little bit more volume. And then just work with this specific piece of here. Pretty handy, right? So again, just DynaMesh. Dynamesh, and there we go. So now this orange piece, that orange polygon is a separate piece of geometry. So I can start polishing this in a better way. I can go, for instance, we're claiming the standard, it's mask this out, invert the mask. And now everything that I do here, it's only going to affect this piece of hair here. So I'm going to use my DynaMesh here to create this sort of like border for the here. There we go. I'm going to use my clay buildup to Whoa, I have RGB turned on, so let's turn it off. When it's clay buildup to polish this a little bit. And I'm going to get rid of some of this volume right here because that's volumes going to be covered by the other parts of the hair. So now what I'm gonna do is I'm going to actually turn polish on as well. So when we DynaMesh look at that, it polishes the hair and it gives me these very nice, crispy Luke, which is exactly what we need for this kind of character. Now I'm going to push this initial, like, let's do B Empty, Move Topological. It's only going to move the island that you're like selecting. So in this case, since I'm only selecting this like main island, it's going to be a little bit easier here. Let's give it a little bit of a lift. There. There we go. So what I wanna do is I want to create a little bit of a plane shift here. So I'm going to isolate this whole island 0. The whole island. See how it's trying to dilute the Pauline. I just wanna do Pali. There we go. And what I'm gonna do with my trim dynamic. So I'm going to mark or create the planes for this particular element right here. Train dynamic. It's a great tool for blocking in here because as you can see, it's going to give us a very, very nice result. So that's going to create like that, the main division. So now that we don't have the other hair around, I can very easily modify this, so it's very close to the scalp like this. And it's a little bit easier to see exactly what I need. Now. Now we can start polishing a little bit of this element. So for instance, I can do them in a standard. Again. Mark the hair here a little bit better. And I know that when I go out here and do DynaMesh, since polish is activated, I'm going to get this very, very nice, like division there. Now there's admission is looking good, but now we need to work on the same side or the same, we do the same thing on the other side. So I'm going to, I'm just going to select the whole thing here. This whole middle section here. I'm gonna go to poly groups. The groups. Here we go. I'm just going to say group visible. I should have a group visible up here. That's why, again, doing the custom interfaces really good because then you can see the kind of tools that you use the most and just repeat them. So see how I'm trimming down this whole thing. And later on if I need to make more cots, I can do that. That's one of the beauties about this process. It's very organic and you can just jump back and forth from, from one to another and look at that. Just like that in a matter of seconds, we were able to clean this up. So I think we've got a little bit of a weird look there. Let's just polish that up so that the software. And we have this thing right here. So we definitely need to, again trim this down because it's going to be the secondary, like a layer of hair that's going to be beneath the main layer of hair. There we go. So now with this secondary layer of hair, we can also start polishing and pushing things around. So for instance, let's sharpen dislike hair look right there. I really like doing this kind of like cartoonish style thing because it, It's quite nice. Bin it's the inflate brush. Just going to inflate the the entrance there a little bit more. There we go. Because that's going to be unimportant, unimportant part. Eventually we're also going to be what's the work? We're also going to be painting the hair, giving a little bit of highlight and stuff to it to make it interesting. So for instance here, if I can see that this is like a very important like lock of here, I can just use my demeans tender to separate it from the rest of the head. And that when we when we DynaMesh the whole thing, it's gonna give me a sharp, nice look there. I'm going to be able to keep on creating new locks off here from here. So yeah, so that's a completely new look of here. That seems like it's coming from beneath the upper one. And it's going to make it look really, really nice. Cool, right? Like from what we had before again, like just like a potato looking like Mash thing. So a little bit of a nicer look there. There we go. That's exactly what we're going for. So let me go to this character real quick and just give him like the actual skin tone. So I'm going to go into again, texture, texture. Load my image plane real quick. There we go. I'm not saying the actual skin tone, but it's it's close, it's there. So it's like that skin tone and then just push it up. That's two pink. He's a little bit paler. So let's go now to change the material as well, because the starting material that I normally use, it gives me this very weird look at not so much. There we go that, that I think that's good. Let's check how it looks with the starting material as another bet. So I'm just going to say color and RGB on color. Feel object. There we go. So now we can go back to the hair and go back to our light gray tones. And we're gonna get like a better idea of how the whole thing is looking. Remember we also have the lights, so the upsell, if we want to, we can just move the lights around and they're gonna give us an interesting look as well. And the Yes, So it's just a matter of pushing this things even further. So I can see that this guy has, I'm going to isolate this thing that's flattened, that spike bound there because he has this sort of like very long sideburns on the site. Again, quite cartoonish, quad, quite stylized. So I'm going to push this secondary layer of hair because I don't want the hair to be pushing that far out. Trim dynamic. It's excellent for this sort of like effect. For instance, this thing is way too. We can also turn on transparency to see where the scalp finishes. So I want to create this sort of like small curvature around the character, but not that big. So something like that works fine. Because we can see the ear that that's one of the important things I can the concept we're actually seeing the ears. So, so we need to take that into consideration and show the ear. So this like big bucket of care. And it's actually going onto their side of the ear. I'm going to inflate this like sideburns kind of thing. Let me clean the background. There we go. So that's closer to the to the concept. And then we go beneath the ear. And then we do have a little bit of Fleck extra careful whenever you're using any sort of new brush, make sure that you don't have like poly pain and Bali stuff. Turn it either on or off, is going to give you a result. Let's give it a little bit more volume back here. So this is like a third layer right here, like this, this layer that I'm seeing here. Let me show you in Photoshop real quick. So this is what we have. So if my layers I can see the layers, sorry, let me do snapping real quick. So again, what I'm trying to show you here is that there's several like liters. This right here is the first layer. And then this right here is the second layer underneath the first layer. And finally, we have the third layer, which is like the sideburns and dislike extra here up here. So if we do it like that by layers instead of trying to sculpt everything from a single link piece is going to get logged lot easier. So this is exactly what we're doing here. So in here, I will definitely benefit from grabbing this guy right here like this whole thing and creating the second, third layers. So I'm just going to hide all of those guys right there. It looks like a, like a shape here, something. I'm gonna go to poly groups, public groups, and then say group visible. There we go. So now when we do DynaMesh again, see how that's going to be separated. So just smooth out careful with this MOOC also has RGB on. So just smooth out, having another big deal if we need to change it. And then we'd move topological BMT. Remember, we're just going to move this island underneath the other island and this island on top of this one. Here, I think this one we can connect you to push it further back to like about there. We usually get like a whirlwind kind of thing with the hair. Well, we call it where, when and in Spanish in the sure what the name is. An English. Mask this out. So that when we do a snake hook to create a little bit of play here with the hair would only affecting the second layer here. So layers, you want to think in layers That's going to be the secret here. Back here is something that in our cases we're just going to be producing a final rendering funneled image. We don't necessarily need to worry that much about. But again, as a good practice is always good to work everything evenly. So here for instance, let me take a look at the reference again. So it's like 12 and then we have like one back here, like flowing up. Not that much because it should be losing like a little bit of volume. This one and then this one. This. And like this, there we go. And now we can start adding a little bit of volume to this like hairs like this. To push like the fibers of the, of the hair actually out. Just as a general blocking. I still consider all of this to be a general blocking of the hair. Because as you can see when we did DynaMesh, those strokes are gonna get like harden. And they're going to, yeah, they're going to be a little bit more intense there. So we're going to be able to create this sort of things later on if we want to, we can definitely like combine everything back into like a single mesh. But I think I really like how this is looking, really makes it look like this cartoonish field. If you go online and started looking at a cartoon stuff, you're going to see that one thing that they do is that they separate pretty much everything into like different strands. It is something that you can do. Definitely. However, it does take quite a bit of time. So for our particular purposes, we're going to try and keep it clean as a single single like clay clay hair right there. So yeah, look at that. Not bad. Right. Again, like if we take a look, There's something, this is why I always recommend you have like several saves of your character and I'm going to save this as a CEO CIO eight, that's not load, it's safe. Here. C0, C0 eight. If we take a look, Let's go here to the subtotals. Let's turn everything on. And let's just hit letter T. Now, press this guy right here, letter t, say switch. So we go into 2.5 V and I'm going to say loath tool and let's load like that's a number three, which was several videos ago, t. And then let's take a look at the whole thing. Quite the difference right here is looking better. The chest is pretty much done and looks very, very nice. And the yeah, so we still have a lot of things to go with. That's the point of this whole project that we're going to be advancing one step at a time. And yeah, you can see even the face changed a little bit, which is really good for us because it lets us know that we're moving forward. That's why it's a little bit difficult for me when we were starting. Remember, we had like this very ugly-looking character. It's very difficult for me to show you the final product because it's a step by step by step process. So we're going to be moving and advancing forward like we want every single change that we make to V impactful in our inner final element and give us a better result. So I'm gonna stop right here for this video guys, in the next one we're gonna continue polishing the hair, so hang tight and I'll see you back on the next one. Bye bye. 41. MainProject Refining the Hair Part1: Hey guys, welcome back to the next part of our series. Today we're going to continue with the refinement of the hair. So let me show you a quick little trick that we can use here to speed up these like blending or layer process. So I'm going to isolate the hair so that we're only working with this guy and the head and the eyes probably. And there's a couple of very nice brushes that are called insert multi mesh. You already know those, right? But we also have this Insert Curve Tools and we have this curved elements. I don't think we've seen a curb brushes just yet. So I'm going to show you how this guy's can be very, very useful. So let's imagine for a second that we don't have this section right there. Let's say like we've been working on this specific part of the character and we're still missing all of the other side. So I'm going to go ahead and delete the hidden so that we didn't have anything else. And what I'm gonna do is I'm going to use my Insert Curve brush, this insert two, sorry, It's brush and then t know, BC. And it's this curve tooth right here. Perfect. So they're curved tube. It's a really handy brush and the way it works is the following. You're going to draw a curve on top of the character. And as you can see there, we're going to get this element. Now, as you probably see here, the brushes a slightly different then we have this curved component that we can modify and play around with. So how does this work? It's actually very simple. Whenever you draw a curve, the size of your brush is gonna, it's gonna make the turn mine. I always struggle with how word, sorry. The size of the brush is going to translate it directly onto the size of the tube that during starting. So if I have a small brush, I'm going to have a very small curve with a lot of the steps. If, if I have a brief brush and I draw this, I'm going to have a very big tube with very little steps. There's some functions, so we're going to be able to modify. But what I wanna do now is I'm going to create a small like first curve. It's going to be this element right here. Now, as you can see, if my brush is on top of the curve, it turns blue. This means that were incurred mode and we're going to be able to edit and modify this group. So if you just move the cursor around, you're going to be able to pretty much drag and drop this thing wherever you want. You can drag the tip of the curve. You can drop the root, you can drag the tip and you can modify if you change the size of your brush and then you click on the curve, it's going to adapt to the new size. So if you mess up and you did like a weird size that you didn't want to. This is a very easy way to fix it. Now there's a couple of things that we can modify. For instance, if we go here to the stroke section and we go to the curb function right here. You can see that we have lock start and luck. And I really like using lock start because what this does is that now I can move this thing around and the beginning of the curve is always going to stay on the same place. So it's really good for this sort of thing. We're worried like modifying hair and we want to make sure that this is as nice as possible. So for instance, doing this. So you can see it's a lot easier than trying to do this with just like clay buildup. We're going to be able to create this sort of locked. Let me take a look at the reference and make sure that we're capturing the right curvature here. Now, after you're done with a curve, what you wanna do is you want to erase the curve so that you are no longer being affected by it. To eraser Caribbean draw a new curve. You only need to click outside of the object. Now the cool thing is that this thing is going to get its own polar groups. So since we're in the Pauline group section in when we do DynaMesh, this is going to become its own ball group and it's going to give us this nice little cylinder. Now there's a couple of other things that we can do. For instance, if we go here into the stroke tab again and we go into the curb modifiers. You're going to see that we have this curve follows. So right now we don't have any sort of fall off. If we modify this curve, what's going to happen this, the next curve we draw, we will have a little bit of width here. And the thing is this curve fall if it's on the curve functions modifiers. This is not distance. Wait, where is it? We have this sort of size. They're equal size. So I want to do this. And now technically, there we go. So we changed the look of the curve. The look of the hair is also going to change. So in this case, if I have this curve right here, you can see that as we get farther away from the root, this is the root, it's going to get thicker. So in this case, what I wanna do to create like a sort of hair shape. I want to change this so that we get like very small segments at first. We can just look cool. Click here. We can always recent, let's do. So when I get a small segment and then like a bidder, a little bit of a brother look, and then a thinner segment at the end. So this, as you can imagine, I'm going to click outside of the object. Actually, let's go back before we draw this one. There we go. And when I draw this, the curve should be slightly different, but forgot to delete hidden. There we go. So, yeah, so as you can see, the root right there is becoming really, really small. That's way too small to be honest. So let's push this thing out. Let's reset this. And what we wanna do is we want to flip it. So we're going to Flip Vertical. There we go. So now we should get this, which is exactly what we want, right? And we want to start with like a broad shape and then we want to go into like a tip. So remember we also have the snap here on the curb section. We also have that locked starts selected. So it's going to be a lot easier to just move the tip around and, and get this close or as close as possible to what we want. Now the only issue with this guys is that we're going to get like a little bit of a dancer element. One cool thing about the curves is that if you want to, you can continue the curb. You only need to go there and see that little red line that's going there. So if I continue, it's going to continue from that point. So click outside of the character and then draw the next one. And then just like modify this and go ahead and just place it closer to the cop polarity there. I like to use this technique to, again block in the hair. This is going to give us a little bit of a different look. Of course, it's going to be a little bit more polish if you wish. Now remember, you can also increase the size and that's going to change the size of the broad stroke rate there. So let's look another one right there. Let's move the lock start. We can go back here to stroke, remove the lock start. Then just push the lock star to a nicer place and then go back here, lock it again, and then we'll just look. Stroke. There we go. We go here and we'll just move this around. And again, when we jump back into the character, all of this is going to become a mesh. And we're going to be able to sculpt into. So it's a nice way to do it. Again, we can always just grab the color. Let's go and start the material color fill object. And it's going to give us a little bit of a different result. I don't think in particular, it's working for this character to be honest, but it can be done. So in this case, what I wanna do is I want to select this guy, this guy, this guy and this guy, like those, like holy islands, select them altogether and go into groups and say other groups. So now, or in this case, group bustle. There we go. So now if we DynaMesh, all of those guys are going to be a single, a single element. And I'm going to be able to do something similar to what we did on the other guy, BMT to move topological and only move the guys that I need. And again, as you can see, it gives us a little bit of a different result. This doesn't mean that you can't just come in here and it's called them. That's something that you definitely want to do and will continue to do to generate exactly the sort of hair line that we're expecting. So let's mess this thing out and just like polish the same. So we get that nice little division in the center. Curve tools are really handy and there's a lot of brushes online that you can also get to get this sort of effect a little bit of a nicer way. There's some hair tools that you can buy that give you like this very nice curve tools that follow the shapes of the hair and give you this very stylized, cartoony look. However, you still need to like manage them and make sure that they're flowing and following exactly what you want to do. I really like this break on that particular hair to be honest, we're still missing the underlying segments. So for instance, if I really like this side right here, like this thing right here, which I think it's looking, it's looking nice. What I can do is I can say sub tool, split, split, hidden. So now all the other hairs on another layer and then this guy right here, I can go to Geometry, modify Topology, mirror and wealth. We need to first flip it to the other side. So I'm going to go into deformation. I'm going to say mirror on the x axis, right here, mirror. And now if we go back to geometry and the mirroring the world, we're gonna get the same exact effect DynaMesh. And since this is something that this is also a rule of thumb that I like to follow. Anything that's farther away from the middle section of your character, it's going to be easier to hide that it's symmetrical. So since this are just like the sideburns of the character, we can actually work this guy, it would symmetry. That's going to save us a little bit of time. So let's say that we start like sculpting clay buildup. A little bit of like that. You actually like locks of hair here on the sideburns element. We can use our little snake hook too. To get this very nice looking like thin hairs, like he has on the concept DynaMesh. There we go. So we can keep this, we can definitely keep these guys. And it's going to be symmetrical. It's going to look really nice. It's gonna save us time, which is, time is money. That's right. So being very efficient and productive is going to help us in the long way in our careers. So it's always good to have it. So again, you're not going to notice that these guys are asymmetrical because they're really, really far away from the character's head. So even with this guy right here, like I think we could get away with some of it, not all of it, but some of it. So let's do this thing again. Let's do split hidden, that we have two separate meshes here. So let's select this guy again. Let's go into deformation. We're going to say mirrors, so that's on the other side. And then we're gonna go Geometry, Mirror and wealth. So it's going to combine it together with DynaMesh so that we don't get anything weird there. And now what I can do is since we already have like a nice sort of base here, you can just start polishing and pushing those guys into a nicer effect. So for instance, this guy asymmetry, of course, I'm going to push this guy closer to that, to the center. And then I'm just old clicking to switch between the subtitles, BMT to go into topological and only select the ones that we need. And there we go. So it's going to be a lot easier. We're going to move a lot faster. If we recycle certain parts of the hair that we already like and then they're looking good and make them work. I'm not super fond of this side right here. It's looking a little bit weird. So I think we either need to push it really up or down. I think, I think a lot of it's going really, really high. And the concept doesn't seem like it. Like if you see that concept, It's a little bit more like like this. Let's move it forward a little bit. And unfortunately, hairs one of those things that gets it's difficult. It's not difficult, it's just time-consuming. So there's going to be a lot of tweaking and moving parts around until you get exactly what you're looking for. So don't what's the word? Don't. Be impatient. Like your time. Make sure it looks good. Make sure we're not getting any weird bald spots or anything. Try to add polish every single part of the hair. So when we do DynaMesh here for instance, you have little lock, they're going down there that's going to be helpful for us. And over all the characters is going to start looking really, really nice. I like to have most of the completed tools on when we're working so that we can get an idea of how the whole thing is looking. So here for instance, I'm seeing that the hair goes really, really low C, but we still get like a negative space here, like we're seeing the fur of the character. So that tells me that we do need to know that it's not super, super long. So it seems like the, like this thing is really fluffy, like the like the firm itself. So I'm just going to add a little bit more volume here on the sides so that when we see it from the side, yes, we're gonna be seeing the the locks of the hair like falling down. But we're also going to be seeing the for, through the other side. The spiral brush is a really good BSA. And that's not to say it's B, S, G. It's really good to give the hair a little bit more flow. Just make sure that the focus is really big. So do you affect a little bit more of the Ottomans? See that? So that's going to really like give me this like very natural 12 to the hair. Careful there for instance, I'm seeing a little bit of a weird lock here on the, on the secondary, like like layer. So if I need to, I'm just going to move this out of the way like this. So it does get a little bit of prime-time inflates. Also good to keep a little bit more volume there. It's like banana here. I'd like to compare this to if you've seen the street fight or five. They use this sort of technique with the hair of their characters. Because it's, it's a little bit easier. I'll show you in just a second, a little bit of reference there. So I'm just going to use this secondary layer to star-like. Creating the main loops of the element. We go like this. We're going to be polishing those later on as well. So let's jump here. Because we want these things to kind of blend together, right? Like we want to make sure that this thing looks like it's, it's part of the same like scalp. So we're going to this sort of like blending here. And then in here we usually get like this is sort of like we're when things like a couple of them go to the front, a couple of them going to the side and then some of them go to the back and you get like those little holding there where you get like a knot of hair or something. So that's that could be a good position. There. There we go, That looks good. Now The first, let's do a quick just like work here on the firm going to say color fill, object to field. If we were with this white color. And the first we're going to do something similar to that. We're going to try to keep it symmetrical on the outside, like out here. And the rest of it is going to remain as nice as possible. So as you can see by just doing like the crazy snake hook trick that I showed you before, we already have this very nice looking like for. So the only thing we need to do is we need to start polishing. So I'm going to turn, I'm going to go into geometry, DynaMesh, and I'm going to say polish. And when we die the mission, we increase the resolution. Of course, things are going to get sharper. So here we're going to have to take this cartoony approach and just create this sort of like fluffy segments like this. So try to think of this like a lion's mane, right? So, so we want to make sure that things are flowing in and out of the elements. So for instance, I get this big like fluffy shape here. So I'm just going to use my clean build up to fluff it out even more. And then with my snake hook and you can just like push it up, soften them up. And when we DynaMesh and make this, what's the word sharper we would polish. This is going to look like a, like a little bit. The first thing. Can I go back here? Let's add like a secondary fairly going a little bit out of its way. Like this. There we go. See how we're going to just like, again, don't think of this like individual hair strands because if you do that, you're going to go crazy like a completely crazy drink to scold kb right here, you're definitely going to lose your mind. So the way we usually sculpt this sort of cartoonish look, if we do this volumes like this big volume there, and then we keep refining, refining, refining and refining. Again, if you go in the middle, like this guys that are far away from the middle line. That's not, you're not going to notice that these guys are very symmetrical. Same thing with like glycine here and I just be careful here. We need to make sure that this thing is not going into the shirt. So let me turn on transparency. And what I'm gonna do is I'm actually going to push this for outside of the neck. Like this leg, it's hugging the kicker. We can have a little bit of overlap on the upper border here, but I want to see all the way to the back of the shirt right there. So this guy's we can go in there. There we go. So let me show you a couple of examples before I stop this video. As I was mentioning in Street Fighter or five, which is a game that's been out for several years now. Most of the characters that you see have the hair like that, meets the somethings, joke about it on the, what's the word on the, on the forums? I'm 35 different players, So they, they joke about that. It looks like a banana here, but that's just the, the artistic decision that they decided to go for. Because sculpted hair like this, like the spikes on the radius here, like this, nibbles on Karen's heads, that it's a lot easier to read and the performance, it's a lot better when you have it like this. So see how it's just like blocks of here instead of having like actual hair strands. So that's one way to do it. Another great example I can give you is a lot of years ago when I was a student back at Gnomon. They gave us this talk about Riot, League of Legends. And you know that the models in League of Legends are very, very soft. So this is the model that they use for hybrid vigor. We had the pleasure of seeing the live presentation. You probably can find this presentation, so you probably can find this on YouTube or something. And he explains how he does it here and it's the same thing I'm talking about, like us. As soon as you get away from the center, you can have the same symmetry and people are not going to know this, but the main strengths here on the very front, you definitely want to keep them as a separate geometry. So that's the exact same technique that we're using here for our like here. So that's it for this video, guys, I am going to do something that we sometimes see on the videos. I'm going to polish this things a little bit more. I'm gonna, I'm gonna keep working on this because otherwise, you're just going to see me talk about like polishing hair for other probably like an hour or two. So I'm going to publish the hair both on their character and on the fur coat. And then the next one, I'm going to show you the final steps that you're going to be doing to finish the polish of your hair for your characters. So hang on tight and I'll see you back on the next video. Bye. 42. MainProject Refining the Hair Part2: Hey guys, welcome back to the next part of our series. Today we're going to continue with the refinement of the hair. So let's get to it. This is not where we left off. Usually, I always start in the last section, but as I mentioned, I was going to advance a little bit on the general blocking of the hair. So let me show you what I did here. If I click on this guy and I go all the way here to the top, you're going to see D on the history. So this is where we left off last time. And as you can see, I used the same techniques I showed you before. Just a little bit of masking is snake hook clay buildup to give it the general for code a little bit more silhouette, right? Because we want to polish this to the same level that we have the shirt polish, the chest piece. So I just blocked in the whole thing here. And now back here, I use the same example I was talking to you about when I got to the middle section right here, I broke symmetry right here on the middle, and then activated symmetry again on the side. So that way it looks a little bit nicer and looks a little bit better without having to rely so much on like hand sculpting everything. I did the same thing for the hair. I just went on and started adding a little bit more definition in a little bit more movement. So you can see that several of the main sections of the hair are now writing. So with this DOM guys, we can now jump onto the next section, which is the refinement of the hair. And for that I'm going to use the for us an example. Now, again, in order to save a little bit of time, I am going to be doing some sections in here and then off-camera, I'm just gonna do the rest of it. I'll show you the end result at the end, of course. Then we're going to be able to continue with the next parts. So the cool thing about this is we already have the silhouette pretty much done. The, this means that we can start pushing our geometry into a nicer detail. So I'm going to look for some reference here. Let me show you. Scroll to the fur Sie brush. If you ever have any, like a weird IDS or if you're, if you're curious about how to do things, just look for reference, see how people do it, and tried to find the one that works the best for us. So in this case, I don't think we need to go like this noisy, like this extremely intense. Like for I think we can go a little bit more cartoonish. So probably something like this. My work a little bit better. Even that's a little bit too intense for what we're doing, I think. So The only reason where we're looking at this sort of thing is to get a little bit of reference. Go a little bit funny idea of how people are making this things. And now we just jump in, start doing it. So what I'm gonna do is I'm going to turn off DynaMesh because I don't want to modify the amount of topology anymore. I'm going to go into geometry and I'm going to give it one subdivision level. This should be more than enough because usually when we're working with Dynamics, we have a lot of geometry. I'm going to change my stroke from the clay buildup and I'm going to change this from the square alpha to a round Alpha. And that was just a matter of going into each individual strand like this Buchla right here. And the finding a little bit better, like the fur of the character. Now the round brushes you can see it's going to allow me to get this sort of texture you look, it's going to make it look a lot nicer. There we go. So we start texturing. Very stylized are very stylistically. I would say this like a strand of hair. Now here it's very important that we use at the mean, the standard, but unfortunately they mean the standard brush is really soft on the borders. So I'm gonna change this to a sharper like Alpha 45, I'll sharper dot. And that way we are going to be able to cut into the hair a little bit nicer. So it's going to allow me to to kinda like split the hair subpart like this. And that maybe like a couple of bigger strengths, insight the main volume. And this is the trick or this is the secret to doing like realistic or a convincing hurt rather because this is not realistic here, this is cartoon here. The d, the best technique that they can show you guys right here is try to think about the main volumes first and then just start polishing those volumes. Because if you tried to do this technique of just like going with that clay buildup and creating that strands from the very beginning. You're going to have a very, very hard time getting the proper looked to the hair. So so see it right there. Now in order to push this guys and make it look like they're coming from beneath. I'm going to use my diminished standard to push this insight. Now another technique you can use as you can mask things out, for instance, lists mask, this like hair strand right here, embed the mask. And then with the MOOC brush, I'm just gonna push this like Insights, see that? A little bit like that. So now when we remove the mask and we soften this a little bit, it's going to look like it's actually coming from beneath the, this other buckle of hair. So creating that sort of like a connection right there. It's going to be really important to layer the whole hair onto our character. So this guy, for instance, is coming from this direction and then we get this nice little element. Now, it doesn't mean that we can't just like modified this little spice anymore link. You can of course, go in here and just move them around and create a little bit of a more dynamic flow rate there. That's gonna be, it's gonna be good. And we'll just move this around. There we go, We'll go back here. Now this is why having symmetry on it's going to ask a lot of time because otherwise, trying to do this from scratch for every single buckled here would be a nightmare. Same thing here. We'll just draw this, see how this are kinda like overlapping. So I'm just going to use my demons tender again to push the form down and make it, make it really look like this. Here, this next hair that I'm going to start working on, it's actually coming from beneath the other hair select layers. You've ever seen how people do like weeks for like monsters and in commercials and movies and stuff. They usually start on the lower sections, like I'm doing here. And they build their way up because again, they want to like layer the whole thing. Again here I'm just going to use my, my, my brush to give this a little bit more flow. So for instance here, again, I'm just going to push this in very sharply and softly. Well then we may sharpening and selfless. I wanna make sure that the division is very clear that people are not confused about the like the trajectory of the hair strands. So we're just going to push this and keep, keep publishing, as you can see here. Now, make sure that your strokes are following the same shape us as the little like buckle of hair bundle of here. And that way you're gonna get this very, very nice texture. Later on, we can have a little bit more extra texture. That's not going to be, it's not difficult to use just like an alpha or something too. To further push the, the elements. So for instance, here, this is a very big buckle of here. So one good idea would be to have like choose mall buckles inside that big buckle. So I'm gonna I kicked to the buckle. I'm not sure that's the right word. Bundle. Bundle. I think it's better, right? I say I say buckled because in Spanish we call it which is like a like a lump, lump. I think lump is the right word. So this lump has two lumps. So it might be a good idea to break it down into two smaller lumps like that. And that way when we build up the volume and the details, it's going to look a little bit better. One way to break the details very nicely here is that a mask, this thing, invert the mask and then just move this out of the way and create a little bit of an overlap on top of the ladder. See that there's little lump of here is crossing on top of this guy. So that's overlap. That's fine for, for our particular purposes, that's perfectly fine. And that's going to create a lot more visual interest on the whole thing. Like just take a look at how this thing is starting to look compared to the rest of the cape. And you're going to see that, that we're making progress. So for instance, this one and this one, it's a very big buckle or lump, lump as well. So I'm just going to like the little bit of scratching. There we go. And then we'll build up. We'll just start pushing this. Now I think we could use our spiral brush round BSG, just too low offset and hit Alt just to curb this out. Like that will make it bigger. We can do something like that. And it's gonna give us a very interesting look. It definitely affects the geometry quite a bit. So make sure to soften it up and then just rebuild from there. There we go. We need to be careful here because we don't want this to seem like it's just like glued together. That's why it's very important to, to use name and the standard to divide the word the buckles are. So see this little like lump here. What I'm gonna do is I'm just going to make it flow in a very similar direction, but give it its own like specific strengths. That way when, when people see that area, it's not like jumping as a different day or so. And this is something I tell people in, and it's a little bit weird to, to express, but the sculpture is gonna talk to you. I know that sounds like legged really high or something. That's another way. I mean, well, the reason is once you get comfortable with C-bar is once you get more experience, you're going to see things, you're going to be seeing it. Yeah, we can we can have like a little bit of a break here. And that's what I mean by the sculptor talking to you like you're going to see where you need to add more stuff and where you need to remove stuff in order to make it were for instance, here, this is like a buckle That's a lump there of here. And then from here we're going to have this huge lump of hair going, going over here. And then to make it consistent, we're going to have to have something going in here, right? So as you can see, even though those were not in the original, like blocking of my, of my DynaMesh section. I can still work with them and I can still add the sort of elements if I need more geometry later on, I have two options. I can go back to DynaMesh and reproject the whole thing. Or I can just add one more subdivision level and try to work with the, with the, what's the word with the geometry that I get, right? So, so you can see here, this is how the trick is to just follow, follow here. So there I want to, I want this thing to overlap this guy. So the easiest way is to just like drawn on top. And then with the mean and standard, just cut into the shape a little bit like that. And that's going to bring pretty much everything together. Now, one other brush that's really, really handy for this, and this is probably the last one I'm going to show you on this video before we jump onto the next part is the infinite brush. The influent brush is really good because especially on this areas, it's going to push the lumps together. And as you can see there, it's going to make it look a little bit more fluffy, little bit more organic. Instead of having like those weird elements is going to like fill everything else. See that? So now everything looks way more overlap, which is nice. I don't think we need that much. That's good. There's another brush called the paintbrush. Bpi is the shortcut and it does something similar if peaches surfaces together. So if you need to close certain areas, Let's say like this gap right there is way too intense with just pinch to that area and bring it closer together. But yeah, take a look at that. Like that looks really, really good compared to like this back area right here that looks really ugly. This looks really, really nice. It looks like Soft bundles of afer and the end. Yeah, well, that's exactly what we want letter you wanted to create this sort of interlocking system. Now for instance, here, again, I can just isolate that and then with my brush to create a little bit of overlap going on top of the next, like lump of hair right there. And that way we're going to create a little bit more of a visual interest. Remember layers, guys, layers is one of the most important things he doesn't only apply to here and I'll place to everything. That's why characters with a lot of armor and pockets, and bells and whistles and everything look really, really cool because they have so many layers and we, as humans find it interesting to analyze and tried to understand what all of those shapes are and mean. So so that's why this technique here with the hair is working very, very nice. Now for the head, I'm going to do the same technique for the here again, it's not that I don't want to record the whole thing for you guys, but we have certain bandwidth that we need to respect. And therefore, like regarding the whole process, It's a little bit redundant. So hopefully you guys with this, with this section right here of here that I've just showed you, you're able to grasp and understand like the main what Stewart, the main techniques that we use for the creation of the hair. The only thing that's going to be slightly different on the, on the head here is that we're going to be using train dynamic a little bit more to just like sharpen a couple of these things as I'm doing are right here. So if I want this spike to be a little bit sharper, we can use trim dynamic and then use the minister and they're right there on the border. To give it a little bit more, a more interesting look. And there we go, guys, I'm gonna stop the video right here. In the next video, guys, you're probably not going to see the whole thing finished just yet because normally when we're recording, we're recording batches. So I'm actually going to jump ahead and go on to working with D. We then with the braziers. So once we're done with the braces, you're probably going to see a little bit of a jump and I'll make sure to go back and show you what I did with the with the rest of the first of that, you can check it out and analyze it. Okay, so that's it for this video, guys, keep working. Again. I strongly recommend you do not skip steps. Don't try to see the whole video, the horse serious, and then go back and do because you're going to feel overwhelmed. So go little by little, tried to finish the hair trigger finished before, and then after that jump onto on track so we can continue with the rest of the elements. And that's it for today, guys. I'll see you back on the next one. 43. MainProject Sculpting the bracers part1: Hey guys, welcome back to the next part of our series. Today we're going to continue with the sculpting of the racers. So let's get to it. Cool. So this is the braces. These are two braces that we need to do. And before we jump into ZBrush and start sculpting them, what I wanted to show you here is a quick way in which you can analyze the surface and see how things are going to be working. So we pretty much have asymmetry down this area right here. We have this piece, that's this V-shape piece. And then we have the breaks are which I would expect this to be cylindrical. Then we have this sort of like cylinder here, a little bit of another bevel there. This VSD thingies or volume that represents the muscles. And then a very nice cylinder here and in the flares out into the actual like arm. So what we're gonna do is instead of doing like the traditional like poly mesh and see, remember and stuff or similar. We're just going to sculpt it. We're gonna do a nice blocking of the element, and then we're going to clean it up using all the techniques we've learned so far. So let me just grab this thing, move it to the side so that I can see. And we're going to jump right here. Let's select this guys right here. There we go. Now this guy says you can see if we go dynamic solo are still stuck with the legs. So I'm just going to embed this. There we go and I'm going to say split, split hidden. So now the bright stars are only here. Now again, to save a little bit of time, I'm actually going to delete half of it. Let's turn off the symmetry, delete half of it and say Delete Hidden. And now here I'm going to start sculpting the general shape of the racer. So I'm going to go here and just ride on. We're going to start just a sculpting and doing whatever we need. So we're gonna start with a trim dynamic to reduce the volume because this arm is supposed to be really, really thin, especially on the, on the race, the side of things. So this becomes really, really thin. There we go. And then as we mentioned, once we go into the hand, it's gonna kinda like flare up. So we're going to have this thing like holding the poem. Usually on the palm. We need to have the armor go all the way back to the wrist so that we can flex the hand. Your hand usually doesn't flex towards the top. So this is roughly what we're doing. Tripling that make again, just polishing this things. And one important thing that we need to keep in mind is that we don't want to reduce these arms like a length all the way or that much in such a way that this stops being like a normal arm, right? So she's got to do something like this. And then with my standard, it seems to me like this section right here, like if we see it from the side, kind of flush out. So we're going to have this sort of like shaped, like a V-shape. So this thing is going to go around just drawings, kinda like sketching on the way to this area right above there. So that's the sketch right there. And then on the front we're going to have another section here gonna use clay buildup to give a little bit more, more form. And this is one very, very nice technique that we use a lot when we're doing this sort of more intense or harsher, fussy things. There are bits and it's, it's quite handy. So from here, at this point, if I, if I tried to match the concept, let me show you what I'm doing here. Like you to take a look at the concept, drink to match this curvature right here. This right here. So very good habit to develop to be able to, to look at the concept and just work from that concept. Term dynamic. So this is like the golden shrimp Doug, we have going into the hand. Here we go. It's kind of like that. And then at this distance we're going to have a little bit of a volume here. Same thing going to the front. This volume is important because it represents the muscles that we have on the forearm. So the bundles of, bundles of muscles that we get there. I'm going to flare it out. We're going to smooth it out a little bit so that it's not super intense. For instance, I think this is way too curved out, so I'm just going to bring it up a little bit, a little bit more like a cylinder. And then right after dad like doughnut loop, which is going to be something like this. Going all the way around. We have like a little bubble that goes out. So I'm going to mask the whole thing here. Invert the mask, and then I'm going to go into geometry, sorry, the information. I'm gonna say inflate to do like a little bit of an extra one. There we go. Because we got something like that. And then in this area we get something similar before we go into the actual arm. So again here, a little bit, infinite is just a sketch. So don't worry, it's going to look ugly at first. We're going to smooth this out. And here's where the hole for the arm is. So at this point, we can actually get rid of the hand. So what I'm gonna do is I'm going to go Control select wrecked. I'm going to say select lasso. And we're going to delete the hand. Keep it nice and clean as possible. There we go. I'm also going to delete this part of the arm right there. Perfect. I'm going to say delete hidden and DynaMesh and everything is going to get closed. And then just trim dynamic to push the rest of the arm. There. There we go. And this guy right here. And this is one of the cool things about like stylized cartoony characters that you can't get away with this sort of like asymmetrical pieces. We don't want to be completely asymmetrical bit. But yeah, there's a little bit of this room, there's room for, for improvisation. So here, this is the actual like gold trim that I was talking about. So we're just going to use my Damien a standard to make sure it's there in here. I don't want to remove this part so that there's enough flex on the on the actual hand. There we go. So as you can see, I'm just using the tools that we've been talking about, trim, dynamic clay buildup and stuff to generate and to scope out this a basic representation of my appraiser. So you can see this is looking good. I think it's a nice approach so far. I do want to remove a little bit of volume from here. So I'm going to smooth this out and I'll see how if we see it from the front, that it's not the same volume here and here. So I'm going to give you a little bit more volume closer to the arm. This thing flares out, not in. So we'll expect this little thing, spike thing to go like up like this. There we go. And then on this area right here, I am going to use my damien the standards do not switch B. Yes. To push the division that we have here. That goes around the whole thing. This thing has a pebble, so I'm going to use them in a standard but the opposite with old. So we get that sharp line going all the way around, like this golden thing that pass here. And then we trim dynamic. I'm going to push this. So the meats that line, that way I'm going to create, as you can see, the nice little step, hard surfaces. One of those things that people really like, I personally am not a fan of, like sci-fi and stuff. I prefer fantasy. But the little people who really love sci-fi and the, and they love to do like robots and guns and stuff. But they don't understand that the 3D world doing those kind of things. It's not the CCSE, it might seem. It actually takes a lot of time, like the techniques are not difficult, but it does take quite a bit of time. So here, there's like a second step right here going into like the main volume before we hit the arm. So this is why trim dynamic is really good because it actually samples the the curvature of the surface. And based on the, on the average angle of the polygons, it gives us the, the, the flat result that we're going for. Here we go. I did thing. I want to up the volume here to get this donut like shape because it looks like it kind of like a doughnut. And then just for stylization purposes, I am going to push this thing down a little bit. I mean, if it's the thing, we can always just inflate the whole thing and that's going to be fine. There we go. So now if we take a look at this and compare it to our concept, we should mean a very close position. And as you can see here, we are. And we tried to find the right angle. We're there. That's that. This is a little bit thicker. So I'm going to push this surface to be or to go a little bit higher. And a very easy way to do it is just like mass in the parts that you want. Invert mask, W, press Alt and this little button here, the pin, so that it goes through the center. And then from here, just like move it up and reshape it so that it conforms to that, to the general shape that you're looking for. Or there's, you're going for. There we go. Now one thing I'm seeing is that this upper part a is further out than this golden part and that's not happening here. So I probably need to like grab this whole thing here. Let's DynaMesh first. So I'm just going to mask a lasso, in this case, mask a lasso mask, this whole thing. Make sure that we grab all the little borders and details here. There we go. Invert the mask and then we inflate, just inflate the whole thing up. There we go. Dynamesh, DynaMesh, trim dynamic. And we're going to polish this so that we get that nice sharp corner we have. This is way too much. We can always just move it down. So you might be wondering, okay, yeah, it's looking okay, it should, but how are we going to polish this? How are we going to make this look like, actually like useable and better? And the answer is, and you already probably know what a C refresher we're going to see, remember this thing. So we get a cleaner topology. And that will allow us to work in a little bit of a better way we are going to be using similar, even though I had said we will not, because C13 is really, really handy and it's going to allow us to give this thing the sharp edges that we need in the places that we need to. So, so there we go. That's like the base blocking. One good idea is to check it in context with the character. And yeah, that looks good. I think it's a bit so yeah, it's close to what we have on the concept. So, so that's a good, that's a good position to be. And now we're gonna go into Syria measure. So I'm gonna go here again up into geometry, and I'm going to say see remeasure. But before we do searing measure, I do want to use a little bit of C guides. So syria measure guides. So what I'm gonna do is I'm going to draw a line going over here. Remember you can always place your mouse like really close together and just continue the curve. So like that, That's going to be good. Then I'm going to add one extra curve right about here because I want this curves to be helping oprah element. Now there's one trick, for instance, in this area, I can start dragging and then press shift. And it's going to create a circle there that's going to go around the elements. So again, drag outside of the object and press Shift, and that's going to create a circle. Now here it's going to be very important for me to actually push this curve. So it follows the golden trim that the thing has. Because otherwise I'm going to get like a very weird result. There we go. Up here. It wouldn't be a bad idea to have like a, like a straight circle. So let's just draw the circle. There we go. Remember, this is a curve, so if you want to erase one, you can just like cross it with Alt. You press Alt and then you draw across it and that's going to erase the curve. That's way better. So now if we do see remeasure, I'm going to go one on target poly count and I'm gonna say Siri mesh. There's two things here in the serum mesh option that they're going to help me push the form into a closer shaped like what we have here with the element. And that's the current strength in the adaptive size. So as you can see here, is really good. We got some weird things right there, but the group is actually really, really good. So from here I'm just going to say half and say see Romesh, and see if we get like half. Yep, let's do one more C ring mesh. One more. And I'm just going to keep going. I'm gonna, I'm gonna try and get this as nice and as low as possible. Okay, that's better. So even though it looks completely agree, I think this is a little bit, a little bit better. Even though it looks completely ugly. This is a lot better because the geometry again, it's going to help us complete or get the exact same element that we want. So I'm going to use my trembling navigate my damien standard to push this guy's in, to recover a little bit of that, like golden trim that we have here. I'm going to use Damien standard here to really push this guys and create that loop, but see how, how it follows the loop very, very nicely. Now, I'm not worried about the golden trim here on the, on the front because those details we can definitely add. We'd like the actual construction of the, of the, of the groups. Let's do something like this to give it, to keep it sharp. And now what I'm gonna do is I'm going to jump into my similar, so B, C, M. And let's do a little bit of magic here. So if I go here into geometry and I go to dynamics of the vision, you know that if we present a vision, we get this result, which is how the thing is going to look once we add the visions to it. So what I want is I want to add a couple of insert edge loops. So I'm gonna go here, insert, we're going to answer it on the edge loop right there and right here, and one right here, and right here, and one with you on the border, and then this border. So now look what happens when I do this. Beautiful, beautiful sharp the geometry. Now the cool thing is we can also go with MOOC brush and just like move a couple of these vertices around. So this is a little bit straighter. You can also do this while in dynamics of division. So I want to have this dreamlike go around the eraser in a very, very nice and sharp way. So see how, see how easy this to get this very sharp and very clean looking topology when you know how to use it techniques, trying to do this in Maya, It's also possible, but they will take us a little bit longer. Don't want it sticking us here. So I'm gonna go out of the dynamics of division again back into C modeler. And I'm gonna say, I'm gonna insert an edge loop right here, just one. Because now what that's going to give me, it's going to give me a sharper look on that specific element right here. So again, if I want to modify this and I want to give a little bit more of a profile here. I can just start pushing this. Remember we also have our What's door, train dynamic and a lot of sculpture tools and we're going to be able to use, but that's working very, very nice. Now if we take a look at this thing again, let me turn off the paint layer. Again. I see that we have this line right there, right like the line that's dividing like the doughnut here. So again, dynamics of division of VCM to go into my element here. And we're going to insert an edge loop right about there. Let's turn this on. Let's do one more. So that guy right there, What's gonna do? It's gonna keep that doughnut sharp. And again, if we want to, we can start pushing and modifying how that doughnut is going to look. So let's turn this off. So if we want to really push the doughnut up, there we go. Now we can also go with Damien standard. And since the topology is really clean, it's going to be a lot easier to just push that specific edge loop into its own like crevice. Like you're seeing there. Perfect, right? We can go with clay, be able to, because remember the brushes are not adding more geometry. The only thing that brushes do here in ZBrush is they modify the polygons. So by doing this, or we're doing is we're just like pushing and moving the polygons around the mean, the standard again. And I'm going to push this line here a little bit further and we can turn off dynamics of the vision so that we're just working with the, with the low poly. It's going to give us a very, very clean, nice detail. Perfect. Okay guys, I'm gonna stop the video right here because we're getting a little bit longer than usual. And in the next video we're going to continue working on this research. So hang on tight and I'll see you back on the next one. Bye bye. 44. MainProject Sculpting the bracers part2: Hey guys, welcome back to the next part of our series. We're going to continue now with the racers are today. So let's get to it. This is where we left off. We have this very, very nice and clean topology for our braces. So now it's time that we jump into actually sculpting the details for the racers. So what I'm gonna do here is I'm actually just going to go into subdural and I'm gonna say, sorry, geometry and I'm just going to hit divide a couple times. There we go. So we're at 411000 and let's go one higher, one more. And I'm going to start using my tools like trimmed dynamic and clay buildup due to further polish this things now, I do want to give this armor a little bit of a handmade look to it. Like I don't want this to look perfectly clean and perfectly like cut like if, if oseul done with machines and stuff, I want to keep it a little bit more crafty if you wish. So it's going to look like like batter, like actual hammered metal here. So I'm going to start pushing this like I'm going a little bit of like hammered plates here, like finding a little bit of the planes of the eraser here. This, there we go. And now I'm going to use them in standard. Well, instead of using them in and start there, actually, I think masking is going to be better. So I'm gonna go with masking, mask pen. And I'm going to draw a mask. That's going to be the, the golden trim that we have on the character. So let me see this. There we go. So we start right about here. And I usually when I do this, I like to have like a small brush size so that we can just look quickly, erase and clean this up. If we spend a little bit more time or if we go back into smaller and modified the topology, this could be like a very clean cut we topology, but I want to show you what my process would be if we wanted this to be a little bit more like sculpted. So I'll just go around here. And that's should land. They're careful here. We want to make sure that the thickness of the of the trim is consistent. There we go. So I'm going to invert this. And what I'm gonna do is I'm actually going to use my clay buildup with the square brush, the square Alpha to bring the border out like this. And then I'm going to use trim dynamic to flatten it out. So we should be getting this very like crafty look on the border, like this. Now we want this spike right here to be like a lot spike here, like this triangle right here. Let's polish this a little bit better. They stand there and just I'm just gonna move this so that the thickness is consistent throughout. And then over here, I'm going to start using the brush smaller and smaller until we get like this very sharp element. And to push this sharpness or this triangle, look to it, I'm going to use my thermodynamic to really sharpen that point. Often there, there we go. Perfect. So again, you know, depending on how clean you want this thing to look, you're going to have to go back and start like polishing certain things here and there. But again, as I mentioned, I want this gloss or this racers to look a little bit more like. They were made by a blacksmith or something I call trick here. They mean to stand there with negative side and just get the nice little line there. And there we go. The thing I'm more worried about is just making sure that this looks sharp throughout. Perfect. There we go. So from the concept and seeing like I'm trying to match the concept here. This thing flare side a little bit more. In those cases, it's always good to go down a couple of subdivision levels. So I'm going to flare this out a little bit because the hand is going to be coming from from underneath. So I'm just going to give it that little look there. Probably fair that a little bit over here as well. There we go. And then the whole thing here is like move them down. Because this like doughnut shape going all the way down here. So again, cool advantage of doing this with clean topology. So instead of having DynaMesh and, and having to recalculate this whole thing, you can just move these guys around and we're going to get the same result. Let's go D, a couple of subdivisions up, look at that. For now. Let's see it in context. Let's see how this thing looks with that, with the character. So I'm going to turn off this guy here and the big block, the armor piece of the house on the shoulder. There we go. Yep. I think we're good up here. We definitely need to train entrance a little bit like I don't want this to be around. So I'm going to use my terminating that mic to trim this entrance right here. That there we go. Again, this sort of like hammered look to it. Which is very good, very cool. Perfect. Nice. I do think we can push this like border like the Maine border here on the on the, on the front side a little bit further out. They give a little bit more visual interests, like a little bit more. She went pretty much up. Yeah, that looks cool. Cool. So let's take a look at the whole thing and contexts again, because context is going to be super, super important. So here what I'm gonna do is I'm actually going to rotate this around a little bit so that it matches the character will be better. I do think that it became like extremely, extremely wide here on the, on the top. So I'm just going to start pushing this and making it, making it a little bit thinner. Because we're still missing the extra piece that sits like on the on the elbow itself. So that things missing like right about here. And we add that piece, it's going to be really, really like intense. So one of the things I personally don't like a lot about stylized characters. It's that sometimes it looks good in concept goods looking at the drawing, but once you translate that into 3D, It's going to start looking like a little bit weird. Like certain things don't quite match. I am seeing that this thing actually flares. Like he has a little bit of a curvature here. So I'm going to use my clay buildup to, to bring that curvature in. This whole thing seems to go like really high. It's really, really, really high. And then train dynamic to polish this smooth and train dynamic. Now we go clean. Perfect. Nice. Yeah, I like that a lot better. I still think this guy's supposed to go with like a friendly really deep. So I'm gonna I'm gonna go a couple of cell divisions levels down and then just, I could really push this, this thing down. So when we go up, we see that nice little bump there and still wet. Let's add a like a dark gray color just to get an idea of how this thing is going to look something like that. So let's say color Fill object. And we can just sample the same color here. Let's do clay buildup. Turn this off, turn RGB on. And just for, uh, for this, the swale session sake, let's just paint this weekly and then see how it's looking. Again, just a nice little effect there. Cool. Yeah, I think that works. Again. Let's turn limit, turn off the for. Something that's going to be important is see how the arm flows into the, into the general thing and make sure that it falls in the right place. I think it's a little bit high. Another thing we can make a little bit larger in comparison to the character. So the elbow is right here. So this thing should bend the proper way. I think that's good. And now we can just go and see plugin, subtle master and mirror this to the other side. Perfect. I don't think it's a little bit thin. So I'm going to take a little bit of an artistic liberty and taking it out a little bit. Now, I know that we got rid of the hands. We're going to be recovering those soon. So don't worry about those. Let's just give this the nice curvature that it needs. Again, I'm just trying to find the proper like anatomy and stuff and there's looking I think the arms a little bit wide. So I'm going to there we go. I think that helps that line them up with the center of the whole thing. Perfect. So I'm going to stop to be the right here guys. And the next one we're gonna be working on the piece that's missing. And we're gonna give it a little bit of more of a battered armor effect. We're going to make it look a little bit dirtier. A couple of scratches here and there just to break down the symmetry and make sure it looks very, very good. So hang on tight, and I'll see you back on the next video. Bye bye. 45. MainProject Sculpting the bracers part3: Hey guys, welcome back to the next part of our series that we're going to continue with the brace or Spark three. So let's get to it. This is where we left off. And as I mentioned in the last video, we're now going to jump on to doing the little piece that we're missing, which is supposed to be up here. So we're gonna do a or we're going to follow a very similar process. However, I'm going to do something slightly different. I'm going to go here into my erasers symmetry on. And what I'm gonna do is I'm going to mask out the general shape of the object. So the object covers this whole thing. It creates this sort of like tangent going into the middle and then it curves out like this. And from here, I don't see it, but I would expect to have something very similar on the other side. And then going up. So all of this, and then from here, we're actually going to be pushing this up into the input like the elbow, like protecting the elbow. So I don't have an elbow. I can't mask any further than this. But that should give me like a very close effect. So what I'm gonna do now is I'm gonna go into extract, and I'm gonna say Extract. I'm going to say except. So as you can see, this is gonna give me this piece, which is not Beth. I'm going to directly go into DynaMesh and I'm going to start moving and polishing this thing so that it follows the form that I'm going for. So here in the middle, this thing is going to be going up like this. And we want to have this sort of like symmetry here, right? So again, thermodynamic. The little, this little spike, it's right above the arm. So it moves a little bit like that. And unfortunately for us, but it's a good practice as always. We're going to have to eyeball this to make sure it looks as symmetrical as possible. I'm going to show you a way in which we can actually clean this up very nicely. So that does look like the piece that we're going for. I still think that this thing is way too thick to be honest. So I'm gonna go back to the eraser and let me make sure that this thing is off, the mask is off. And in my issue is that the whole thing is way too thick, doesn't look realistic. So I'm going to delete half of it. So like lesson. Get rid of symmetry because it's easier to work with just one delete hidden. So division, so we're gonna go to a loss of division and we're going to delete it and there we go. Yeah, Because it seems to me like this this actually doesn't push that far. Let's move this back toward the arm supposed to be. It's it's it's a it's a weird concept, guys to be honest. Like if I see it from this side on the concept, there's a lot of like empty room, like on the inside here so that you like really need to push this out. But this thing right here, it's supposed to be a really close. So for this thing, I'm also going to delete half of it. There we go. Let's go back to it like a white color. And then I'm going to go center pivot and I'm going to snap it like that. There we go. So this thing is closer to like the front to the back. There we go, something like that. So we're going to sculpt the thing in the same or in a very similar fashion as well we did with the other things. So we have like a sphere here. Oh, yeah, Sorry, I mentioned that that was going to show you how to make this thing. What's the word symmetrical, right, in order to work a little bit better because it does have a very particular shape. So this is what I would do. I would go here, I will select the piece and I would say up to Insert or append a cube. And then this cube, I'm going to move it up like my symmetry plane. So I can really, really thin select this guy. And what I'm gonna do is I'm going to try to place this in the symmetry point. I'm going to reset the gizmo. There we go. As nice as possible. See that? So it's getting as close as possible. So now what I, the only thing I need to do is go into geometry. Go into DynaMesh, sorry, modified topology, mirror and weld. We're gonna get the symmetry here and now we can go work with symmetry. So I'm going to ignore where this thing goes for just a second. And I'm just gonna focus on this shape right here. So on the concept, we have like a little bit of an indentation here. Turn Seattle just like a, like a sphere where a couple of flick crystals are like the pivot point of this thing goes. And then just underneath this thing, we have this thing going down. And then it goes up. So I'm going to start erasing and removing pieces so that we match the original concept. Like this. Dynamesh here it might be a good idea to turn on Polish. And of course turned to geometry or the resolution up. There we go. So I'm going to give me the standard again. So from the front this thing would look something like this. And the here on the side, this thing seems to go to the back and then to the front, like this. And then we have a lot of extra like mess that the window need because that thing is giving me like the actual thickness of the object. So I'm going to dynamic stuff or sorry, isolate. And when trim dynamic, I'm just going to push this borders. So if my object is not asked tickets right now. So as you can see, if you manage to like guesstimate And, and, yeah, just find the closest thing. You can't do that to the symmetry line. By doing that, it's going to be easier to get like a nice shape like this and then transform it into, into what we need. So this piece right here has like an extra edge loop going here on the front. And when we DynaMesh, we're gonna get right there. See, it's like that, like a golden piece right there. Because right here is where we're going to have like a linked this yellow elements. Now the thing, this is a little bit wider, so I'm just going to increase the width here. And it does look like it's a little bit sharper. There we go. So now, now, before we do the C, remember to clean this up. I'm gonna go with DynaMesh one last time. Just to really push the corners here to make sure that the Assyrian mesh thing knows that I want a subdivision around those particular areas. So I'm gonna go into, well, one last thing. This thing actually has like curvature. So this thing goes up and then this lip leg goes up as well. And then this thing goes in. Like that. That's closer to the concept. Perfect, Cool, right? Looks nice. We can always modify. I think this is going to need to be a little bit more round like in this area so that it fits that the curvature of the of the shoulder or the brace or sorry, there we go. So now we're gonna go into C refresher. And I was gonna do have and let's do see remission, see how well we get. I do want to have like a little bit of the of the spike here. Well, let's go there and let's do a half C ring mesh. Let's see how this thing is looking. That's not looking back. However, we are losing a little bit of the line, so that would like to have. So I'm gonna go with my guides and I'm going to try and push this to generate like this like edge loops that I need. Like that, I'm going to increase a curb strength and I'm going to say half. There we go, that's better. So you can see it's following the lines a little bit better. Let's do one more. And let's do one more. Perfect that's really, really close to what we want. So now it's just a matter of going out of this thing. We don't need the cube anymore. So let's delete this guy. Delete, okay. So like this guy. And before we jump into like placing it where it should be, we can just finish sculpting real quick. So I'm going to give it a couple of subdivisions, so it's really, really soft. And then with my standard, I'm going to add the line that we need here. And then there's like this little bit of flicker curb line there. It crosses over here. Inside the element like this. We don't see the line on the inside, but we're going to draw it anyway. In here we have like a little bit of a crevice because here's where the term dynamic is going to come into place. To start it like creating the planes of the element. Because we have this lip out here, this one right here. Look at that beautiful thing. Nice. I really like this, this sculpting process because It really makes it look like it was hammered rightly like a blacksmith or something. So it gives it this very, very natural look again, in, in, in 3D, one of the things that we fight with the most is the fact that when things start looking weight you like perfect. Whenever we do like 3D, things tend to look very, very perfect. And sometimes we want things to look a little bit more like a natural, like man-made. So here I'm going to push this guy's. Then I'm going to use to train dynamic on this corner to make it look like a corner. Push this line here on the top. Very good, perfect. Blend this thing out. And then with my clay buildup, just carefully recover the like the socket there. And what I'm gonna do is I'm actually going to append a sphere. Let's go all the way down to the sphere. Let's turn on this thing. Dynamics. Hello. Let's turn off dynamic solo. It's going to be a small sphere, of course. And I'm going to go, I'm going to bring the sphere all the way to the top. So with this arrow, what more and more warm water until we're right where the armor piece was. Let's move down. Move up. Now I am going to try and get this sphere to the same resolution of this thing. So I'm going to probably something like that. Now this sphere, I'm going to position it where it needs to be. Which is this sort of like I write here. It's not poking out, so it's, it's more like like poking through like this. So I know that we're gonna be seeing like part of the sphere on the other side. There's a couple of options. We can just hide it, like push it in HIV, it like that. I think that's going to work. There we go. Because remember this guy is going to be higher. This guy who was going to say see blogging mirror, Okay? And now it seems both of them have roughly the same resolution. It's easy to just go here and say merge, merge down, and they're going to be the same piece. So now this piece, I'm just gonna break symmetry and we need to position it where it's supposed to go. Let's up the resolution so we can see the final result here. And it's just a matter of positioning. This is a process that is a lot similar to what I would normally do like in Maya, modeling characters this way. So this is really big. It's like a big piece. And we just need to find a way to make it make it fit exactly where it's supposed to go. Right about there. Now here's where I'm going to do a little bit of modifications to the eraser itself. In this case, I think the braces should be like this. Bring it closer to the, to the actual lead character like this. And that way this thing matches a curvature a little bit better. So as with everything guys, it's a little tweaking. It's a lot of like making sure that things work. Let's give it a couple of the subdivision. Oh, I went to way too high. That was 10 million. So 2 million should be more than enough. If we want to, we can just feel the color as well. So let's say color fill object. Let's look at this guy and there we go, color, RGB intensity, let's say color, feel object. There we go. And then I'm just going to select this gold color. And just like, oh, I think that one works. So let's go with like a stack of Stellenbosch RGB and just paint the, I paint the eye and paint a tree. Sloppy paying job. I know, but it's just to get to get an idea of how things are going to look. Look at that. Pretty cool. Now I think now with this thing, it does look a lot closer to what we have on the, on the concepts there. It looks cartoonish. It's, that looks cool. Let's turn on the for to see how things are looking. And yet it seems to be working just fine. So I'm just going to mirror this thing. See blogging, mirror, okay. Grab this thing as well. See plug-in mirror, okay? And our character's looking really whatever. This guy, C Plugging mirror, okay. Okay. It's just a warning is like, Hey, you're sure it's going to be like really high if I'm alien polygons, as you can see, we're already at 8 million polygons for the full character, which is not that much to be honest. Sometimes you do get like really, really high polygons. Just make sure that your see where she's able to handle it depending on the amount of RAM that your computer has. And if it's too much, just keep it low. You are now going to be able to get as much detail elephant, but it's still going to look good. So yeah, I mean, that's something that your right to you guys. In the next one, we're going to damage this things. We're going to give this, this like a batter look to the whole thing. And we're going to add some like cuts in and just details overall just to make them look even, even better. After that, we're gonna jump, we the glimpse, we're probably gonna jump on to the glimpses of that. We can get a very nice finished effect soon. So hang on, and I'll see you back on the next video. Bye bye. 46. MainProject Sculpting the bracers part4: Hey guys, welcome back to the next part of our series. Today we're going to continue with the final part for the racers. So let's get to it. This is where we left off. As you can see, the little piece is ready. The main part of the razor is good to go. So now it's only a matter of adjusting a couple of things and making sure they look as nice as possible. So I'm gonna go here to the, to the main element. And I'm going to be using the pinch brush that I mentioned before to harden this edges right here. Because as you can see, we do get this very nice sharp edge, but it's, it's a little bit weak. So I'm going to use the paintbrush to make it a lot sharper. There we go. Perfect. Actually, I, I pinch, pinch something that we shouldn't have. We can also use our demean the standard again, just to give this a little bit more detail, more volume. And now what we're gonna do is we're going to start messing around with this kind of things like it's looking good. Like don't, don't get me wrong. This guys look really, really nice, but we can make it look even better. So first what I'm going to do, so I'm going to use a little bit of trim dynamic to roughen up the surface. I want I want the surface to be slightly different in certain areas like like if, if, uh, hammered hit the thing. Now for this, you probably do want to have mirror setup or symmetry setup. In this case, I forgot to remember a quick way to do this. You're just going to go into the information. You're going to hit mirror. Oh, it has multiple cell divisions and the time. Here's a little trick. If you have multiple subdivisions, you can deliver lower, keep only the high one, and then go into Deformation Mirror. And now the detail is going to be over here and then go into Geometry. Modify Topology, mirror in the weld. And you're going to get both sides. And now since they did have some nice geometry, nice topology before we did this, it should be possible to reconstruct subdivision. So as you can see, it's going to reconstruct the levels and we can go really low at this point. That's the, that's the last level where we can lend. So even if you lose your subdivisions like momentarily, you can always get them back. So make sure that symmetry is turned off. There we go. And now I'm gonna go with trim dynamic again. And I'm just going to start damaging the things here a little bit. You can also use like clay buildup. I like giving this like this server like World of Warcraft D, like dense, kinda like this. And then we terminate them, just train them up. What that's gonna do is, as you can see, it's going to add some visual interest to the whole thing. You could also go, we'd like them in the standard and maybe like a couple of scratches here and they're like let's say like sort of a big scratch on the surface right? There we go. So this is one of the things that I always recommend my students do because as I mentioned before, it's very common for objects in 3D, in a 3D world to become really, really perfectly the way the tools work in the way that they're the sign. Make them, makes it really easy for us to make like perfect cuts and stuff. So I think this little bits of like a damage here and there. And it gives the story to the whole thing and makes it look a little bit better. So for instance, maybe we can add a little bit of 50 foot depth right there. Now don't go overboard like we don't want this to be like completely like Bala worn. But see how those little details they're really make up or make it look a lot better, can do the same thing here. So for instance. Especially areas. It's a good way to kinda like fix areas that might look a little bit wrong. So if you have an area that looks a little bit too flat or to round or something. Damaging it a little bit can help you to simulate some of those little errors. And this is something very important that I need to mention because there's been a shift in the industry. A couple of years ago when I was a student back in the early 20 tens. The thing that companies valued the most in an artist was their ability to copy, to perfection a concept. Like they, they valued the fact that you could be handled like a concept and copy it like completely to perfection. Nowadays, there's a lot of different tools that allows us to make sure that objects are perfect. For instance, photogrammetry, 3D libraries, a lot of base meshes scanning late though. So LA thing like even for like actress, you've probably seen this sort of things where actors go into like a booth and they get taken like a million photographs so they can reconstruct there though. What's the word there, face in the NCBI ushering in Maya or something? Well, So since there are so many tools that allows us to capture the real-world to perfection nowadays, with companies also look for, other than that is the ability for an artist to express themselves. So, especially if you're wondering, if you're going to work, look on a small team or something. Having your own like style is really, really good. And by style, I don't mean like specific, like cartoon or realistic. Well, I mean this, how do you give story or how you, how you tell stories with your pieces we drew or would your sculptures which are characters and stuff. So be sure to keep that in mind because again, I do think that in the next couple of years, we're going to be seeing a little bit of a shift in the industry. At the time of this recording. There's been quite a turmoil about like big Triple A's to the US not having breast work conditions and exploiting their workers and stuff. So I do theorized that there's going to be a boom because there has been a boom before in other boom of industrious Like studios that are probably 10, 20, 30, 50 people in size and in doses to use for your personal mark as, as, as an artist, it's going to be way more noticeable than if you were to work on it like a triple a student, get me wrong. If you want to work on a AAA studio, you're definitely going to need all of the skills that we've been covering because of this are like industry standard. But just keep that in mind. Keep in mind that you always want to keep or you're always going to have your own like personal touch, two things. So here I definitely feel like this is becoming a little bit to organic. So I'm going to straighten this out. And again, probably use my trim dynamic to do hammer up a little bit of this area. So it looks a little bit more hard surface like this round thing. We can keep it like really round. But like all of this parts here, we can then push them into this sort of metal effect. There we go. Same thing here, like lists. That's really pushed the slit here. Like I want that, I want to have it like this very sharp line here we go. So as with everything guys, the more you work on an object, the more you add to it, the more you explore the form and manipulate the whole thing, the better if it's going to look. So don't don't stop. Like, uh, my my advice is as long as you have time, be a project or your own personal stuff or whatever, don't stop, just keep pushing and keep adding more and more stuff until you can get like a very, very nice piece there. That's the, one of the deals with us as artists like we have to deal with the fact that everything is perfectible. So no matter how many hours you spend on something, there's always a way in which you can make it better, right? However, we don't have the time. If we had infinite amount of time, then it will be infinite perfection that we're approaching or achieving. See those nice little like cutscene there. I think those look really cool. Sorry, What was I saying? Oh yeah, the perfection. So, so you definitely want to push to worse a point where it, where things look really, really nice. But you also need to know when to stop your battle. Went to say, Okay, this is what I got like, I don't know, They gave me 40 hours to this project. I know that if I had doubled the time, it will be nicer, right? They will be twice as nice or thrice as nice. But in this case, this is what they have with the resources that I was given. And this is what you're going to be able to deliver when you're starting out. I always recommend to do a lot of exercises. So for instance, if you're doing this character, this should take you about, I would say 20 to 40 hours to work. Depending on how fast you are with the software. It seems like I forgot to turn on some division. Yeah, I think I forgot. So it's just a matter of turning it on in just a second. So if you're going to spend those 40 hours and after four hours, you're like, I don't like this job, don't worry, just save it. Move on to the next project, move on to the next tutorial. Do the next element that's going to help you in your career, like just keep moving. And later on, a couple of years down the road, Come back to the project and see what things you've learned that can help you improve on whatever you did when you first were trying this thing. So I'm going to let me isolate this. There we go. So I really like the gold trim, but it's a little bit round there. So I'm going to do the same trick with that term dynamic here to push the element into Laika. And sort of having it like a round element into more like a hard surface effect. So all of this strokes, since we have this very nice topology that they follow and they give this very organic look to the whole thing. If we wanted to have like perfect, Let's say like Pixar style, like perfect armor. I would definitely go with another package to be honest, like Maya or 3D Studio Max, because the topology that you can get from those softwares, it's a lot better, but this one's going to allow us to have this very legal legend sq effect. So I'm gonna go to the lowest subdivision level. I'm going to delete this guy. Let's say delete hidden. Way for this to sub-divide might take a little while, especially when you have a lot of what's the word levels and usually takes a little bit longer. And now I'm going to go to the tops of division level. Sometimes you lose a little bit of that detail in this case, we have it so perfect. And I'm actually going to go once of the visual level are coupled couple of the visual levels down by pulling out that low, probably like Level 6, I'm going to delete the higher because we don't need it right now. And what I'm gonna do is I'm going to delete the lower as well. And we're going to do the same thing we did before. So I'm gonna go to Deformation Mirror to bring it to the other side. There we go. And then I'm going to say C plug-in mirror. Okay. It's telling me, hey, it's going to be like really high. It's going to be like a chameleon polygon. That's fine. There we go. And now we go to geometry again. Reconstruct subdivision 1, 2, 3, 4. There we go. So we were able to recover all of our subdivision levels and we just press X and continue working as if nothing had happened. I think we can still like polish this guy's a little bit better. So I'm going to use my clay buildup on the, on this like shoulder pathophys. And then the term dynamic. To really bring home the fact that these things are separate, we can even go a little bit more intense with the pinch. The only issue with the paintbrush is that it really messes up the topology. So you might get some very weird-looking pinches, which is part of that of the deal. Of course, go. There we go. So here for instance, if you remember, we had this cuts. So I'm going to add them with my they going to stand there. And then I'm going to use my template I make to push those cuts and make them look a little bit nicer. For instance, here where it finishes this a square shape. Just modify it and there you go. So again, we want this like a little bit of a batter armor looks so that it looks like he has gone to battle with them. And look at that. Our character is looking really, really nice now with the for this part of the fur, I'm still missing all of this area as I mentioned before. I think it's going way too far back. So I'm going to bring it back a little bit to keep this a little bit. Like not super intense. There we go. So yeah, like the head looks really good now. The hair is looking good, the firm is looking good. Shirt looks really good. The armor is looking good. So in the next couple of B, There's guys we're gonna be working on the globe, so we are going to serve polishing the gloves. We're not going to be modeling them in what's the word in imposed layer. We're going to be posting them later on before we do the final render. So we're going to do them with the hand extended. And after that, we're just going to keep moving down. As I mentioned, I'm going to be finishing and polishing the hair and the fur coat with the same method I showed you in the, in the past videos. Just to make sure that everything is looking good. I also encourage you, will encourage you guys to look up like if you see something in your model that you don't like or did you feel like can be changed or can be adjusted? Like for instance, I'm, I'm taking a look at this thing. And the fur coat actually goes like closer to that, to the center of the chest. So I'm gonna go back to the fur coat and we can just start moving it closer to the the chest. Like it really like puffs out like this because it kinda covers like where this thing is coming from. Remember, the cool thing is, since we have a clean topology, it's fairly easy to do this. I'll just be mindful of this part right here that we need to. I'm going to go back a couple of subdivision levels and I'm going to start pushing this guys back so that we are not touching the character. Something like that. The shirt seems to be going and like that. I still think he's head is a little bit too big to be honest. I know that the proportions were good when we're doing them, but I do feel his head looks a little bit too big. Now that's an easy fix. We just go into the head. Here's a quick trick before we finish this video. If you need to do changes to allow things at the same time, one thing you can do is mask out or just like isolate whatever you want to change. So let's say I have ice and the different layers of the hair. So all of this, I only want to change this things, right? So if I go to w, go into the center and click this little button right here is going to do it for all the effect that subtitles. So now if we re-see everything, you're going to see that everything got black selected. So I'm going to go forward. And then let's go. Here. There we go. So again, let's turn this on, on. Sorry, I'm going to have to go to each piece that I modify it and then just do a couple of control, cease to recover the original position. Okay, there we go. It seems like Is that good? Yeah. So again, just select this guy, the ice and the three layers of here. There we go, w. And what I'm gonna do is with this thing selected, I'm just going to scale this down, let's say 5%. There we go. So now if we, if we turn everything on again, the head's going to be a little bit more proportional. I think. I think that's better. So if you need to do that, just remember, turn off everything that you don't want to modify. Modify only the tools that you need, and then keep moving. Again. I might, you might see light changes here and there. I'll make her I always try to remind myself to tell you which things I change. But usually it's things like the leg, a little bit of a scale here, a little bit of a movement here. And those kind of things make it so that it's a lot easier for us to get to the final product, product. So that's it for this video. Guys, keep working, keep pushing. Don't loose your patients, don't lose your cool. Just, just keep pushing and get to the tried to get the best possible result. You can. I'll see you back on the next one. Bye. 47. MainProject Sculpting the gloves part1: Hey guys, welcome back to our next part of our series. Today we're going to continue with the sculptor of the gloves. So let's get to it. So this is where we left off. As I mentioned, I was going to move forward with the fur coat and just like polish it a little bit more than what we have. I just want to quickly scroll through the, through the whole thing so that you can see that there's really nothing new that we used. It was just good old clay buildup, smooth, Damon standard, just pushing deforms, making sure that the little like a bundles of hair look nice. The texture of the clay buildup is really good to give it that like fiber you look and as you can see, we've got this very nice-looking coat. One thing that I did do was I managed to move it around so that it fit the character a little bit better. So you can see that it no longer goes across like the neck or anything. There's a little bit of overlap there, but it's not that big of a deal. So I think I'm going to delete this guy ring now the proportional, if we need to get it back later on, we can and must also going to let this block right now because it's just like messing the whole form. And now it's time to work on the gloves. The gloves, I'm going to actually show you a nice little trick that I use quite often to make. Hence, remember one thing we could do is we could just insert a body part from this guy's firm, like a multi-member body part. But more often than not, those look really wonky. So I'm going to show you a different way. I'm gonna go over here and I'm going to select my poly mesh 3D. I'm going to go into the KEQ. Where is it? There we go. Sorry, initialized. I'm gonna say 60k. You. I just need to keep I don't really, I'm not gonna do any sort of Bollinger, Bollinger thing. I was just gonna say make polymers 3D. So what I'm gonna do is I'm actually going to build a finger. Now. A finger is made out of three parts. We have the three bones. Let me show you a diagram here real quick. So if we take a look at the anatomy of the finger, finger, there we go. You're going to see that the finger has 33 sections, right? The closest sexual middle section and then farthest section, it's called they're called Fallon Gs. And though it's the closest medial and then distal. So this three bones, That's pretty much what we're going to be doing. So it's quite easy. I'm gonna go here to the side beam, and this is going to be my index finger. So I'm going to hit Control Alt and then just drag down to create. And the next one that the first section, it can be any length you want. The next one should be about three-quarters, a little bit more like 0.8, that should be good. And what I'm gonna do this is very important. I'm going to move the pivot point of this thing by pressing Alt and moving this up. I'm going to rotate this slightly like that. And then I'm gonna do one more duplication. I'm going to scale it to 0.8 again. And then I'm going to bring it back open probably little bit less. Now, why is this important? It's very important that we give the fingers a little bit of, I call this a gesture. It's not that cold, It's cold gesture, which is just movement like we want things to be slightly move out like what we have right here. Now, I am going to go into DynaMesh. But before that we need to do a poly groups. So I'm going to go into public groups, all the groups, and then I'm going to hit DynaMesh. So they all get a single or like a different polytope. There we go. Now I'm going to go into brush, insert, and I'm going to go into my IMM primitives. And we're going to insert another cube. That's going to be the NOCl. So this guy right here, what will happen there? So we're going to double-click here. And what we're gonna do is we're going to press X so that we have symmetric turn on. I'm going to drag and drop a cube, and this cube is going to be the NaCl. So I want this to be kind of like 45-degree angles on that little element right there. This is pretty much a like cheap way. We call it the Mexican way of making a base mesh. You can remember, make a base image out of anything you can start with like C sphere. So we're just like buying the mesh. You can do anything, but I really like this method. There we go. So now with this, I'm just going to DynaMesh again. Make sure that group as a whole again, and then DynaMesh again so that everything is so close together. And now we're gonna do a little bit of sculpting. So one very common mistake is that people make fingers like really subsidy they make, they make them look like if there were made out of like a balloon or something and we don't want that. So I'm going to add a little bit of volume here where the word knuckles should be. And then it kinda like tapers down or tapers out. Now, of course, on a glove, we're going to see a little bit less of this because the globe is very stiff or at least a stiffer than a hand. And therefore we would see this now on the sites. I definitely want to push this guy's down so that we have this really nice streams here on the, on the sides like this. Now the tip that is very important because the tip of a finger, it's actually not completely round. It actually tapers down like this where the nail bed there's going to be. So I'm going to taper this down and on the underside, fingers tend to be a little bit rounder. So you're going to have the bony part on the top and then the software part, like the cushioning part on the bottom right here. I'm just going to smooth that out to get a nicer look and see how this doesn't look as a sausage. Gee, why? Because we have a cube as a base mesh and that gives it a little bit more form and it keeps it a little bit more consistent and nice. So I'm going to a little bit of volume here on the knuckle, and here, there we go. And then we, they mean the standard. I'm just going to indicate where the flexing of the fingers is going to be. Now this flexing or this like elementary, that is really, really important because later on, if we were to rig this character and the animated and stuff, this is where we would expect to see a little bit of deformation. So if you keep the finger really straight, sometimes it becomes really difficult to manage the deformation of the joints or where they bend by giving them a little bit of gesture. It makes it easier that the faster way or the easiest way I can explain this the following. Imagine we have like an arm, right? If you have an arm completely straight like this, this is the elbow and this is like the chest and stuff. And the rigor has to rake. He's going to place some bones in here, right? And he's going to make this a rig that we're going to be able to bend. But after he does this, he needs to properly paint the weight so that when we move the arm up and flexible, for instance, many hosts like saluting or something, All the volume of the arm remains as close as possible to the final volume that we don't get any weird like deformations in this area. And he also needs to make sure that if we move the arm down. And then flex it down here. All the volume remains. So it's a little bit complicated to make sure that everything falls into place. However, if you modeled your character in such a way that he's joints and stuff are a little bit relaxed. It's easier because instead of going from position a to position like V and C, like let's say a, B, and Z. Instead of having least super wide range of motion, you push this to the most common one, which could be something like here, down here, and therefore it's a lot easier to manage. So same thing happens here with the fingers. Now of course the fingers become a little bit wider up here at the top. So I'm gonna make this a little bit wider. And let's just inflate them a little bit now we can just soften this up because this is just a basement. What I'm gonna do is I'm actually going to create an insert multi mesh, my own insert multi mesh brush from this finger. And it's actually very, very fun and very easy to do. Just take a look at this. So what I'm gonna do is I'm gonna go, I'm going to place the fingers so that's pointing towards me. This is important. And then I'm going to go into brush. I'm gonna go Create insert mesh right here. I'm going to say Create a new insert mesh. And there we go. I got this Pm 3D. It takes the name of the tool. So if you want to have like finger, you can save it as a finger. Now the cool thing is if I do another finger later on, I could add it. I just need to go here, create the inserted mesh and just say append. And you can save like imagine if you went on the finger creation streak and you create the leg seven different types of fingers. You can have your own finger mesh brush, which is very, very cool. Now, if you want to share this, if you want to export this brush, you only have to go here, brush and say But, but, but no, wait, It's over here on the brush menu and then you just save us. So by saving this, this is going to be saved as a preset. I'm actually going to save this for you. Finger base mesh, let's call it in case you are having issues with this. So now anytime I need this finger based mesh, I can just open. Now, this, of course looks really ugly. It's not exactly what I want, but it's close enough. It's gonna give me a good mesh. So I'm going to jump back into my character. And I need to place the hand. So I'm gonna go and subtle, I'm going to append, and I'm going to append a queue. Why n cubed? Because cubes are really good. Everything is a box. There's a perspective principle that says that everything can be fitted into a box. Of course, you need to make like a really, really big bucks or you need to make sure everything works, but something like that works fine. Let me isolate it real quick so that we can only do it at all. We're only working here. And that would this finger selected, look at this, I draw and my fingers, they're perfect, right? So what I'm gonna do is I'm going to draw my first finger and position. So this is going to be like the index finger. I think they're a little bit long. He has like a little bit more of a cartoonish style, but we can fix that. So let's just make it a little bit shorter and a little bit thicker. Now with this, I'm going to rotate this out a little bit because normally our hand kinda like fans out. So this is going to be like my main finger and then weed control and Alt. I'm just going to duplicate and create the next finger which is going to beat the middle finger. I'm going to, in this case, I don't want to make it bigger because fingers are usually not bigger. They're just longer. So I'm just going to push this a little bit more, something like that. And I'm going to rotate like this. Why am I rotating this? I want to keep the hand in a very natural gesture, and I also want to have a little bit of a gabbing here. This is Vireo important when sculpting hands. Whenever you're sculpting hands, make sure to always leave a little bit of spacing here. That, that's a very common mistakes. People just like get this into like a V-shape. And know, you usually want to have a little bit of like roofing there or something. So again, Control Alt and then just duplicate. Bring this back to the ring finger, which would be something like this. The ring finger usually goes a little bit further in. This is also going to be helpful for me because it's going to allow me to post everything a little bit better now if you want to, you could start it, start posting the handle a bit more. So for instance, I personally like my ring finger to be slightly more bent. So I'm going to go mask lasso. I'm going to lasso here. Move this down here, and then just bring this in. And then move this down here. And there. I think that's a little bit too much. So I'm going to undo the mask there. It doesn't matter if you select the cube, That's fine. So let's move it forward here. There we go. That's better because, oh, that's going to be sculpted. And now I'm just going to remove the mask, select this guy. Oh, let's do a other groups. So because right now they do not have another group, group visible or sorry, other groups. I'm going to say control-click mass Control click, invert the mask and then Control Shift Alt, sorry, control. Just to move this around. Now the pinky finger, again, it's not that it's smaller, it's just like thinner. It's also a little bit smaller. So I'm going to scale it down and bring it back in. This guy is going to be roughly about there. And I'm going to also found this out a little bit. So of course you can see that my hand is a little bit flat, so we need more, more distance here. That's fine. We're just going to fix this. So for instance, I can grab this, mask it out, remove it, and then with my Move brush, just like give a little bit more volume because usually we have this sort of like around section here with that hand right there and right there. Now the thumb, the thumb, OSA, it's an important finger of course, because it's a little bit different than the rest of them, but we can use the base mesh that we already have to create the thumb. So I'm just going to move this up. I am going to make it a little bit like stubby are like this. Let's click this button that's going to bring the gizmo to the center of the element. And now the thumb, the only important thing about the tummy that it's that it's rotated as you can see there. It's rotated like about the 45-degree angles to the side. There we go. So the interesting thing about the thumbnails, as you can see, it also has like three sections, but this third section is not a fallacy. It's instead the metacarpal, which is the bones of the actual like palm of your hand. So in the anatomy of your hand, you have your wrist and then you have your metacarpals, and then you have the phalanges. So the thumb only has two phalanges, proximal and distal, as you can see here, which I mentioned before. But this one also serves as a way to bring the thumb and the pinky finger together. So this one does have a flexion as do all of the other metacarpals. So we can treat this other section that we have right here as the metacarpal. So we'll just move this thing around, like give a little bit more thickness. There we go. Just a little bit. Because this is going to be like close to this thing. So the thing, something like that. There we go. So now if we DynaMesh everything together, very careful, group visible or sorry, other groups so that everything is he single group. So if we DynaMesh now everything should be together. But as you can see, we're going to need way more resolution. So I'm gonna go up here to the geometry and we're going to be go to DynaMesh and we're going to increase the resolution or you can use our shortcut over here. Let's just go up a little bit. And let's say DynaMesh. There we go. The only thing I want to avoid is things like getting stuck together. And that's it guys. As you can see, this is looking really good. Let's see how it looks in. Oh, looks really nice. A little bit too big. I mean, he's supposed to be like a cartoonish hand, but probably make it slightly smaller. You can always reset the point with this little thing. Just press Alt and click that blue circle there. And it's going to reset the pivot point and look at that. Perfect. Now it's just a matter of like modifying this a little bit so that it starts fitting into the, into the actual element. I'm going to use my trim dynamic too to make this a little bit rounder. Hands are very organic, very round if we need to. We can also go into like the like the actual brace are there and modify it. And yeah, that's, I think that's it for this video guys. In the next one, We're gonna keep on working on this guy. But as you can see, that hand looks really good and look at the gesture that I'm talking about, like just having the fingers slightly bent makes it look a lot more light. I personally like having the hand like this, like a slightly outwards. I think it looks very nice and it flows nicely with it with the rest of the element. But you can modify it and move it in any way you want on that side view, however, do not do this. Do not move the hand on the site, tried to have the fingers pointing down. It's going to save your rigors so much time, so yep. Perfect guys. I'm gonna stop the video right here. And the next one we're going to continue sculpting the globe. So hang on tight and I'll see you back on the next one. Bye. 48. MainProject Sculpting the gloves part2: Hey guys, welcome back to the next part of our series. Today we're going to continue with the sculpture of the gloves. So let's get to it. This is where we left off. This is the base mesh for the hand. So it's now time that we start working on the rest of the elements. I'm going to turn this off and I'm just going to turn on the brace for because that's the thing that this element is interacting with. So it's a good idea now to make it easier for seniors, I can just hide this guy. Let's break symmetry and hide this guy. Again. X. There we go. So now if we turn on our hand again, the focus of the camera is just going to be on this side. So let me open the reference real quick because I don't have it open right now. And I went just with the base mesh of a normal hand for now, so that we go. As you can see in the reference, the glove is a pretty basic leather glove. It does have this sort of like bump here on the thumb and this is a closed fist. Actually both of them are pretty close. I will wait until the very end for the posting. Could see if we need to do something like this. And we just close the fist and it's going to be a little bit complicated. So with that in mind, let's just start sculpting. So first things first, I'm going to get rid of any weird-looking things. So for instance, all of those like weird volumes there should be gone. We have the knuckles and this area. Adding volume. In the inset of the hand, we have three main paths. We have this pinky path, we have the thump path, and then we have the each respective finger path right there. So I would expect to have that as well. In that one quick trick that I can show you here is push the sorry though, probably sounded way too intense on the mike. Push the knuckles. Way of like this. Like we wanted to create a sort of like a ramp going from the base of the, of the rest to the knuckles because this is where the tendons are. Remember, like the tendons that move our fingers. So by creating this ramp, we're adding or we're creating a very interesting silhouette for the whole hand. See that? Like that rammed right there. Freely. Pretty cool. And it's something that's very common in stylized elements. After we have this, we of course, soften and with the clay buildup, I'm going to change this now. I'm going to keep it square. I'm just going to fade this into the fingers because the fingers also have this sort of like slight, there's like a slight effect because on top of the bones from your knuckles, you have a lot of veins, arteries and in tendons and ligaments two, they're going into the hand and that each individual section of the fingers. So see how we're creating this very nice thing however, and this is very important and we're not losing the squarish shape that we have with the fingers. That's something that you always want to keep because otherwise your fingers are going to look weak. They're going to look sausage like a, like a balloon. And that's not, again, that's not something that we usually want. Now we have this lumped elements, so we're probably going to have a little bit membrane here from the leather. Let me isolate this for just a second. Because as you can see, things are becoming a little bit weird here. So I'm going to simplify this first, like this. And now I want to create the wrist, even though we're not seeing the wrist, we do need to create it. So a quick way to do an extrusion other than older techniques that we've seen before is just mask this thing. Invert the mask and just move it up like this. So that's going to be like my wrist. And we know that risks are supposed to be a little bit more cylindrical, not completely. There are actually kind of like an oval shape, something like this. This is also going to tell me that my hand is a little bit too thin. So I'm going to just They can adapt like this. There we go. Now we have this weird like intense looking separation here with that, with the thumb. So I'm gonna I'm gonna make sure to market. I'm going to use my trim dynamic to, to create this sort of like the vision, very stylized choice here. To like really pushed the metatarsal. Like out. There we go. And now we can start adding a little bit of volume cubic suite. Again, we don't want this thing to look like a, like a zombie handwrite. We want it to look very, very natural, very, very interesting. So here, just a scolding around. We're here. I'm also going to add a little bit of volume. And that was just a matter of softening things up and just polishing. So as you can see, I'm just going around with my clay buildup and simplify and couple of things you can always go in here we'd like to this MOOC brush and just smooth everything out. Even though we'd lose a little bit of that square shape that I've been talking about so much. It shouldn't be that bad. I'm going to bring the thumb out. The thumb usually curse out instead of in. So I'm just going to mask this thing like that. And then with the Gizmo selected, I'm going to click on this thing which goes to the mask center and then tried to find this thing like that. And then we can use the outer ring to move it out like this. Probably not that much though. Just a little bit. There we go. Fingers, hands feed. Those are the things that people don't really like to sculpt because they take quite a bit. It's like drawing people. You probably are one of those guys who are know one guy that hates to draw hands and they always plays the hands of their characters in the bag or in their pockets. I used to be that guy. I don't draw that much anymore. But when I did that, that was like my go-to technique to, to avoid drawing hands. However, it's definitely something that you want to learn. So I think I want to bring the whole thumb closer to the hand. So don't be afraid to modify things if if if things are not looking good. So for instance, there it seemed like my thumb was way too high. So I'm just going to push it further. Let's look a little bit. And what we do have to be careful there on that. Like the union. I mean, that's not the end of the world to be honest. Because we have a little bit of like a path coming in here and creating like a, like a line here. But that's why we usually, usually modeled on guys with the thumb slightly slightly out. Again so that it's easier for the rigors too, to properly like correct. All of this like stretching because as you can see there that that kind of like the information that you see there when I'm moving the DynaMesh lets the same information that you get when you move the rig. And then you'll want to keep it as simple as possible. So let's add the bone of the metatarsal which should be about here, maybe a little bit more prominent. And then with the trim dynamic, which is going to create. So it's, it's like it's like the ball of the The thumb back here. Because then we have of course, the first knuckle, the first Fallon G right here, and then the second one over here. That the thing, this thumb, it's a little bit to square. I mean, it kind of makes sense from the leather gloves because leather gloves tend to be a little more like square-shaped. But still we don't want to push this into like BSR territory. Now here, same thing. Just a little bit of volume there to, to push the whole thing. There we go. Now as a whole that thing is looking, it's looking nice. So what we're going for, Let's see it in relation with this thing. So here's what we're going to start seeing some weird things. So for instance, I think we can indeed make it slightly smaller and have it something like that so that it hugs the surface real quick, are real nice because this is where this like, like changing silhouette happens right there. Like this. That's sharp churn. That's like the sharp turn that we have on the concept. And then we have the, the actual link palm itself. And that's it. So now it's a matter of making sure that this looks nice. How to make that. Of course, modifying the volumes, cleaning up the shapes. That's the kind of thing that you need to continuously be asking yourself like, what can I do to make this thing look a little bit better and better each time, I do think the fingers are a little bit long still, so I'm just going to push the knuckles forward to make the head a little bit nicer. And if I need to bring the fingers like closer in, I'll just try to do this like proportionally so that the hand doesn't look like weird later on. And there we go. Now I do think that knuckles are low between tens and the reason they're intense is because we did them really intense at first. But now that we know that this is going to be like a leather glove, we're gonna definitely like either add a little bit of volume in the little gaps that we have in-between the knuckles or just use trim dynamic to do soften them up. Now, I do want to add a little bit of extra volume here. There's a volume in the, in the hand that, that sometimes it gets created in right about here. I'm not sure that concept has it, but I'm just going to add it because it always works nicely. And it's the RAM that was talking about. See that. That's sort of like ramp there. So I'm just going to push this and then clean this up and that volume there. Let me, let me isolate that. So you can see a little bit better that volume. It's the volume that traditional sculptors use quite a bit. And it allows you to see where the metacarpals and, and when do you start having like this, like changing silhouette. Perfect. Cool. So now let's start adding a couple of details here. And for that, I'm actually going to do the whole series measure process. Now, the cool thing or one of the cool thing about C remeasure is the following. I can go here into C refresher. Just heats you remeasure without curves or anything. And it's actually going to clean the form. It's going to make it look a lot nicer, lot cleaner because it's going to get rid of all the impurities are all the imperfections that DynaMesh usually has. So as you can see, look at this, this looks really, really nice. A nice soft hand, keeping most of the things together. So now I'm just going to control the control decoupled times. And you can see that we're in a very similar position to what we have, but the surface, it's cleaner. So if you ever feel like your sculpture is looking a little bit too intense or not as nice as you would like it to. Just you see remeasure and you're gonna get like a clean result that you can start or continue working from. So I'm going to push this again. I know we don't see the glove because the globe is inside the browser. So the browser is going to pretty much like overlap the whole thing. But basically the idea to get into the habit of positioning that sort of thing. Now here, I think we can actually move the brace or out, just make sure that symmetry is turned on. So I'm just going to bring this thing out. So it looks like the more there is nicely following the hand. Now going back into the hand, we can start working on the details. So the first detail I'd like to add is this teaching. But for now we'd need a couple more subdivision level. So let's go to like a million polygons. And for this stitching, I actually like using the traditional like a cross stitch. So I'm going to go into brush. I'm going to go into stitch. And I'm going to grab this stitch or three because I think it makes it look really nice. So with small elements you that, that look really cool. Now, before we do that though, I do think it might be a good idea to add a little bit of the elements that make up leather. So if we take a closer look at the leather glove, you're going to see that leather gloves tend to be really stiff, like you might think that you are going to have a lot of a lot of folds and stuff, but actually they're, they're usually quite stiff so you're not going to have that sort of element. So if I, whenever you're taking look at reference like this guy's always make sure to look for reference of people wearing the gloves because otherwise, when they're just flat, you're not seeing any sort of any sort of wrinkles. So as you can see that we're going to have a little bit of wrinkles like on the in between the fingers. So I'm going to use the clay buildup, change this to the round Alpha and do something like this. And then just create a little bit of interaction there. Now, all, not all, but some of this things we might need to change later on. Because when we pose the thing that there might be a little bit of information that we need to fix it and redo, for instance, we're not going to see a lot of wrinkles right now here on the, on the fingers bent where we close the glove, we might need to do a little bit of recycled. So just, just keep that in mind whenever you're working on a project like this, where you're doing the character on a T-Pose and then you're going to have post him. There is going to be some 3D sculpting that you have to do. Personally, this is not something that I do quite often because more often than other, I'm working for productions. And whenever you're working for a production and you just delivered this T-pose character and then the rigor and the animators. Those are the guys that are in charge of making sure that the formations and everything look nice. So there's like skin weights and stuff that you can use to create this sort of false and elements. You of course need to add a little bit of interaction like what I'm doing here. But it's not as much as what we're going to have to do later on when we, what's the worth the digital sculpting. So again, just adding a couple of fulls here and there. Like this. And we're just going to start softening this up to keep it really, really nice. Because you can see that's giving us a very nice, leathery look to the whole thing on the palm. Like I'm not seeing that much. Like there's like a couple of big foals that we could add, like maybe like a big foal going in. They're using them in a standard tool to push this. And then trim dynamic is also a great tool because it's going to soften this whole thing up. For instance here. And that's going to give us the leather it looked at work going for remember, everything is perfectible like doing this in just 15 minutes. It's not the same as educating 3456 hours on making sure that this looks as nice as possible. So if you can take as much time as you need to make this look really, really good. I've seen some students do amazing stuff with the, with the material that we provide. In the end, it's always time. Like whenever I asked him, hey, nice job on I don't know, like the skirt or the other or the head. What was your most valuable experience? And they're like time I spend a lot of time. I spent like 20 hours or 30 hours making sure that it was perfect. And yet that sounds like what do you need to do? Because that's usually what we do in production L1. We want things to look really, really good. We spent the a, the necessary amount of time to make sure it looks the best possible way. So I do think we need a little bit more volume here. And then just soften this up. Perfect. Let me finish by adding the what's the worth that? The stitching, which is going to be really fastest. I'm gonna go here this stitch. Let's do, let's go into stroke, Lacey mouse and increase the radius a little bit. I'm going to keep it small. Like I just wanted this to be a nice detail that you see when when you pay close attention to it. Tried to be very consistent here, for instance, there, That's looking a little bit weird. So let's push it there. You can stop when you get there because those areas are usually quite hidden. So it's a nice place to come like stop. Tips are also not that bad. Just stop at. Then here we just push back. There we go. So as you know, that little stitching line gives a lot more character to the globe. It's, it's, it's the small details. But we wouldn't be able to get this very nice effect if we didn't have the nice form that we created with the base mesh and the rest of the elements will go. Now we're going to start getting into places where it's a little bit difficult to get. So if you can't connect all the stitching, it's fine. We only needed to see it like on the on the sides of the of the character like this. There we go. There we go. We're just missing the last finger. So there we go. There we go. Careful here because if I do this, see how I went about or across the other finger. So it's always important to have the full view on doing this sort of trick. And that's it. That's looking really, really nice. The only thing we need to do now let we can go here, see the other guy, go here and say see plugin, subtle master, mirror and the org approaching the 20 minute mark would just hang with me here, bear with me for just a couple of more minutes. Just the final touches here. There we go. We've got both loves looking really nice. Let's see how they look in in proportion with the character who that's great, cartoonish, biggest chance. You can make them even bigger. I don't think we need to make them bigger. I think that's a good size for the character array. Now, later on when we do the, what's the word, the, the post, we might need to do a little bit more work there. The only thing I do think we need to push this like sort of stylized metatarsal that the guy has right there. Just to keep the hand a little bit nicer. There we go. Let's just add a little bit of color. So I'm going to go for like a dark brown or something like that. And we're going to say color, color, fill object. There we go. So little by little, we're approaching the end of a project, right? So we're in a very good position, guys, in the next couple of B this we're going to be working on the belt. We're just going to keep moving downwards. Um, and yeah, we're, we're really close to the, to the final thing. We're just missing the belt, the whole pants is going to be just a section because it's pretty much armor. It's all a single piece. And that little bit of work here on the boots. And then we can move on with the source. The source is going to be very important. The shoulder, but of course, okay. Maybe I, I I celebrated too early is another word, not close, but we're still a little bit far from it. So yeah, I'm going to stop it right here, guys. And we're going to continue with the belt in the next video. So hang on tight and I'll see you back on the next one. Bye bye. 49. MainProject Sculpting the belt part1: Hey guys, welcome back to the next part of our series. Today we're going to continue with the belt of the character. So let's get to it. This is where we left off. This is the last part of the element, and it's now just a matter of continuing with this with the belt. So first things first, I'm going to delete this thing. This looks really ugly, so, well, Not yet. I'm just going to append one I want to do first is I want to create the actual leather belt that he has underneath the arm. Or if we take a look at the concept here, you're going to see that there's like a leather belt and then we have this things on top of it. So I'm not sure if we see the leather belt on the other side. I'm going to assume that we do. I'm going to assume that this thing is not like a complete like plate and that he can't like bent backwards without breaking his spine or something. So we need a little bit of a belt. So what's the easiest way to do a belt with a cylinder, of course, but there's, I believe there's a pipe here. We can select like this, a ring 3D. And what I'm gonna do is I'm gonna go down here in the initialize. Remember, we can just divide or reduce the amount of divisions on the, on the device. So I'm gonna go with four because it's going to be give me a square ended on the twist. I don't want to twist, I just want to twist here. Now that's not to twist. Align x now that's fine. The line y is fine. What I would like to do is just keep this, twist this in such a way that we are rotating this something that you can do very easily in Maya, but it seems like it's not so simple here. Because this is going to, that's going to create a rope which is not bad, but that's not what I'm going for. So that's fine. Let me show you another way since we already know how to work with you remeasure, I'm just going to say make polymers 3D and going to this Pm 3D, going to RCM. And then with the CMB, I'm just going to say delete. And I wanted to delete this edge loop complete. And we go. So as you can see, now that's nice and clean. Like a complete circle, which is what I'm looking for, has a little bit of a taper. That's fine. We can fix that. And then I'm gonna go here. I'm going to say bevel to the edge. And we're going to create this. There we go. We can also be, well, I think we should like this thing right here. There we go. And let's bevel this thing right here. Perfect. So now it's a little bit closer to what I'm looking for. I'm going to go back to my character. I'm going to say so to append, I'm going to bend that the poly ring right there. This is a rather simple element. The only thing I need to do is I need to position this where it's supposed to go. Give it the, the thickness and the rotation and inclination that it needs to have, which should be something like that. Now, I'm going to, I'm going to isolate this guy and just turn on this thing because this is gonna give me the proper positioning. And with my brush and of course, Symmetry selected. I'm just going to make sure that this is as closely as possible. Now here we're going to have to do a little bit of reworks on. Actual shirt because we want to make this field like the, what's the word that the belt is actually pushing the shirt closer to the to the, to the hips, right? Like it's keeping it took 10. So I'll pull a little bit. Here. There we go. Now we're gonna go into the shirt, turn on the belt. And we're just gonna do a little bit of maneuvering here to make sure that this is like going in there. So for instance here that's a symmetrical, we're just going to push this here. Push, push, push, push, push, push, push, push. There we go. So now it looks like a nice belt going into the, into the character. So if we do control D a couple of times, well, NANDA and the shirt on this guy right here, Control D. We get this very nice belt. I do want to keep this line a little bit sharper. So I'm gonna go again into my smaller and I'm going to just beveled edge loop. And this bowl again just like that because I know that one bevel is going to keep me or give me a sharper elements and that's it. One thing I'd like to do with leather, this one might not be that important, but just a little bit of like scratches leather tends to like. I get this interesting details here and there. So especially like here on the back that we might see a little bit more. We can add like a couple of this asymmetrical scratches. I run the character and just to make sure that it's not a completely new belt. And there we go. We can also add the color, I would believe we yield to add the color of the gloves. And let's just grab that color and say color, RGB, color fill object to an RGB off. And now we have our belt writing. That was a simple one. Now this guy can we can now delete it because we already know where the belt is going to be. I'm also going to delete this things right now because we don't really need them and we can recover them quite fast. Later on. Let's go back to where like a white color. There we go and look at the Belk. Not bad. Now we need to start focusing on this pieces right here. And this business are slightly complicated. They're not like super, super simple. So a good idea might be to try and do them. We see molar, that's an option. And another one would be to sculpt them and then do like read topology and create the very sharp simple lines. I think for this guys, we're gonna go there, read Apology route because they have very, very sharp lines that we need to follow. And this one we can actually go with are similar. So I'm just gonna keep this on the side. And what I'm gonna do, I'm gonna go back to this guy. I'm going to say initialize a key cube which is one division actually two is fine. I think two is fine. So television's key cube, and I'm going to say make polymers 3D again. Let me save this real quick. I don't think I'm saving that while, so let's just keep it safe. There we go. So now with this guy, we need to create the, the, it's like a lion sort of face. So I'm going to turn on my poly frame here. And the first thing I need to do, and this is the main shrink with smaller guys, you need to think about like the main shapes. Like if I were to create this from scratch and I tried to imagine the whole topology, it's going to be a little bit tricky, but try to think of the shapes. So I have this arrow right here. Let me make this image larger. Image, image size. Let's go pixels. Let's go blank. There we go. Like I'm not gonna get any more resolutions still going to be looking pixelated, but at least my brush strokes are going to be nicer. So you can see that we have this thing right here. It's like an arrow like this. And then it's a little bit of it like a leg here. And then this like a nosy here, right? Even the nose, I think it has a little bit of an angle here. So I know that this is the first step we need to be compared. If I can manage to get the shape the night just extrude out and just continue modeling the rest of the elements and it should be fine. So how can I divide this into all squares? I can do this. And then I can go all the way through the middle. And then I can do something like this, this, this, this, this, this. And if I need to, this and this, and let's add a couple more here. Because we know that there's divisions are going to go all the way down. So see how I was able to dissect the topology or the topology of the moment, quite easy. So the only thing I need to do is I need to create this shape, this arrow like shape. That's all that you need to do with this thing right here. So quickest way to do it would be to just first move the vertices around. So for instance, let's turn on symmetry. My symmetry. Here's the front. So to create a little like angle shapes of this thing is gonna go up. Like, I don't really need to worry about this guys right now, to be honest. Like, hopefully, I hope I could work with just like a plane, but serum errors usually likes to working with volumes. So instead, I'm going to keep that as the high poly or the high point of the element. So I'm just gonna move those guys down, those guys down. This guy's down. So that's going to be like the vertices on the back. That's going to be like the, like the main point of my of my shape. And then this is going to be the second should be right about there. And then we can just move these guys out so we create the flat plane here. It's going to be the next part of the shapes and see how we're getting this very nice shape. This guy we're going to push out. This guy we're going to push up. So we have a clean silhouette here. This corner is going to be pushed out as well. And know that this guy is going to push down like that, swell like this, like this. If it's not perfect, don't worry. Like it doesn't have to be perfectly length. You can also use BCM, the modeler. And if we go to point, there's the MOOC point. And you can have free MOOC or snap to surface. So if we snap, wait, sorry, we can have endless, just have free movie. I think it's better right now. There we go. So it's just a matter of careful. They're just pushing these guys around. Perfect. So we need to open these guys up. This shapes above there. And then this ship's going to go above here. And this guy, oh, careful. That's why I prefer MOOC on this things. Because if you Have you mess up? You're gonna get like them. Like the option for the next thing. So these guys, these are the other important ones because we have 12. This gets closer like this. And then this third one goes like this. It's kind of like following a puzzle. And then this guy can go up, hello it. So now from here, now a jumping to see modeler, I go into Q mesh, Polly, I'm going to bring this down. I'm going to still have the MOOC points. So this is going to be like the corner here. It's going to start creating the rest of the element. This is gonna go up like this. And I can just move this guy up. And as you can see, it's naps. And now it just move the one you work with similar, you usually want to have your brush size to the minimum. I think this poster is going to, there we go. So now again with a brush, we're going to push this guy back, back, back to keep like a super flat surface here, like this. And this is creating that nice sharp line there. There we go. Now from here, we need to add, or in my example, I have two lines right here. So I need to cut into here or create like a little bit of an edge loop that goes down. So I'm going to move this guy up. Let me double-check what I did there, so that's 0. Now I see what I did. I change the topology, i'm, I'm modifying it a little bit because this should have a connection like this line. It should connect all the way to the back. And we don't have that. Is that a problem? Not really. I mean, we can work with this, but it might be helpful to have that thing going on. So I'm going to go into to see molar again. Let's go to our vertex tool and we have d split. No, that's not something I think an inset on the poly mesh will work. So, but in sitting here and I want to insert the whole thing. So this is where masking comes into place. I'm just going to select the whole thing here, invert the mask and then get rid of this guy. So we have only that guy, and that's a polar groups, group visible. There we go. And now the inset, I'm going to select Pauline group island. There we go. That's a weird inset. Let's do center only. Drew polypropylene. Maybe that's the reason. It's not. But at least I got this guys, which is what I'm looking for, this, this for guys right here. So now I can grab poly mesh or ACU Michigan. And I can just like push this out. And that would my brush. And just keep this straight as possible to get that nice shape that will we're looking for. Let's get the smaller. There we go. I know it seems like a, like a beak, like bomber or it's not as fun to do poly modeling as it is doing traditional modeling or traditional sculpting. But believe me guys, this is super, super helpful. So now I definitely don't want to have this empty space. So I'm going to use q Michigan to add the volume to this flat surface here like that. So see how that's a little bit weird. I, and we can also do DynaMesh, but I don't think that's the best idea right now. Well, the boat dad, is that a good idea? This is because of the triangles. Let's go to geometry and dynamics of division and see what's going on here. Okay, So it's not that bad. I mean, we have at the other pieces of separate pieces but still like, I don't like this thing being super thin. So what I'm gonna do instead is I'm just going to use my brush. You'll know what, let's collapse BCM. And we're gonna go into collapse here on the, on the edge options. And we're going to collapse like this guys and that guy. And then we're going to collapse like that guy. Well, I want to do is I want to get rid of triangles. Triangles are the things that freak out the, the models. Although we might not be able to get rid of all of them though. Okay. Okay. That's that's working a little bit closer to what I was expecting. And then with my Move brush, I can just move this vertices in. There we go, That's a lot better, that's a little closer to what we're looking for. Let's get this thickness and thickness. Perfect. So this is the shape clemency, how we're doing on time. Okay, We're in the 15 minute mark, so I know this look a little bit longer than expected, but again, poly modeling and or bucks modeling usually is a little bit time-consuming. However, this is going to allow us to have a very, very clean shape. So hang on, guys. I'll see you back on the next one when we continue working on this guy right here. 50. MainProject Sculpting the belt part2: Hey guys, welcome back to the next part of our series today we're going to continue with the belt. So let's get to it. This is where we left off with this poly modeling or probably modeled element that was looking. Okay. And then it's now time to start working a little bit closer witnessing now, one thing I do want to do is I want to fix a little bit of the polygons here because otherwise it's going to be quite difficult to, to create the exact shapes that I want. Like having this thing right here, It's not perfect. So let's go into BCM, which is modeling. And I'm going to go into edge. And I want to LET not split. So let's go into Q mesh. And let's delete a couple of these cases. So what I'm gonna do is I'm going to lift this guy. Or rather, let's do an insert here. Because that's what we need. We need a little bit more polygons. So you see those like weird lines there. It's something that we don't like. So by having those polygons, that's better. So I'm going to go into Edge and collapse. And we're going to clip those guys. Now that I'm just going to delete, there's no reason for us to have that line right there. That's really weird. Why is it Insert Edge Loop? I mean, yeah, eventually we're going to have to insert, actually, I would like to delete that guy. Let me again, this is where dynamics of revisionist is really good because it tells us where the errors might be in regards to the biology. However, I don't see any here. That's why I find it really weird that this thing is it's not letting me delete the face. So let me just try and delete this face and this face. And there we go. Let's delete this guy as well. In now or actually, no, not that one. It's fine. And now what I'm gonna do is I'm gonna go into bridge. And I'm going to say from here, here, there we go. So that's proper topology or at least closer to what I'm looking. I still think we could benefit from having a better topology here, but I'm going to just roll with this one. So here what I want now is we need to jump into the next part, which is the next part is you can see is this like Panel on the back. Let me change colors. So we have this panel here going into this area right here. And then going all the way to the front here, here, here, here. There's a little bit of like an indentation there. So the trick here is try and find the polygons that we can just continue from the ones that we had before in order to create the next shape that we need, which is this. See how we can just utilize the same elements that we have to just continue creating this. So that's the trick to this thing. So the only problem that I have here is this guy right here. Like I would like this guy to be like attached to this bottom part or to this back part. So let me see if I can collapse this. I think I can, I think we can just go here and collapse, collapse that guy. Not that guy though. If we had like another point here and we can insert. How can we fix this? Oh, I know. Let's delete this polygon, the lip that polygon, and then just move this polygon. Let's BM b. Just move this polygon. Back. There we go. So now we have the proper thickness. And there should be some space here to do the proper connection. Even if I have triangle there that I'm, I'm fine with that. So now we jumping to BCM again. And we're going to bridge from this guy to this guy. And from this guy to this guy. There we go. So now every whereas D always yes, that's closer to what we're looking for. Perfect Shift D. And now again, just a matter of moving the point here. So let's move this one back here so that we have the same length. Perfect. Now, if we think this is way too thick, which I do think we're just going to scale this down and it's going to become thinner. Now the secret here or one of the things that we're going to benefit from having is a single polar group on the back. So I'm just going to isolate the whole back right there. And again on the polar group section, we can just select group visible. That's going to be its own polygraph, which is perfect for us because now we can just grab Q mesh 0. And just bringing this out, There's going to be the thickness of the next section, which is this blue section right here. So let's just push it a little bit more, something like that. And now I'm just going to bring this out like this. Careful there. Remember when we do this element, press Alt to get a different group. And then we bring it out. Isn't that great? Like look at that. We managed to create this shape very, very quickly. Now of course, we don't need that. We don't miss this, this little thing right here. So on this upper part, like this, this actually should push quite a bit. So yeah, see, it's pretty much like this whole length. So we do need to have a little bit more volume. There we go. So now this polygons right here are actually gone. Now they're not completely gone because we have those things right here. So what can we do? We can just grab this guy's invert the selection group visible and then inset. Instead polygraph all. Or actually instead of inserting, let's just again group visible. And then let's cue Mish. What's the insight? Like this? Because it creates this nice little shape there. Eventually we're going to add this like yellow element there, which we could just start by adding an insert edge loop right about here. And then this thing seems to be higher. It's like a point here and this will be the point. And then I need oh, I think I think I messed up. I mean, let me go back a little bit. We'll do that shape shortly because we need a little bit extra, extra, some extra room. So that's sit. I do think that's good. So now it's just a matter of following and modifying this thing. So as you can see this corner right here, I'm going to try and make the topology flow up. So this corner right here, instead of going here, I'm actually going to make it go like, let's make this thinner, like up here. So modifying word the depology is going so that's the topology there. Now, the other point like this guy going from the middle should go down. So I'm going to push this in. And how thick is this? It's roughly as thick as the whole thing. So I'm just going to push this thing here. Then all of these phases are just going to go down. If you need to make this smaller, just make it smaller. There we go. And then we get this nice sharp point down here like this. Let's bring this forward. And we get the general shape. Now on this bark like this goes here. Actually, I think this one was fine being like down here. So let's bring it back here because it's like a, it's like a sharp arrow. So this is like down like this border right there. Let's keep it like that. And then up here at the same distance as this guy will have like another little like spike there. There we go. It is looking like a face. I think it's a little bit thin. Some of this widen it out, just would scale. That's fine. Perfect. Yeah, that's looking good. So now it's a matter of creating this little elements. So I'm going to go into v cm and we're going to insert an edge loop right about here. And let's do it actually right about there. So you can see that edge loop is going to really sharpen all the things which is fine. And now in order to create this little section right here, I'm going to go back to Q mesh, and I'm just going to q mesh single poly, which is this one. And there we go, see how it's snapped right there. So the only thing is it's a snippet and just step it out like that. Only one lists. So step and then probably like that. Then we get 1, 2, 3. This is a third one. So in here, let's move this guy so we get a little bit more of that element, which is this curvature right here. Then it goes up. Then this one goes a little bit closer in like this. It goes up, up, and then it creates this little element right here. So it goes up, up. And this is going to be the tricky part because in order to create that thing, we would need to have like a line coming from this specific point all the way to here. And we don't have that line just yet, but we can create it. How would collapse if we go and BCM? And we collapse this edge loop right here. There we go. So now there's low thing, it's actually following the actual section that we want. And let's make this squarish. This, we can push this guy. Up. And then from that section, like this guys right here, where you can not go visible, which is the same thing that I wanted to do before. Now we can VCM the queue mesh, and we're gonna queue Mish poly group. And we're going to push this. Or we can just think we can insert first. We should be able to queue mesh. There we go. So we queue much this thing in like this. And now to create that nice little elements. So we're going to insert an edge loop right here to create the gym. This guys right here are going to create like a border. So I'm going to queue mesh single Pali. To bring this out, I'm going to get rid of a line, then step or sorry, I'm going to say no attraction. Or let's just do an insert first. There we go. Set Single Pole. There we go. And then just move, move this up like this. And then this guy, we also need to insert. So we're going to insert. And let's do another insets. And the second incident we're going to move out, we go. So now if we press D, we're getting the rough shape. Of course we need to add our support that just right, because right now things are not supporting the way they should. So it's now time to go into insert. And let's start adding our insert. So we're going to have an interglacial right there and the interglacial bright there. We might have something similar to what happened with, remember when we did the the shirt. So one there, one there, one on the side, one on the back. There we go. Let's do one here as well. Alright, we go. So now we press D. Everything should be way sharper. Let's press shift D. They will not make this even a sharper there. See how the lines are going pretty much everywhere, making sure everything looks super, super sharp. Nice, nice, nice, nice, nice. Let's do one more. Like above here. Here we go. It's going to keep it sharp or there. And look at that. We have a very nice piece that resembles what we need. Now is just a matter of cleaning this up because there is a little bit of an issue here. So how we were going to clean this up before going into like Dynamo, sure. Anything which is going to start moving these pieces around. Now, it did have some very nice bevel. So I'm going to grab this edge loop here or this points and it's gonna start pushing them out to greet them. Nice change in surface right there. We're though, my brush works really, really nice. Because now see how I get that. Nice, like fluffy elevation. And now we can go back to BCM and insert the national right there and another one right here. And what that's gonna do, as you can see here, it's going to give me a very sharp. Now we do have those weird-looking like triangles there. That's not something that we're seeing here with our lion shape, but that's fine. Like we can, we can definitely like Salton those up and they're going to be gone. And then just use our normal tools to work with this. So that's okay. So I'm going to stop right here. I'm going to, I'm going to keep this very nice element like this. And then in the next video, we're just going to start sculpting. We're going to actually jump into making this look like this lion head. It seems to me like a lion head. So, so that's what we're gonna do. So hang on tight and I'll see you back on the next Bye-bye. 51. MainProject Sculpting the belt part3: Hey guys, welcome back to the next part of our series. Today we're going to continue with the sculpting of the belt. So let's get to it. This is where we left off. We have this very nice base mesh that we can utilize and start working with. And now I'm going to show you how we can turn something that looks okay into something that's going to look really good. So what I'm gonna do is I'm actually going to sculpt it here. I mean that different sub tool than the rest of the elements. And after we're done with the sculpting, we just bring it back into the, into the element. So I'm going to go into DynaMesh. But if I press DynaMesh right now, you're going to see that we get this very ugly looking thing. Now that's not that bad, right? Like we can still work with some things and we can still do a couple of things. However, before we do that, let me try and see if we can scope with normal subdivision levels. So I'm going to go Control D, controlled him. And the first thing I'm seeing is that this thing right here is losing some detail. So we definitely need to add another support edge loop. So what I'm gonna do is I'm going to go into Insert Edge Loop right there. So when we divide, that remains as sharp as possible. There we go. So let's do one more and one more. So as you can see, it's not looking at that bath, right? Like we actually have some nice shapes and with a little bit of a trim dynamic, we can actually start approaching the final look that we have. We're also going to have that sort of like a blacksmith look to it right where it, where things don't look like a completely computer perfect. And we have a couple of wrinkles here and there. The only wrinkled or they really hate is this one right there. Let me open my reference so that I can see it a little bit more clearly. There we go. So we have this wrinkle right here. And now in the concept there is actually a line that goes from here all the way to the center, kind of like the cheekbone of the line because this right here are going to be like the eyes of the lion. So for the eyes, I'm just gonna start carving a little bit of the of the element there. There we go to create that sort of elements. Now after that he has some sort of like other line here, like another flat section. Then we can just sculpt things like hammered metal. And then we have another sort of We had like the mouth over here. It's very difficult to see on unfortunately, we don't have any other like higher-resolution picture. So we're only working with what we have right now. So we're going to have to guesstimate some of the things, but that's like that. Like the muscle of the yeah. Like, I know. So the line and there's like a leak, a little bit of like a beard here. There we go. And then as I was mentioning, we have the cheekbones here. Kind of like another surface in this area. There we go. And then this thing actually extends a little bit further out, like this. So a little bit tighter, not, not ask around us what we had so little bit more like a like a sharp line right there. So a little bit of soft there. There we go. Like having that nice little arrow looking shape there. I personally would add like a little bit of support here on the nose. Can make it look more like a lion, right? Because this is supposed to be like a, like a very nice or a very important character. So I'm going to add a little bit more volume here. And this is the part where you are going to be able to do a little bit of artistic choices for your sculptors. And only on this project with pretty much anywhere, no matter how good you are at matching the concept. There's always a little bit of US that gets into the, into the elements. Now, one thing I hate about this guy is death. The back is not completely flat. So I'm going to show you here a new tool that we haven't used before called the clip brushes and click brushes are really good. You're going to access them Weed Control Shift click here. And they're really good because they allow us to push the surface towards a specific section. So let me show you how it works. Control Shift and then drag anything that's on the gradient side of things is going to get pushed towards the little white line right there. So as you can see, if I did this, now everything is perfectly flat. Now it seems like we cut the polygons and we did not. Then it's very important that you understand the difference and we just pushed all the polygons, do that flat center. Now that can also help us get some very nice sharp lines here, for instance, you can see that here we have a little bit of a peak. We can just go here, do this. And it's kind of like trimming down the element. Now, again, be mindful that we're not actually removing geometry, we're just sharpening or we're just pushing the geometry towards the inner border right there. So for instance, if we want this line to be really sharp, we can just grab the cloud brush and do this right there. As you can see on both sides, we're going to get that very nice element. The only issue with that tool is the fact that if you don't use it properly, you're going to get some weird results. For instance, if you do this, see how we push certain parts of the polygon or the geometry like all the way in. That's not something that we want now, it seems like I'm not using symmetry here. It seems I delete symmetry somewhere around this line. So let me go here again. There we go. So that's the straight line there. Let's go for a straight line here. You can use the space bar to move this around. Now for instance, in here there's one that's a little bit more like this. So see how we get the very nice of them. We can just smooth out. So there's a lot of hearts surface, hard surfaces, stuff that we can do with this thing and it's actually really handy. For instance, I think I'm going to reduce the thickness of the nose a little bit so that it looks a little bit more like a like a menacing look, right? Same thing. Like if we wanted to like polish this area here, we could find like a specific angle in which to God, and we would get a very sharp line. So click brushes are really, really good, but they do damage the geometry. So one thing that we're going to have to do is we're going to have to jump into DynaMesh very, very soon. So before we do that, I actually want to give this a little bit more of a jam look. So I'm going to add volume to this thing. And then with a little bit more volume maybe. And then we trimmed the anomic. I'm just going to, we can mask this out. We'd like a pen. Don't, don't overestimate masking guys. It's one of the most powerful tools because now if I do trim dynamic, I'm only going to be affecting those areas right there. See. So, so it gives me a little bit better of a better result right there we go. And we'll just move some of those elements. And now we're jumping to DynaMesh. Before we just click DynaMesh and get this weird looking thing, we of course need to go down here into our geometry tab and select the DynaMesh polish on a really high resolution. To be honest, that way we are going to be able to capture most of the elements there. So now we can start working on some of the most interesting details. So he has this very sort of like a geometric look to it. So I'm going to try and keep it like that. So. By either using masking or my clay buildup, we'd like a square Alpha. I can modify certain areas of the character and then train dynamic of course. And get this like hammered look to the whole thing. Similar to what we have on the braces. Like we want everything to be consistent with each other. So, for instance, babbling a little bit of the borders here might be a good idea. If I were a blacksmith, I will probably add the like this now out of the lion here. And then we trip dynamic. We just called this out into a nicer shape. Those guys, I'm not really that worried about because I know that they're going to be gone once I do DynaMesh. So again, make it this very, we want to make this very like a crafty, right? Like we want to make sure that people understand that this thing has been crafted. For instance, they mean a standard. Let's turn on our stroke Lacey radius up and let's increase or grab like a smaller thing there. So we get this very sharp cut right there. And then we have a geometric kinda cut right here. And then this one actually goes all the way over here. Now what I'm doing here, this is a, another technique that I haven't shown before. If you drag and press shift, you're gonna get that green light and when you drop it, you're going to get the projected line all the way across the surface like that, which again, looks pretty, pretty cool. So now with this, I can easily grab my trim dynamic and using the surface here on the bottom side can just press the surface down. So it definitely looks like this thing is going. Then the other thing, I can also use my clay buildup, remove a little bit of the of the volume there, a smooth that out and again, terminating that mic just to flatten the surface and make sure everything looks as if it's just one single piece. Again, little bit of Babylon, this edges like I don't want this to be like machines, perfect element. Now, lions should probably have some sort of like eyebrows, right? So I'm going to add a little bit of like an eyebrow here, just an indication. And then again with my term dynamic and give it a little bit of detail. And again, this is because I don't have the exact like resolution on the on the concept itself. If we have the perfect concept and everything was looking really, really nice and sharp, then this wouldn't be necessary because we will just follow the concept perfectly and that would be, that would be at now I do see this sort of like rhomboid shape here. It's going to use the standard to just give you this sort of like Marx. Then there's another one going here. Again, I'm going with this sort of like square motif. So by pushing this like maybe for the little like beer thing, we can have something like this. Then down in, down in and when we did DynaMesh, all of those things is we have like a really, really high subdivision level. All of those things are going to be pushed into position. Just a little bit of clean up here and there to make sure that we don't have like very weird-looking marks. There we go. Like those marks that we had before from the what's the word from? From the original cell division. We wanted those gone. So see how we're able to get this into like a very nice position from what we had before, like a couple of minutes and go to this. This one looks a lot, lot nicer. So I'm going to use the term dynamic again just to read regained the sharpness here on the, on the order, on this area. Like I want to make sure that this thing that looks like this, I can see the sides of the element. Here. I think I went a little bit too crazy with the term dynamic on the border so we could use again our clip group. Now let me show you this. We can place a clip group and then double-tap Alt and you're gonna get like a sharp angle. And then when we do this, that extra clean cut, perfect. So now that line is just there just to make sure that it doesn't look extremely weird. We just deleted clip groups, are cleaved. Brushes work really, really well with DynaMesh whenever you're using it in this way that I'm showing you. So again, give them a go, give them a try and see if you'd like them to do like how they work. And if they're good for your workflow then just incorporated, then you're going to be very, very well, very good. So for instance here, I do think I want to push the eyes a little bit further down. So instead of trying to do it by hand, I'm just going to mask it out, invert the mask, and then just push it in. And I know that when I do DynaMesh, those are going to be like really, really sharp. I can always go here with trim dynamic. And then just sharpen this even more. There we go. Now this is a small detail in regards to the rest of the elements. So, so I don't mind that things are not lining up perfectly. I do think I want to add like this sort of separation here. Like I wanted this couple of things to look like two extra pieces of metal like welded together there and the mesh. There we go. So now let's see it in, in tandem with the rest of the things we're going to say sub2 append, and we're going to append this thing right here. Of course, we're gonna make it smaller so it fits the proper size, which is about this size. And now here's where we can correct a couple of things. For instance, I'm seeing that even though my forms are OK, this thing right here, a little bit too high, they should be roughly at the same size as the nose. So unfortunately, I can't just like I mean, I could just try and move them. But that might not give me the exact result. I'm I'm looking for I could dry scaling this down. But that's not really going to work either. So I'm just going to move this into position. Get it in there. And the recently know that is because the top of the ice line up with the belt and then this things like outer winks go all the way down. So I'm just going to move this, but I just want to move those things. So one quick way to do it would be to mask. So I'm just gonna, I'm just going to mask this front side here. Invert the mask. And more. This points down. You can also soften the mask a little bit. So we pull a couple of extra points that were not intending to pull just yet. The distortion is not as bad. So a little bit further down, this corner, it goes a little bit further down. So as with everything, you're always going to be like adjusting, modifying, and changing stuff around. Like the spike here it seems to be lower as well. Actually seems to go like in down and then this seems to be a little bit narrower. So what I'm gonna do, instead of doing that, I'm actually going to use my brushes. And I'm just going to remove this thing right here, say, and then when we DynaMesh, we get that. Now, why did we lose so much detail when Die animation here? This is something important that I think I didn't mention when we're covering a DynaMesh and that's the fact that DynaMesh works in regards or takes into consideration the size of your sub tool. So if you have like a really big sub tool, very low numbers in the dynamics are going to be good if you have a really small sub tool like this guy right here, really small numbers are going to make a huge difference. So if we want to use DynaMesh on this piece, which I don't think it's really necessary to be honest. Only to fix that thing. Maybe check the proportions here. Sits a little bit lower. There. There we go. If we wanted to change the DynaMesh there, the only thing we need to do is we need to go back into geometry and increase the DynaMesh subdivision of like quite a bit. It's going to keep the same amount of resolution is just since it's a smaller, it needs like the size of the DynaMesh is what actually matters to ZBrush. Just going to grab this color again, say color, fill object. Let me grab this and golden color here and just paint the gold colors real quick, is to get an idea of how things are going to look. Let's do the standard brush. So there's like a, like a gold trim here. Like maybe this whole piece is going to be like golden. And then the little gem here at the top. And that's it. That's the, that's the basis of our belt. So in the next video, guys, we're going to continue with the belt and we're going to do now the site things decide the very interesting site, the shapes that they need this guy has. So hang on back and I'll see you back on the next video. Bye. 52. MainProject Sculpting the belt part4: Hey guys, welcome back to the next part of our series today we're going to continue with the belt, the next part, the site parts. So let's get to it. This is where we left off. We finished a little emblem, the lion sort of emblem that he has on the front. As you can see, it's a minor detail even in V8 against when you're working on things like that, it doesn't really matter if it's not completely, completely perfect. The only place where this would extremely matter is if we had like a close up of the element. But in our case, I think we're pretty good. There's a couple of proportions I would like to fix. I think the eyes are a little bit too high, so I'm just going to bring them lower so they match a little bit closer. We, what we have on the under reference. And again, as with everything, the cool thing is you can always just fix and modify stuff. Now for this side, things that he has, I'm going to follow a slightly different process by utilizing all the different tools that we've learned so far. So I'm going to append a, I think a ring is going to help me a little bit better. Now as you can see, this ring is the one that we had from before. It's fine. I mean, it's really just for, for what's the word? For basic reference. So I'm going to place it where this thing is supposed to be right about there. And I'm actually going to delete symmetry. And I'm going to delete half of it with select, correct. So I'm going to select and delete half of it roughly where this thing ends. So that's roughly the shape of the, of the things I'm going to say delete hidden and DynaMesh. And now with DynaMesh it selected, I'm just going to start moving around and creating the silhouette, like the basic silhouette of this thing. Let me turn off the little icon there so that we get the proper thing. So this thing, it has this sort of like a triangle shape to it going into this area right here. I'm going to be doing a lot of DynaMesh. Over here. We have like a spiral. Let me get rid of lasing mouse for Damien standard. So it's like a spiral going to the front. So I would expect have a little bit more volume here. So it's like this, sort of like spiral. There we go. And then there's, this thing has a little bit of a bumping here. So let's add the bump like that. And then it goes to the back. And alongside that thing There's like a group, like a golden group that comes from here, here, up, down like this. And then this thing also goes to the back right there. So as you can see, we get this basic, basic shape. Now the important thing here is make sure that the proportions are to make sure that the proportions are good. So it's roughly sitting right about here. I think this one's a little bit too big, so I'm going to make it smaller because the tip of this spiral thing is slightly below. Well, it's actually like slanted forward like this and a little bit. So it's like this. It's kind of like there. And then this spike goes slightly, slightly lower than the, than the lion's face, like a very sharp point. Now the important part is going to be this. There's like a line, like a sharp line that goes down here. And he kinda like divides the surface of the element here. So I'm going to add a little bit more volume here. There we go. And that's what's creating the volume. Now, right here, right after the little light golden group, there's also a little bit of a volume creating another like change there like that. So that's the love of this spiral. It's actually quite interesting. It's a nice silhouette thing, this, or this spiral. So a little bit too big. Let's DynaMesh. Going to increase the resolution of my DynaMesh. And I'm actually going to turn polish on. And DynaMesh, just to get like a closer representation of the forward going for now, unfortunately for this kinda thinks is going to be necessary for us to resort to read topology. Because if we want to really have this v super, super tight and super, super clean read the voltage is going to be the best way to do it because we're going to be able to control the way that the DH flows and the general things like mobile round. Because then this thing over here, I'm going to mask it out like all of this area. This thing actually like creates a slanting here. So here's where curb, Curb brushes or CLI brushes are actually helpful as well. I'm going to tap once and that's gonna give me a curb. And then I'm just going to move this thing like this. There we go. So see how we get some problems there. Let's get rid of the mask before doing that. So this tells me that this whole thing should be closer. Let's make it slightly smaller. Because this sits really close to the, to the character. So like this. And then I don't want to make it smaller because it's going to mess up the rest of the things. So I'm just going to select the things that are important right now, which is distinct and the shirt. There we go. And that's going to allow me to just start moving this around so that hugs the caret character in really nicely like that. So I'm going to just trim dynamic here to fix this surface. Because I want this surface to be as clean as possible. Now we need to be mindful or careful about the, what's the word about the, about the curvature of the object. Because otherwise we're going to have an issue with the gel forms. There we go. That's looking a little bit better. So this thing kind of flares out. See, that's what I meant. The thickness of the object since we're working with, with a relatively thin object. When we start carving things, it can become a little bit complicated to to manage. So in here, I'm going to use my Move brush to start pushing the middle center here, or the middle point of the element. Then this thing kind of flares out to create a little bit of a border. There were the hips of the character are going to be resting, right? So the term dynamic, you can now see the curvature a little bit more or a little bit cleaner. That's what we're going for. Now we need to push this even if I like closer to the character, I think it's, it's worth doing. This is not completely circular, so, so don't try to make it completely circular. Go trim dynamic again to just like push this thing. So its proper place. There we go. So see, even though we're only using. Dynamesh and the hard surface techniques that we've seen before, we're still getting like a very close approximation of how this thing is supposed to look. So, so if we weren't like in a rush and we had to finish this character link in a day or two. And it was going to be for like a mobile game and you don't really need to be that clean, then this kind of thing would be would be a nice compromise. I'm using the meanest under here with the depressor, we get the inverse option because there's a sort of a border to that spiral. So there's like a, like an outer plane here. So you can see right there. And then there's like an inner plane. Here. There we go. The mean, the standard again. And we're just going to make sure that the group here where the golden dream element is going to be is nicely laid out because this then pretty much rights like the crest of the, of the hip. This toward the crest of the hip would be and it creates this sort of light. Now, what happens back here? I don't know. We don't have any answer to what happens over here. We're just we're just going to have to guess and follow roughly the shapes of this thing. So I would imagine this thing to have like an ending here, like in a sort of like nice sharp curve as well. So something like this. And then I count like this thing right here that I think it looks nice and I think we can, we can get away with having some sort of like just a bevel in this area. Like that to me doesn't seem wrong. I am going to make it thinner though. So maybe something like this. And again, this is the kind of things that if we were working in a studio or a concept artist would come and be like, Oh no, that's supposed to be whatever like this extreme piece of armor that I found from like some ancient and medieval thing and took his inspirations and you see the shape and you're like, Okay, fine, I'll just call that shape. When our case we can we can improvise a little. So here I just want to make sure that there's enough volume to remember. We have this golden line going all the way to the bottom or to the back. I would probably expect this line to go all the way to the back to like they say right here. And it kind of like divide the whole thing into into two sections like this. And then this thing to be all right, Probably not like that. Cool. So yeah, that looks like a like a good blocking. Again, the main thing that we're looking for here is we want to make sure that we understand the word. The main planes of the elements are, because those are the planes that we're going to be doing the topology for in order to make sure that this looks at the sharpest possible. Now for this topology, I'm actually going to take a little bit longer, but I do want to make sure that it looks really, really perfect. And we were doing the topology for the cloth. We have to be a little bit more loose on the, on the general thing, on the general things. Because the cloth at the end of the day needs to be sculpted like clothing called this very organic. So we have a little bit of wiggling room. However, for this kind of thing, you definitely want to make sure that your topologies on point. So I'm going to be showing you some, some nice rules of thumb for topology that you need to follow on this particular piece right here. Cool. Now I'm gonna do a quick mirror here. So see blogging mirror. Okay. Just to see again in context is always good to check the context, how this thing's looking. So it's good. I think it's good. I think it hugs the character nicely, but I do think it's a little bit too thick. So this is why it's important seething contexts of this thing definitely has to go like a account looks like magic to be honest. And what they mean by that is it doesn't seem to be supported by anything else. So I need to imagine that the belt like the actual leather belt, It's what's supporting it. And so for instance here like we really don't need that much of thickness for the, for the whole thing. So I'm just going to start pushing this things inside and see how we can see a little bit of leather belt back here. I think that's I think that's going to be a good detail there to be able to see. So yeah, that looks good. Again, if this were to be a video game character, this is roughly the distance that we sometimes just the elements are the characters. I think it looks okay, which is into Polish this, so that it looks way better. So in the next GOP would be this, we're going to jump into r0 topology. I'll see you back then. So hang tight and I'll see you on the next one. Bye bye. 53. MainProject Retopology of the belt part1: Hey guys, welcome back to the next part of our series today we're going to continue with the belt. And as I mentioned before, we need to go into r0 topology to make sure that this looks as nice as possible. So let's get to it. This is where we left off and I'm going to show you a quite nifty trick here to make sure that you can work as fast as possible without having to worry about your performance. As you can see, I have a lot of stuff in here, right? A lot of stuff that I've been working with. So I'm going to save this real quick just to have a copy of this. And then I'm just going to go into preferences. Initialized sewerage. By initializing initial licensee rush. You're pretty much a resetting the software recently in the program and bringing all this memory that it's saving, you're gonna go into loath to, you're going to load your tool. Double-click, drank tea to go into edit mode. And there we go. The only problem is this gradient back here. I hated. So I'm gonna go into document and the range of it's going to bring it all the way back to 0. I prefer working with like a flat color right here. So now I'm going to select this guy and this tool is also quite heavy. We're at 8 million polygons when we see the whole thing. And we're getting like a lot of sub tools here. So it could be a little bit tricky to navigate through the whole thing. So one thing you can do is you can clone. You're going to have this thing in a separate sub tool. So now we can more freely work in this thing without having to worry about all the other subjects. I'm going to append a sphere, bring the C's fear it down. Let's turn symmetry on scale it. So it's really, really small. You don't really need to see it. It's just like the mother's fear. We're going to now jump on to this guy up here and we're gonna go into, about, not sorry, we're gonna go here. And we're gonna go into Topology. We're going to say Edit topology. I'm going to make my small or draw size as small as possible. And now we can start working. So I'm gonna start here with a weight. I think we had to have this on top. So let's move this on the top. And we've got to queue. And when we've just drawn, there we go. So the trick here is we need to think about how we're going to make this topology so that old the edge loops flow nicely. So for instance, this piece right here, the spiral, which is one of the most important ones, we definitely want like a square and this position, because this square, by using this elements, we're going to be able to loop around the whole thing. So from here, we're going to jump up here like this, from here to here. And here's where things get tricky. Some of you might think, well, why, why not just have like a triangle here? And that's fine. If we have a triangle, what's going to happen is that we're not going to be able to, to keep this sharp edge right here and is going to be a little bit difficult to control later on, because yeah, we can very easily just connect, double-click outset, start here and connect back here for the corners. And if we insert a natural but later on with similar, that's going to be just fine. However, if we start doing this triangle right here, then this phase right here is going to be really difficult to control. So let me show you what I would do. I'm going to go to w, I'm going to move this a little bit. And I'm actually going to create a very small, a very small square right there. So that square, it's pretty much going to hold the edge together. And this square, as you can see, will allow me to very easily create the other square that I need out here. These are the things that you don't normally think about when you're sculpting, to be honest, because when you're sculpting, you're more worried about like the form and stuff and, and not so much about the topology. But this topology thing, this is what makes a pro art is because more often than not, you're not going to be paid just to create a cool character. You're going to have to do a production ready character. We have several other courses talking about those. So make sure that if you're interested in and that sort of information, to check those out. Now I'm going to go back to Q. I'm gonna go here, here and here. Because this new square right here is going to be made out of several squares. It's not just going to be one phase of sexual, going to be several phases because otherwise we wouldn't be able to graph this thing right here. Now, what I'm looking at this, I'm making sure that I always have a line that goes through the object and around the different parts of the segments is. So for instance here, that's square, That's perfect because I can just insert a natural over here and that's going to hold together those corners right there. So I can go like out here and then forward here. Now my sculpture is not perfect, right? We, we know that it was just a general elements, so don't worry about matching the sculpture perfectly because what's going to happen here? Remember, we're going to go all the way to Adaptive Skin, bring resolution to 0 and density two to one. When we see the projection. This is what we're going to have, like a very sharp element, then we know that we can move those polygons around, so that's perfect. So we're in a good position right now. So let's double-click here. Now these areas also important because we still need to hold this edge right here in, in, in a way somehow we need to hold that edge. So I'm actually going to go back to q and I'm going to delete this guy because we need to have the edge here and I actually forgot to add that pretty much everywhere else. So I'm going to just double-click outside here and we'd queue. I'm just going to start adding like the little edge going around my object here. There we go. And then from here to here. So now this little edge right here, we need to connect it with a square. This is going to be very weird square, you can see it there, but it needs to be a square. We're going to connect it with a square to that guy right here. So from here, square n squared, there we go. And again, the reason why we need this very weird squared is going to look like a triangle, but it's actually the square. And the reason we need this is so that everything flows nicely. Now if it bothers you, this one, we can actually just fill it as a triangle. Now in here on this other side, we are going to have a triangle right about here. There we go. And then this is just going to flow, or it should just flow nicely. Over here. There we go. There we go. I'll do it here. I'm adding this extra like line here because I know that we're going to need two of them right about here. So that would go and then from here, actually from here all the way to this corner right there. And then from this corner right here to this place right here. Perfect. So now again, if we isolate this. And check the resolution. That's a good topology because I know that when I insert edge loops where I need them to be so that this remains sharp. I'm going to be able to give this very, very nice. So sorry, we're just going to continue now. Now, one thing you could do as well, and this is totally valid. We could have three separate substance for the whole belt instead of trying to figure out how to make this thing into a single piece, why not just make it separate pieces, right? Like the golden train is going to be one, this top part is going to be one, and this other part is going to be one that's actually better in the long run for this particular objects. So I'm going to follow that. So in this case I know that from here we're going to create this little like like a channel or canal. So I'm just going to start moving back. You're following general form. We're going to be publishing some of this elements later on. You can see the general form going in there. Let me jump back here. For instance. This area, I'm going to create a new square here. That's going to fill this. Because from here, this point is going to be really important because this is the point is going to give me the like the, the thickness of the element. Now one thing is that this thing might be a little bit too thick. Like this could potentially be a little bit too thick because we just used the belt as a, as a reference point and we don't have the belt here. So one thing we could do is we can go to this guy, select the belt because that's going to be our reference point for thickness. Go back here and say sub tool, append and just keep this guy. Okay, So I know that I at least need to get to this point. So this thing is nicely hidden beneath or be behind the belt. So I'm just going to start pushing this guy. For instance, this piece become a little bit large, but that's fine. I want this to be like a really sharp corner. Probably going to have one more here. There we go. And then here we're just going to keep adding points. Make sure to jump to W to move them around if, if a couple of those points are like weird or something. Because from here, we're pretty much going to create a clean topology. There we go, There we go, There we go. Perfect. Now from here, we're just going to keep working on this front side. If you feel like you need more polygons because they're becoming a little bit too big or too small, go for them. So don't worry about for this particular thing. Don't worry about the amount of polygons that you have that I worry that a lot of people have when they're doing the topology, they think like, Oh my God, this has been becoming way too heavy. And that's going to be a problem with like deoptimization. We're not worrying about optimization right now. We're, we're worrying about modeling. Because even if you super optimized your things later on when you're working on the, on the engine, you might find that it's still not enough and you're still going to have to do another radiology or some sort of like LOD or something to, to fix this. So for instance C there and let me, let me isolate this because I feel like they're so weird edge there. See. So let's erase that guy. There you go. So from here, from here to here, and then from there up close here, here. Now here to avoid having an angle. And guns are squares with more than four sides are rather had like a triangle. There are actually, let's do here. There we go. So now that area is clean. Let's take another closer look at this thing. Till it's looking with a poly frame specially. And see how, how sharper this is like the just a geometries looking way, way sharper than what we have with the, with the pure sculptor. And we're going to of course be modifying a couple of these vertices to make sure that they fit perfectly fine with the elements. So that's why it's existing Nick, so, so good because it allows us to give this very, very clean look. So in order to, again save a little bit of time, guys, I am going to be showing you in just a couple of, or in the next video, I'm going to show you how the general flow of the W went. But in this video, I want to make sure that you understand how to do the other pieces. So let's say we want to do another piece, right? Like, let's see, we want to do it as a separate piece. One thing I would do is I would just keep going on this part. Like I wouldn't actually duplicate this thing. I will just keep going but I wouldn't combine them. And then later on we just follow the group them as separate poly groups and we split. So for instance, this guy right here in this case, really important because it has this very sharp curve right here. So the way you do this guy is you start up here, flow with the general group and make sure that you always have an edge loop rightward. The sharp line should be all the way to that point. And then here, for instance, which is start filling. And I need to have another sharp line on this area. So the secret to topology guys is that you need to figure out how things are flowing so that the squares always flow in the direction that you want, your edge loops and your sharp lines to go. For instance, here, this guy and this guy, I think we better just delete that guy and then just delete that guy, and then just combine them. And if we need to move it a little bit, that's fine. So we combine them there and we start closing the areas right here. There we go. Now here, again, this would be a place where I would stop the topology there because there's going to be a sharp edge. Because from here, we're going to jump to this new section, right? And this new section is going to be like that. The outer border of this like gold trim. So the gold chain will have its own like outer border going all the way to the back. The more you do this process with CCS and the rate of biology, the easier it becomes and the faster you, you become with the whole thing. It is tricky. If you struggle with the initial C spheres of video, then this might be your worst enemy because some people have a really hard time with Cs here. So all of my students suffer that. But believe me, it's, it's really, really handy. Now this guy's, this guy's are going to be important. So let me show you this is going to be the final section on this small video. In the next one, I'm going to show you how to do the trimming in a, in an easier way. And then we're just going to keep going. So here the problem is we have three edges that are going to have to flow into probably just one, right? Like we want to keep this sharp. So we're probably just going to have one. So how do we create good topology that flows into this element? And the trick is this shape right here. You're like, but that's a square Abraham what you're talking about. Now, we're just going to move this thing. It's more like a trapezius kind of thing. And look now this small area, it's going to create a little bit like a like a sand clock or yes, I am clock. So from here, we're just gonna start flowing into that specific shape. But once we hit the shape, what's going to happen is we're gonna do a little bit of a trick. We're going to move this thing out. And then we'd Q, we're going to draw this square. See that? So this is the actual shape. This is the complete shape that I want to show you. So as you can see, what I'm doing is I'm combining three edge loops into a single one and C there. So that's going to allow me to save resolution and make everything flow a lot more nicely. For instance, here we're just going to combine those there. For instance, here in order to avoid having angle, it's important that we always fill the topology nicely. And we just keep moving here. Again, I, I, I've, I've had years of practice with this guys, so I can probably do this in like 30 or 40 minutes. It might take you a little bit longer. So for instance, here, now we only have two sites, which is perfect because we can just follow this thing around. And then right about here before we hit that element, we're going to do a, a churn. And what's going to happen here? It's another little topology trick where we create a small triangle right on the border. Right there. See that guy right there. So this triangle is going to simplify the topology and it's still going to allow me to in certain natural upon the outer side so that we can make sure that it looks really, really sharp. There we go. There we go. There we go. There we go. You w q out here and here. Perfect. Oh, I think I missed there, there and there. Remember you can also use your your mouse for this process if you find that it's a little bit more exact, Let's dynamic solo just to see how this thing looks. Let's press a and look at that beautiful thing. A grade, right? Of course we need to fill this thing, but look at the topology, it's flowing, really, really nice. It's going to be a lot easier to manipulate and to get the proper shape with this thing right here. So I'm going to save this. So this is a different sub 2. We also need to save this as a different elements. I'm going to call this read topology belt. And in the next video, I'm going to continue filling out the important stuff, guys or not the important stuff. Sorry. Rather, I'm going to continue doing the non-important stuff. So I was going to feel this in, I'm going to go all the way to the back here. I'm going to go all the way to the back here and I'm going to leave the golden trim alone because I want to show you another way in which we could do the topology for that guy in a different way. Okay, So I'm just gonna do the top part, bottom part, I'm going to fill this in, which is just a straight square. Straight scores make sure everything flows nicely and eventually connects on both sides, but could be a good thing for us. However, in the next video, I'm going to show you that the final result before we move on. So hang on tight, keep on working and I'll see you back on the next video. Bye bye. 54. MainProject Retopology of the belt part2: Hey guys, welcome back to our next part of our series. Today we're going to continue with the readability of the belt. So let's get to it. This is where we left off. If you remember, I mentioned in the past videos, I was just going to finish the whole thing over here. And that's just want to show you a couple of areas that are a little bit important. So I'm going to press a to go back into my wireframe here, let me get rid of dynamic isolation. So as you can see, this is what we have right now and it's not bath. Let me change the list underbrush root. Let's just go back to catch one or smooth. Not sure where I got this thing on, but that's fine. So what I want to show you here is that the most important part of the whole thing, or rather the most important part of the whole thing is a weak kept that, that we did not do the topology for both sides. We only did one side. And the reason we're, we're gonna do this is because we're going to be using are similar tools to fix that. Make sure everything works as nicely as possible. So I can even get rid of some extra elements. For instance, all of this guys, I think we can get rid off because we're going to be extruding everything back or down. So as long as it's just like sharp like that sharp there, that should be fine. I was looking at other parts were that were a little bit problematic. So for instance, in these areas he held, this is like really, really thin. I'm going to take some artistic liberties here to make this a little bit thicker. Because I know that those sort of areas are going to build a bit difficult to control. One's will go into like actual thickness. So this is one of the cool things about doing this process that you're going to have a very clean topology and it's a lot easier to work with small amounts of polygons and make sure that the shapes look at the best possible way before jumping into the final elements. And I'll see those guys right there. Those are dangerous guys. Those are edges that were not connected and they can give you like angles and stuff. So make sure that you check the wireframe of the whole thing and erase anything that you don't need. Now that we have this, I'm just gonna go down here to adaptive skin and I'm going to say make of that fifth skin. We're going to get one of that skin right here. And this is the result which is not bad. Now, in order to make this a little bit easier, I'm just going to delete half of it. So let's delete symmetry. And then half of it say delete hidden. There we go. And we're just going to work on one side. Now before we start doing any sort of like extrusions and like edges and stuff, we need to fix a couple of things. So first, I don't want decreasing, so I'm going to go into geometry. I'm going to go into crease. I'm going to say increase all because I'm going to give it actual like support edges. Now if I see problems like for instance here, like that little square there, I need to make sure that I understand whether that's intentional or not. I think it was intentional. So I'm going to keep it like that. Now. I'm gonna go into dynamics of division and I'm going to activate it so that we can see how everything looks. I mean, in a general sense, so it doesn't look bad, like the whole thing is looking, okay. We of course need support edges, but as long as you don't see any angle or we're pinches here and there, you should be fine. Now for instance, see that line right there. Let's go back home. You can just press shift D and D When you're in subdivision level. So that triangle right there, this one right here could be problematic. So I'm just going to go into my edge model. I'm going to say collapse and I'm going to collapse it. Oh, there we go. Let's go Shift D. And remember aim point, we can just go to MOOC point and we can just start moving things around to make sure that they have a nicer and nicer Suilin. Now remember we didn't finish the middle piece. If you remember the like the main shape it has this middle business like the golden trim, because we're going to be doing that as a separate as a separate piece. Otherwise, things could get a little bit messy with just like a very complex geometry. So now comes the interesting part we need to give this thickness. Now we don't want this to be super, super thick. So I'm going to load my character real quick. Let's load our Paladin right here. As you can see, I've been working on this guy as a, as a separate piece. So let's just take a look at how thick we're actually going to have this things. And I'm excited, Let's turn this off. So as you can see, we don't need this to be like super, super thick. It's about the same size that it has sought to the front. That's usually or roughly where we have what we need to the back. So I'm going to go into see Muller. I'm going to say Pauline group all Q mesh. And I'm just going to push the whole thing back, leg this to give it its thickness. I think that should be good enough. Now you might see a little bit of overlap here and there, for instance, on this specific points. And it's going to be important that we try to fix that overlap in the best possible way. You can always soften the SABR like smoothness in and that should work. See you there. Because anyway, at the end of the day, all of these guys are going to be on the, on the backside, right? So the most important thing that we need are the main points on the front. That's why it's easier to work with just one particular element rather than with older or both sides because that way we just focus on this one. There we go. So now we do dynamics of division. We can see that the thickness looks good, but we need to sharpen things up, right? So in order to sharpen things up, Let's soften a couple of elements over here as well. I want this to be as nice as possible. You can always reduce the amount of intensity here on the, on the smooth brush. And that she'll help us keep our shapes over nicer disciplines to the very sharp part of the character. Now, I'm not particularly fond of this guy right there, like that triangle, but let's see how it looks once we divide. So I'm gonna press D, looks sharp, it looks good. And now what I'm gonna do is I'm gonna go into edge and I'm going to say insert. And the first two edges that I'm going to insert, RD, front and back support edges, which should be fairly easy. They should go all the way around because technically this thing is supposed to be thick. It's supposed to have front and back faces. So this two lines should fall pretty, pretty nicely and they are going to allow me or help me get this very sharp line that you're seeing right there. So that's pretty cool right Now it's time that we start adding the lines where we need them. So in this case, let's start with this square shape. That's really important. I'm going to add one line right there. And then I'm going to add the one line right here. I'm gonna go pretty much to the corners like that. I'm going to press D and look at it. It doesn't that look nice. That's exactly what we're going for. Now. Let's press shift D Again. We're going to add the one here on the inside like that. And it's gonna give me very, very sharp element look at that. Trying to get that just by sculpting is going to be very, very difficult. Now this doesn't mean that we're done. We're going to be doing a little bit of clean up later on, but this is a very, very nice effect that we're getting right now. So I'm going to press this poly frame again, and let's add a couple more. For instance, I want one there. I definitely want one here. If you remember, we had this very sharp corner going here. So again, if we press D, I want that sharp corner to be present there. We can add a secondary one right about there. Over here, you see that I have this little loop that I added. So let's just give it another edge loop there to support the whole thing. Let's go back here to MCU, this very square, very square here as well. And if we want, we can support this edge as well to keep it clean, to give it a nice little bevel the flows into the element. And that's it. With that done guys, as you can see, we get a very nice sharp line going all around our character, which is exactly what we're looking for. Now it's a matter of just doing a little bit of clean up, for instance, this sharp line that we see here, It's not the best thing to have to be honest. So I'm just going to smooth this out. So that line is a little bit softer. There we go. That's why I love C, C modeler because you're able to do like this very crazy looking geometry without that much of an effort. It's a little bit weird here, so I'm just going to use my brush to keep this a little bit straighter. Just a matter of moving this and I do this before we jump into sculpting and giving this like the metal look. Because it's going to be easier if we wait until we sculpt. Things could become a little bit more tricky. For instance, here we can start using our trim dynamic to just push the polygons into a more tighter effects. So see that curve there. And use my brush to try and get that curve to look a lot, a lot cleaner. There we go. Now let me go back to see modeler and let's turn on the polypharmacy. Again. I'm going to press shift D because I've probably one. I don't want to move edge, I want to insert edge. There we go. Well we got 11 around there. So see how that one helps keep this thing really, really straight. That's what we're going for. Now. If we need, if we want or if we need one more, we can have as many edge loops as you want. Just remember that we want to try to keep everything as balanced as possible. We don't want to overload the whole thing, but having this very sharp line would be almost impossible to do without having clean topology, like what we have here. So now I'm gonna turn this off. I'm going to say see plugin, subtle master mirror. Okay, there we go. I'm gonna go back to the Paladin. I'm going to erase this guy. It's really ugly. That was just the blocking, if you remember. And I say Append, Append. And we're going to append this last skim read topology that we have here, which is the clean element. Now, it might look a little bit small compared to the concept. So easy, Very easy fix. We're just going to go to the center there. I'm just going to scale this up. Now we're still missing the golden trim. Things like push this in. Let's turn symmetry on. Like that. One thing of course would be, or one thing we could do is just inflate the whole thing. I think that's going to break it. Let's go, Let's, let's get rid of dynamics of division so that we can see the element there. Yeah, we didn't lose that much volume just to become cleaner, way cleaner. So one thing if, if you feel you're doing this exact same step and you feel like things are a little bit too small, then worry, just turn on symmetry. And since we already have this very nice clean topology, it's just a matter of moving things around, moving things around and getting them exactly where they're supposed to go. I really don't want to do another like what's the word Like? Like inflate or Siri measure or something because it's going to break all this very nice topology that we have. But I do think that this is a little bit too thin for now. Now. We're still missing the golden trim that we need to add. So that could help give this a little bit more, a little bit of a better effect. So how we're gonna do that? I'm going to use this very ugly thing that we had before. This guy, I'm going to clone it into a different subdural right here. And I want to extract that thing right there. So a very quick way to do it is just mask out in this case that the trim that we want to extract. So it's just like golden line goes all the way to the, to the inset of the elements, which is going to follow this line right here. I'm going to invert the mask. I'm going to say poly groups, group masked, and then group masked. So we should have just two poly groups right now. Select the one, invert the selection. So we only have this one right here. I'm going to say delete hidden. I'm going to DynaMesh, so everything gets closed. And I'm going to start tracing this because as you can see, we have like very, very ugly elements. So I'm just going to move the whole thing so that all the elements become a little bit cleaner. Smooth it out again and again. And we're going to see remission. So I'm going to go into geometry, see remeasure, and we're going to see right mesh. And the effect is that since this guys are easier topologies are there, they're simpler topologists, just a plain, pretty much remeshing a board. That's because there's probably some holes in there. Yeah. Anytime you have holes, you're going to have issues with DynaMesh. So I'm just going to inflate those holes and clean them up so that they're smooth was very, very important to, to clean everything as nicely as possible. Let's try it again. So since this are very simple shape, very small shapes is, should be fairly easy to just like see remission. We're gonna go to like a very low percentage here to like a one. I'm going to go even lower, so I'm gonna go to half. I was going to say summary measures so that it gives you half and half again and half again. And it's gonna keep pushing. It, keep pushing. I pretty much want to have just a block, like a very, very simple block. Even more. Don't be afraid of pushing this thing. So you weren't going to 2.7642.66 is probably going to be a point where things are now going to be as sharp as we want, but this should be, should be good enough. So now with this done, I'm gonna go back into my skin R3 topology, which is the word this 802 tool that I have, which I know it's the 14 them for the Paladin. And I'm just gonna append this guy as well. There we go. So we lost a lot of volume and we also lost a little bit of form. So we're just going to position this where it's supposed to go. And now we can use our inflate to give this a little bit more volume overall, fully, not as much though. Let's go back. Instead of using that, I'm just gonna use my move tool. And I'm just going to start moving. Let's turn this off so that we can see a little bit clearer, clearer and see what we're going to create the nice little trim there without having to do topology like since this is just a trivial like another extra detail we have on the character, it should be fairly easy to just like get this exactly where it's supposed to go. Making sure that we don't have any like weird empty spaces. Like everything should flow very, very nicely. And of course we're going to have to use maybe the clip brushes. I think live brushes might not be a bad idea for this particular thing. To give this the square looked at it has here in the front, had this sort of like square shape right here. As you can see, that's also going to help me fill out all the extra space there that the character has. Now, I do think that this is roughly the thickness that I should have had before. And now the question is, do we just go back and fix it or how can we, how can we make it easier for us? How can we fix certain stuff without having to redo the whole thing? The answer is we just painted. So in this case what we're gonna do is I'm just going to push this guy very careful there and make sure that it goes instead like the group that we have and see all of these areas right here. If we wanted to, we could now merge. We'd like a very high topology, both of these elements into a single DynaMesh piece that's going to be a little bit easier to work with. I'm just gonna do a quickly brush a demo with this guy right here. So I'm going to go into DynaMesh. There we go. Let's add the volume here. And then with clip brushes, remember Control Shift, click, click, Brush, click, curb, clip, curve. This guy right here. I'm going to click right here. And that's gonna give me like a very square looking cut. Always the gradient to the outside like this. Careful not to do that because it's going to, it's going to attack other parts like that. And now trim dynamic and will just flatten this. We can turn polish on its on the ready. We're going to polish. And we start creating these very nice golden babble to the character had on the concept. We can bevel the corners as well. If we want to add a little bit more visual interest. Just not bath. Visual interest is always a good thing to have. And now we just need to be very mindful of those spaces. Like we don't want to have any empty spaces there. So it's just a matter of with the move tool pushing this so that we feel all of those gaps. And I feel like our whole thing is it's nice and clean. Another thing we could do, we can go with this guy or this guy still in dynamics of division. So if we think that we need a little bit more thickness, Let's isolate the guy. Let's go to our C modeler. See we still have the back Polo group, which I believe we do have. And we can try and push it. However, if we do that, as you can see, we might have some issues with a couple of pieces that are not playing as nicely discussion on these areas where things are like weirdly connected and stuff. So that's why it's always important to do it maybe from the get-go. So let's go back to the first one, this one right here. And before all the nice elements like right here when we did the element, one thing we could do is we can just like push the whole thing like really, really, like in however, as you can see, it is going to destroy the topology. So there's two options for this. Would just roll with it and fix it here on the, on the character, which is what we're gonna do for this project. Or if you find yourself like struggling quite a bit with the element, the other option is just a cool back and do it again. So in this case, I'm just going to divide this guy a couple of times. Going to this guy which is going to be like the gold trim. Let's push it there. I like that because I really like this thickness here. I don't want these guys to be slightly separated. And that was just a matter of combining both of them. So I'm just gonna go up here, merge them. This is a place where I would definitely save in case that we, later on we need to come back to this specific point in and fix something. So yeah, we'll just go here. Oh, see, we have a little bit of an issue here. So what happened here? Probably the, probably what's definitely the clip brush. So I'm gonna go back here on the clip brush. Let's get really back there we go. So right about there, That's fine. I'm just going to DynaMesh and I'm just gonna do it in manually with my term dynamic. Now see how these things are floating. It's going to be a lot easier to fix this like floating thing on the what's the word on the combined mesh? Because if we tried to do it, now it's going to be a little bit trick. One thing we could definitely do as well is combine the base meshes like that. Make sure that there's enough of a of a surface changed. They're like the little lip. That's the that's the important part, right? That's, that's what we're going for. That's the silhouette that we want for a character. So we're going to push their, sharpen their, their perfect. So, so now as I was mentioning, I'm just gonna go up here. I'm going to say merge down. So merge down, okay? And we're going to DynaMesh polish on in high resolution. And we're just going to DynaMesh. And there we go. Now it's just a matter of doing well. We already know which is clean up. We're going to move a couple of things around the US. Sharpen, use trim, dynamic, and clean these very nice element up until we get the exact shape that weren't going for. And now since we, since this two things are now connected, it's a lot, lot easier to just like mollify important things like this, things back here, right? Again. And I think we've mentioned this before. If you have access to the concept artist and you can like, see like the backside of the character and stuff that really, really simplifies things for us. Let's just like carbon, they're a little bit to recover a little bit of the group. We definitely are going to need to increase the resolution a little bit. Let's go double. And now polish is going to allow me to save that. Really, really nice. Perfect. So we're gonna have read a good position guys. As you can see, we already have pretty much everything from the top parts of a character. There's just a little bit of touch-up that I need to do on this thing. I'm just going to be referencing the main thing and just like fixing things up. But other than that, I think we're ready to jump onto the Lechs, the armor for the lecture and the next couple of videos we're going to start working on the armor fertilised. So hang on tight and I'll see you back on the next video. Bye bye. 55. MainProject Sculpting the leg part1: Hey guys, welcome back to the next part of our series. Today we're going to continue with the leg armor. We're going to start blocking in the main shapes and we're going to sculpt it out. So let's go, Let's get to it. So taking a quick look at the armored, you're going to see that this guy has a very form fitting armor on the top of the thighs and the lower legs, which it's not gonna be that difficult to do. Now, you already know the best method to do like clean sharp edges. And that would be to do actual subdivision, read, Apology, and trade like the perfect loop. However, we're going to try to sculpt them and give them a little bit more for an organic look. And I want to show you a couple of other techniques that you can use for this sort of thing. So I'm going to jump right into ZBrush. And I actually, this is the second time I did this because the software crash. So I'm going to be a little bit faster on this first part. The only thing I did here is I took the whole leg that we have before. I divided it into two groups. I have the upper group and the lower group. And on this upper group, as you can see here, I created this like just quick scratching of where the things are going to be like were the main details of the arbor are going to be. Now that we have this, this is where the interesting part comes into place. I'm going to go into Mask and I'm going to change to mask lasso. And I'm going to mask this in such a way that we get the nice little shapes that we have here. Like that, like a very symmetrical line. You can see there it doesn't match the geometry perfectly. That's fine. We're gonna, we're gonna just roll with it because I like this symmetry that we have here from the front view. Now with this thing selected, I'm gonna go into geometry. I'm going to go all the way down to where it says extract, sorry, soap to extract. I'm going to lower the thickness to 0 and I'm going to hit extract. And I'm gonna get this, which is I'm going to say except of course to make sure that that extract actually works. And I'm going to jump into this up too. I'm going to dynamic solo. And as you can see, we have this very interesting mesh right here. And I'm going to soften this a little bit because it's, it's a little bit where and what I wanna do is I want to clean it up a little bit. So I'm going to use my select lasso right here. And I'm going to use my curve tool to remove certain pieces of the element and create those nice, sharp like a lines that this thing has. Now you can see that on this side is looking really good. Now I'm going to just, I just need to add a little bit more here. Now I'm going to be a little bit more aggressive on the backside because the backside is worth this guy's supposed to see it through. So usually there's going to be a little bit more space. I'm going to say delete hidden. And there we go. Now, before we jump into Siri measure, which is going to be the main tool that we're going to use for this. I actually want to remove like this part right here. That, so I'm going to say the hidden. Before we jump into Siri measure, we actually need to do something to fix the little like borders that we have there. Because as you can see, if I tried to Siri measuring, now if I just go into geometry and I click serum measure, what's going to happen is that we're gonna get this very jaggedy edge right there and it looks really, really bad. Now, before we do anything else, I'm going to go into polygraphs. Going to say all the groups. Shift-click this guy. Oh, like the whole thing. There we go and just say delete hidden in case there's any like floating squares or anything. Now since we don't have any of those, I'm just going to jump into my geometry tab. And inside the edge loop tab, there's a very nice tool that's called group loops. Now what group loops does, as you can see there, it kind of like makes a cut everywhere on the border and gives me this very, very clean element. Now I don't need as many, so I'm just going to lower this to Lake one. I'm going to say group loops. And as you can see, we get only one division there and he gives me n i cleaner edge. It's not perfect, but it's a lot cleaner. So now Z remeasure should work very nicely. I'm going to go into see remeasure. I'm going to say that they want a low polygon. Let's see like a two and let's say supermesh. Let's see what we get looked at. So that's really good. Again, it's not perfect, but it's quite good. It's, it's quite, it, it's closer to where we need. The most important thing that I'm looking for is I'm trying to see if I can get like a perfect actually going all the way around. Now, unfortunately, we don't have a perfect edge loop all the way around, but this is good. This is close enough. Now I'm going to go to half and I'm gonna train siri mentioned one more time. There we go. Look at that, look at that beautiful distribution of the polygons. So that's a lot, lot better. So now it's going to be a lot easier to just grab my brush and start moving these things around. Giving this they're like the pointy edge in creating the nice cilia that we need. And probably you already know what's going to happen now, before we do that, you can see that we have a very nice stream all the way around. So a good idea would be to, to try and move the, the polygons. So we have as nice of a dream as we can over there. If we need to, we can just smooth things out. It's fine if the train is slightly smaller, slightly thicker in certain areas. The most important thing is that it's as close as possible. Now I'm going to jump into my similar tap. This thing does not have a dream or at least I don't see the trim on the bottom side. And since this doesn't have any trim on the bottom side, I'm just going to keep it clean. And this thing, what I wanna do is I can actually fix or I can loop around. If you remember, we can go to ALT, we can click Alt, sorry. Just poly group alt and just pull group the whole loop like that. And see how we create this very nice polytope right there. So that's perfect, right? Well, what we're gonna do now is I'm going to go into my C molar again, into Q mesh. I'm going to do everything. So let's do all polygons. And we're just going to give them a little bit of thickness out. Let's make sure that we change this actually. Yeah, let's go out like that. I'm gonna go here and poly group the loop again. There we go. Now I just need to be careful here because as you can see where actually poly looping or probably grouping some other stuff. So I'm just going to isolate this. Erase di1 or I mean, it's not the end of the day if we do this, but I do want to have this is a separate poly groups. So pretty much I want to save this. This. There we go. There we go. So now we do this and we're just gonna do like poly group or the group. So that's another poly group right there. And we're going to do the same thing like over here on this other corner. Remember this HIV, this thing. So we only have that nice little element there, grew visible. And there we go. So now it's going to be a lot easier to just grab this guy. Oh, wait. I have to do it again real quick. So I'm just going to hide all of this, all of this, all of this. There we go. And we're going to say group visible. Now my product groups are of course, a mess right now, but that's fine because I only need this one right here. This blue one, like this one right here. Let's hide this other one. That's the only one they need. So I'm just going to say group visible in bert, everything else, group visible. And now everything is going to be a single polygon there, and all the other things are going to be its own polygon. So from here, I'm just going to go again Q mesh. I'm going to see Poly Group Island just to make sure it's only this island. And we're just going to push it out. There. We go to get that nice little golden trim there. Or, or if you don't want to push it out to create, because this seems to be like very in line with the rest of the things. What we can do is we can grab the edge and say bevel. It's going to be a little bit difficult. So instead of the self link that I'm going to insert an edge loop first. So I'm gonna go to edge, Insert Edge Loop. There we go. Let's insert a natural right there on the border. And then I'm gonna go to Q mesh. And then I'm going to say, Sorry, I'm going to say poly group, that edge level that we just created. There we go. And now with Q mesh, on political Island, I should be able to just push this island in. And now I should be able to bevel this edge right there. And remember when you don't do any other click, the bubble is going to remain exactly the same. And now when we do and when we divide this thing, look at that super clean element. We missed there. It seems like the polygon didn't go exactly as we planned. So that's fine. That's because when we insert and it should be, it doesn't flow in the same direction that we need. Now that can be fixed in one very easy way and that is to collapse this edges. So I'm going to go into the collapse option on the edge loop here, collapse and we're going to collapse this guy. And this guy. There we go and see how now it flows nicely, which is what we're going for. Now to keep it symmetrical. It is, it is a good idea to collapse this other one as well. And we're going to do the same thing here and here. Here, and here, there we go. So now when we do Insert Edge Loop, now with this thing, the edge loop should go all the way around. And now we can again on the edge loops to say poly group, to group the whole edge loop. There we go. And Q mesh the island, just push it in. And there we go. We're going to now babble again on this guy right here. We can do the bevels slightly smaller like this. And then remember when we did the bubble and every other line, it should save the same amount of, of size. So we're going to do the same thing down here. Even if it's not collapse, it should keep it. There we go. So now we hit the byte. We're going to have these very clean rule. Look right here. One thing you definitely wanna do is move your brush to modify a couple of this areas to keep them as sharp as possible. Again, it won't be as sharp because we're just adapting this year in mesh tool in the best possible way. But this should give us a, a very close result. So we should be able to keep the scene and like a very pointy edge like this. Now we can try. Let me go back a couple. So the visual levels, remember it's always easier to work with this subdivision levels at this points. And I'm just gonna go here sub2. And we're going to say, Sorry geometry. And I'm going to say delete a higher. And we can go BCM again to the similar. And if we want a very spiky element there, we can always insert an actual. Just be mindful that when we insert edge loops, those are going to flow all the way around. So you might get some like weird pinches here and there that you might not like. So for instance, if I want this to be sharper, I can just insert one there and one there. Let's do a couple more like three. Usually three is like the like the golden number, like that. And then on the other side could do the same thing like here and here. And we can do another one like here to keep it sharp. You can use D, Remember dynamics or division and see how it looks better hour you're gonna get this weird lines now, that's not that big of a deal because we can very easily fixed dose and I'm actually going to do that. So I'm going to get rid of dynamics of division. I'm just gonna give it a couple of subdivision like normal subdivisions as we'd like for. And with trim dynamic, I'm just going to very, very softly by hammered out those kinks now, it's not perfect. You can see that it has some weird curvatures, but that's fine. We can always just like use our move tool and our MOOC brush to, to fix this stuff. And by hammering out this things, we're also going to give it a little bit of texture, like metal texture that could very well help us create the exact pattern that we need. So now we have this and the cool thing is we don't need to do all the others because they're very similar. So I'm just going to go to my gizmo, to my W movement here. I'm going to go into the first part here. I'm going to hit Control alt. Duplicate this thing. Oh, it has. I need to delete the subdivision levels. So I'm gonna go again to geometry. Geometry. Let's go all the way down. Now. Actually this keep, let's keep this high level and I'm just going to duplicate this thing. I'm just going to make it bigger. I can rotate it around, place it right about there, and position it right about there. And I'm going to do it once more, this one. So I'm actually going to make it smaller because it's the last one. So now if we go to the, to the initial length that we have, which is this one. I'm just going to delete the whole thing. We don't need it anymore. And look at that. We have this very nice armor. Now with the Move brush. Just move things around. Make sure this fits like a sort of like played scaled armor. I'm going to have pants to this guy because we definitely need to have something. And we want to fill this. So remember that the leg had this volume from the thigh and they'll do muscles. So we definitely need to, to fill them. So for instance, if I'm going to use Move Topological, I'm just going to start moving this around. Now the cool thing about using this technique is that you're going to get very nice silhouette as you're seeing here. Like I want this to be quite skin tight because we don't see a lot of civil rights from the character. But you're also gonna get like a very clean topology. And this is perfectly workable with like animation. And in games like you don't need to have a solid object beneath this plates, because eventually all of this things are going to be baked into either a normal maps or displacement maps. And the instance there are hard surface ED like they're not going to bend this. Another section that dense than the animators and the rigors shouldn't have any issues with this particular piece. Cool, right? Remember we're also going to have the capes. Eventually we're going to have the Cape. So now I'm going to change to my normal mood brush and I'm just going to move everything at the same time because I want to recover a little bit of what's the word of the nice light gesture of the legs. So I'm going to push this leg forward. Push this leg backwards. Because remember, if you remember, the lake has a little bit of curvature going, going back, going, we go following the shape of the body. Now we just move this around. And if you want to remember MOOC topology and just like that, just a couple of things here and there. For instance here I'm going to give it a little bit more space for the, for the bot. Guess, we're going to have the pants. Let's do the normal MOOC will be m b. And just make this a little bit wider on the site. Just make it look good, right? Proportional and good. And there we go. Very nice. First pass here. So I'm just going to push this in. There we go. And we're going to go and say mirror. You can actually go into polygraphs. And you can do group. All the groups. You should get three polydipsia there, which are very handy. And then since these are clean topologies, you can go to geometry as a final note and just reconstructs a division a couple of times. And you're going to be able to have the low subdivision level and then the high subdivision levels, which also works really, really nice. And we're just going to say mirror, okay? And there we go. Look at that. Cool, right? So now we have this very nice element for our character. Like the, theists are, are ready. He's looking pretty tight, I would say like it's looking really, really nice. We're still missing the cloth, which is going to feel a lot of the gaps in here. We're, as I mentioned, we're going to add some sort of like placeholder pants. But now we can jump onto the lower legs, which is going to be the next video. So hang on tight and I'll see you back on the next one. Bye bye. 56. MainProject Sculpting the leg part2: Hey guys, welcome back to annex part of our series. Today we're going to continue with the second part of the armor for the leg. So let's get to it. So in the last video with finished doing this upper part, we can always of course, just keep polishing it and keep getting it nicer and nicer. But I think we're in a very good spot to be honest. Let me get rid of dynamics of division. It seems like we mirrored this thing with different resolutions as you can see there. So what I'm gonna do to fix this real quick is I'm just going to get rid of symmetry. Delete the lower subdivision level weight, or do we have two extra pieces, notes, it's just one piece, right? Let's go here. Poly groups, all the groups. There we go. We're just going to select these guys right here. Like the lower, actually in this case, the high subdivision. I'm, I'm just going to go into sub tool, sorry, geometry and delete hidden. There we go. So we're just going to see bugging mirror to the other side. Okay. There we go. Maybe I had like a mask or something when I did reconstructs of division. Shouldn't have. There we go. Perfect. So that was reconstructing evenly, which is great for us. Now for the next part, we already have the base mesh, which the base mesh, which is this one right here. And I just need to modify the silhouette a little bit because it's a little bit wonky. So I'm going to jump into this guy. And before we go into like the actual sculpting, Let's turn this thing on because we need it as a point of reference. I just want to make sure that I get this nice sharp lines in there. So I'm going to carve this nice lines going here on the backside. I'm just going to keep it around to have like a nicer and nicer curvature like this. There we go. And in this war with this particular piece, I want to show you how we can do this in such a way that it works a little bit better. So I'm going to DynaMesh shear. I'm going to get rid of all of this area, this scenario that you usually flex or rotate a lot. So, so I'm gonna, I'm gonna keep it. What's the word? I'm going to keep it nice. And in functional. There's a school of thought in InDesign That's called Bauhaus. Sorry. I had like a mine mine, the lagoon there. So the Bauhaus was C, German school of thought. And the sign that said that thinks need to function like whenever you add something or whenever you create something, you should always strive to have function on a 100 elements. So they have a very nice saying that says, or like a quote that says, form follows function. So you want your forms, you want the main shapes of your element to follow the function that they are supposed to serve. So in this case, this things are supposed to protect. Therefore, I'm going to polish them in such a way that they protect. Now, I want to create this sort of like triangular looking shape here. A nice little trick that you can use as you can use your clay buildup to add like the rich, like the upper rich. And then with the trim dynamic, just flatten this thing out like this. There we go. See. So now when we DynaMesh, of course we should have polish on and DynaMesh, and that should be a little bit. Like nicer and tighter. Now, I don't want to push this all the way to the top because eventually this thing is going to be, what's the word? It's going to be hollow. And, and we're going to have like the NAEP bath here on the other side. We don't see it on this element, but we should have some sort of like a belt or something just to hold a character together. Because otherwise it's going to be really, really difficult for this guy to move his leg. Now, maybe we don't want to have us much like room there. So I'm going to bring this thing like all the way up. And one thing that we can really notice here is look at the sharpness of the curvature here. Like see how intense that curve is. So we're going to really exaggerate, really stylize curvature. We're going to keep it really stable. We're going to have a really, really thin ankles. And it's important that we see it in context with the rest of the elements. I think that works really nice. On the backside of the lower legs we have the calf muscles, this guys. And usually the outer one is a little bit higher than the lower one. So the lower one would be somewhere around here. And the higher one you can see like a little bit of a line there. It's going to be slightly lower towards just going to trim dynamic this thing away. And make sure it looks really, really polished so that we get this very nice effect. Now, I want to push on the inside here. I want to push this guy a little bit closer to the knee, like this. And let's have a little bit of volume there. There we go. Sorry, I usually don't stop talking during the videos to make sure that everything is informative and stuff. But sometimes you just getting the zone in and you just need to find that the perfect shape and stuff. There we go. By the way, at the time of this recording, the movie sold from Pixar is it's streaming on Disney Plus. So if you're watching this early 2020, make sure to watch that video or 2021 and make sure to watch that movie because it's really good. It speaks a lot about how we, as artists tend to feel. So, so I strongly recommend it. There we go. So we have this very nice shape now we just need to make sure that we have 123 ridges. Now, I don't really need to have three ridges. And the reason is we can always go back with our, What's the worst with our C molar and the extra ridges. So I'm just going to add like the general rich, so this big one right here and this other one on the top. So it's going to be roughly about here. And here. Now remember on the back we're going to have round around trim. And the front, we're just going to have a sharp, nice point there. There we go. Let's soften that up. There we go. There we go. Now from the back view, we usually have a little bit extra volume here with that with the calf muscle. So I'm going to really push that. They're down here is where the Achilles tendon would be. So there we go. We don't want that leg to look strong. So as you can see, that's what's going to make it look really, really strong. So now we're gonna do the same thing we did before. I'm just going to grab, I'm just going to pretty much mask the whole thing. And then I'm going to remove just a little bit of the mesquite because I want this to be hollow. Something like that works fine. And on the top here, I'm going to grab this like this and then go up like that. There we go. So we have enough volume where the knee is going to be covered. We're going to go again to sub tool and we're going to extract. There we go. Now remember extract should be with 0 thickness. So extract accept. And then we'll just isolate, select the result, which is this one right here. Now with DynaMesh before, with DynaMesh, I really want to push this guy's in a little bit more, or rather a simple mesh. Now see how this cut was a lot better than the last one. Like we really don't need a lot of, uh, fixing, do are we? Yeah. We really don't need to do a lot of fixing with this guy because the couple was a lot cleaner. So we don't need to do the edge loop thing that we did with the other part. Now the reason I'm pushing this guy says because I want the dynamics with a serum measure to take those into consideration. I'm also going to use Siri measure guides, and I'm going to add a couple of guides here just to help the silhouette fine, like the proper, proper curve, I want to make sure that there is a loop going pretty much around this thing. Again, doesn't have to be perfect because the serum measure things is going to fix it a little bit. And now we go to Geometry. See remeasure, and let's try a first like a very low dose of the visual level there. Not perfect. Not perfect. So let's give it another go. Let's try doing like half. Instead of this, let's do half. Because I really want to capture that group. They're still not perfect. Maybe if we go like really, really low illustrate points, you will to sort of half. Let's try points CO2. And let's see if that helps. Now not really. So what I'm gonna do here is I'm just going to start doing half until we get a very low resolution. And then we're going to rebuild a topology. We shouldn't be that much for the C. So this is really good. This is working nice. The only thing we need to do is rebuild the topology in a way that this works a little bit better. Now, I'm going to show you actually another tool that we can use, which is the Slice tool. Now the slice tool. So this is really cool because it will actually allow us to slice this in such a way that it might just work. So the way it works is very similar to the clip brush, which is this S-like skirt. The only difference is that anything that's on one side, it's going to be sliced like that. See? So whenever we slice, we're gonna get a different poly group. And it is quite handy to be honest. So what I'm going to try to do is I'm going to try and create the nice little dot we have here. So let's give it another go. Let's try again. So I wanna go like really straight there and then like a low curve like that. So 250 Degree curve. So I'm going to have tried to match it right here. There we go. So as you can see, this creates new topology or it's licensed the topology into new elements. And now technically we should be able to use are similar and get this to look a little bit better. So I'm just going to do this whole thing with a IQ mesh. Mesh all polygons to give this thickness. Just a little bit of thickness, not that much. Actually. Let's bring it in. There we go. Now, as you can see, the normals are embed it. You can go to the split bar parties and just flip, and that's going to flip the normals to the proper way. Now the only issue is that we won't be able to get like this trimming looking exactly as we want, but we can do something similar. So I can see that the gluten, it's actually going in. So I'm going to do Pali or Q mesh poly group. All. I'm just going to bring this in like that. That's going to be like the gold trim. And then the outer trimmings that they have some sort of like a pebble. So I'm gonna go to bevel. And let's bevel this a little bit aggressively like that. Same with this guy right here. So you can see it's not perfect, but it's there, it's there. Let's cue mesh this poly group and just bring it out a little bit. And we're gonna do the same thing with that guy. So now we press D to get the dynamic subdivision. That looks okay ish, but it's not perfect. And the reason it's not perfect, it's not sharp enough. So I'm going to use my Move brush now. I'm just going to start like moving this so that we get like a really sharp triangle going here. Like a really accelerator curvature right there. There we go. And now we definitely need to have with RC modeler, we need to add a couple of inserts to the, to the front right here, so that, that element becomes like a really sharp triangle. There we go. See the difference. So just by adding those two elements, now, our whole rich looks a lot nicer. Now, unfortunately, we're going to have a little bit of, again, some like pinches and things all around the element, but that's fine. I think we can, I think, I think we can get away with those. So I'm just going to let's turn this on again so that we can see what we're doing. So I'm going to do insert. There we go. We're going to insert one here and one on the back. And we're going to do the exact same thing, one here and one at the front. So what that's gonna do is going to hold my thickness or the thickness of the, of the armor a lot better as you can see right here. Now, usually this kind of things have some sort of like a belt or something that you can look like, um, buckle on the back. So the cool thing about again, similar is that we can create that quite easily. So let's try or rather, let's do it on the inside like Hitler worried about here. So I'm going to go to Poly Group, and let's try to group the whole loop here. Let's see if it goes the way I want this to go, That's better. That's roughly what they want. And now what I'm gonna do is I'm going to inset this. Rather the whole thing. I'm just going to insert the poly group Island to create a little bit of a band there. And now that band, I'm just going to q mesh the polygonal island or other outlets to out. So now when we do d See that That's a nice detail that we're going to be able to have. Now unfortunately, that doesn't seem to be working as intended. So let's try with a little bit of a thicker like a thicker indent like that. And we say how that looks. Yeah, I like how that looks at it this way too thick. So let's go back. Let's poly group that whole thing again. So instead of doing that, what I'm gonna do is I'm going to insert, I'm going to insert one that should be there and one here. And then I'm going to poly group. This thing again. There we go to the fin carnal, remember press Alt to change colors. Now we're going to push this guy out. Make sure that we have a nice thin line all around. Look at that. That looks like a molt line, which is something that you usually get that's going to be on the backs on. No one's kind of really see it, especially in the render that we have or we're going to have, but it's there. So now this thing, we don't need it anymore. We can just delete. Okay, look at that super clean looking element. Now, it looks like a really small foot, but that's just the style of the character. So I think we're good there. I am going to push this in a little bit more so that it's not like extreme calf's back here. So let's find that the leg a little bit more. I really like the proportions there. We're still missing the, what's the word, the other element. But here we can definitely go into our mirror and just mirror to the other side. And as you can see, our character is looking really, really tight. So yep, this is it for this video, guys. I'm going to stop it right here in the next one, I'm gonna do first a just a rough pants for the character because otherwise it's going to be a little bit difficult to see what's going on with the rest of the things. And then we're gonna go with the book and the knee pads. So hang on tight and I'll see you back on the next one. Bye bye. 57. MainProject Sculpting the leg part3: Hey guys, welcome back to the next part of our series. Today we're going to continue with the character and we're going to do a quick mock-up of the pants and then we're going to jump onto the, onto the ships. So I'm going to save this real quick because I don't think I'm saving that in a while and that's important. You remember, you always have the quick sip, quick tip. Remember in the light box, if you go to the quick shape, Let's do this. Oh, there we go. Why is it so big? And it's going to get bloated? So one thing I always recommend, especially if you've already saved going to quick shape here and just dump everything liquid quicksand file because otherwise you're going to be using a lot of your computers spaces. So if you haven't like a small hard drive and it's always good to keep cleaning those things up. Now as you can see, this guy looks a little bit weird because the conditional pants, so pens are going to be super important. So I'm going to append a new sphere. I'm going to turn symmetry on and I'm just going to go into DynaMesh real quick. The resolution that it has right now, it's perfect. So I'm just going to move this down. Just like position this where it's supposed to be an I don't need to be super, super careful with this because most of this things are going to be hidden by the, what's the word? By the cloak and the armor and stuff. But it's always good to have some sort of point of reference for the thing. So for instance here, I'm just using the trim dynamic to get this into like a ball looking shape. This is going to be the bot. So that will be where the, where the bot is and then the armor would be floating a little bit right about there. This is why it was important to make sure that we don't have like this spiky bits up here because that means that the character won't be able to sit. And again, this has to do a little bit. We went, we mentioned in the last video of form follows function. So what we want to make sure that whatever we're building makes sense, like EDS useable and stuff. So I'm going to add, but here again, doesn't have to be super detailed because it's going to be covered. It's just like a general element of the character. We do need to respect the belted that we have because that's where the the pants would be tucked in. And then from here, I would expect to see a little bit of volume for his crotch area, for his genitals, of course, something like that. And that's about it like that. That's all we need is again, it's going to be covered. You're not going to be seeing it. That just having the volume to get a rough idea of where things are is it's important for us. This is also going to tell us if the, if the armors way to like four out, it could be because the silhouettes shouldn't be that intense. There we go. It looks, he looks funny because of course he's like a like this we're looking guy. And I'm going to append another sphere because it wouldn't make sense. I mean, it, you can do it. You can just extracted from the same tool that we just inserted. But you can also, since this is just a small space in between the knees right here, you can just have it with something like this. So the knee would be right about there. This sphere is also going to be important because it's going to tell us where the, roughly where the knee is going to be. 0. So. And b, t, d for trim dynamic. And we're just going to tuck this in to get like the general shape of the of the leg there. There we got no density armor, pushed us into the armor. So in case anyone sees a character from the back, they're going to see this thing we can sculpted later on with a little bit of like a cloth texture and stuff. Or we can add like some wrinkles. This to DynaMesh aswell, St. Louis, just a little bit of wrinkly clot there. And of course polish this even more later on. Everything is perfectible with talked about this before. There we go. So that's going to be like that. Like the cloth that's inside this, the character. Then we can inflate that a little bit more, just a little bit, and then just talk it through them. There we go. So that guy, of course, we're going to go into mirror and we're just going to mirror it to the other side. And we're going to have to pass. So as you can see, that's really going to help. I'm just gonna select this guy, go into my standard brush, grab the same color as the as the belt. Let's grab our starting material again and just say color, fill object. This thing, same thing, color fill object. In the other way. We're going to see a more uniform looking element. Again later on we can just, it's called the bands a little bit better here. Perfect. He looks like he looks cartoony. So I think that that's a that's a good sign for it for us in general. Let me just feel the color there. Since we're already feeling colors, color, fill object. There we go. That was a little bit of a spot on the hair that was missing. Perfect. So we have the bands are ready. Now it's time to work on the boots. And as you can see, the bullets are actually quite simple. It's just like this, sort of like shoe ad, but it has of course this a triangular looking thing. Now, the way that this thing holes, it's like a whole piece of metal. This is not something that usually happens. You usually have like a, like a cut right about here so the character can move the leg around. This means that this character won't be able to lift its feet because this thing is blocking the way. But if that's how the concept looks, then we should be, we should accommodate that thing. So I'm going to go into this thing right here, BMP. And I'm just going to push this thing forward. This thing goes back a little like this. And then you can see this like corners there. So I can go low. And just like January, again, this is one of the beauties about having low topology. It's very easy to, to create this sort of shapes. Tried to do this with just like DynaMesh and you're gonna get a little crazy. That's why you should always master all the tools that are available to you because they Will allow you to create this sort of shapes. Now, we need to block in the general shape of the foot. This is of course, something that should be done with similar. It's just way easier to do it that way. So I'm just going to go into initialize and I'm going to say Kikuyu, It's just a normal two-sided. Q. I believe. Yep. So I'm just gonna go back to I'm just going to say make polymers 3D. I'm going to go back to this guy and say sub2 append. You can see that this tool is getting bigger and bigger with the more tools that we have. But that's just the way this all the way to the bottom side. There we go. And let's just position this down here. Now as you can see, the fetus actually pretty straightforward. If I see it from the front is this sort of triangular looking shape like this. And I would expect from the bottom view to see like the front part of the foot like this. And then thin where the arch of the foot is and then a little bit thicker on the back. It seems to have a little bit of a heel. So if I were to check the side view, it probably would be something like this. And then it's covered by this spiky thing, which is going to be a separate piece. I mean, we can mold it from the same piece, but it's going to be like a little bit of a separate geometry. So what I'm gonna do is I'm going to position this right here. On the heel. I'm going to start with like the heel of the foot. And then I'm going to of course turn on poly frame. I'm going to use my smaller brush. I'm gonna go into Q mesh poly group island. There we go. And we're just going to push this all the way to the front. How far? Not that far. He has a small Feed compared to the rest of the element. You can see that the feet are really, really small. So I'm going to keep them small. Probably. Oh, I'm just going to go into MOOC now. I'm going to move the polygonal island. That way. It's easier to move the whole thing like this. And then we need to make it sharp like a triangle. So one way we can do this, we could collapse, or we can just say MOOC and move the edge here. Let's turn on symmetry. To create this sort of sort of element. We can move this as well. I want to give it a little bit of curvature here, just a little bit, not that much like this. On the back. We definitely need a little bit of I'm just going to use my brush here just to keep it a little bit of that brown. This the backside of the foot. This of course it's going to go in there. So we want to create this sort of like shape. Now you can see I have symmetry turned on and the, this kind of working, it's not working perfectly. And the reason it's not working perfectly is of course, because the symmetry it's on the other side. So one thing you can do is you can turn on this thing called local symmetry. And it's going to take into consideration the symmetry of the object, not the symmetry of the world. So sometimes when you're working with things like this guy that are off-center, like they're not in the center of the grid. Local symmetries, really, really good. Oh sorry. A couple of coins fill here and my, and my desk. Now we definitely need to go back to my similar. And I need to add a couple of extra edge loops here. Let's do 12, because this guys are going to help me create late the actual shape of the foot. So I want to thin this out. And then the inner side. Now I'm going to turn on, turn off the symmetry. And the inner side should be slightly larger red because that's where the thumb bus. It's like this sort of cartoonish boot. I'm just gonna do the boot first and then we're going to cover it with what's the word? With the spike, the pad on the front. So probably not as big prolly, something like that. There we go. Let's try dynamics of division. So we definitely need to add some support edges, support loops. I'm going to go into my edge loop here, BCM. And we're going to insert an initial, they're in there and that's going to keep it nice and sharp. We have to do a manual sharpening later on. I'm also going to have the one here on the bottom. There we go. So that should really flatten everything up a little bit better. And if we press dynamics of division, That's going to give us a nice result. So this is good. I think this is good. So I'm just going to be honest, I'm just gonna go into DynaMesh. We're going to polish, going to increase the resolution. I'm just going to DynaMesh because I think this sort of shoe, it's going to look a little bit better if we, if we make it. Let me, instead of trying to do it with perfect topology, now that we have this or I shouldn't know, let's just divide. There's gonna be a couple of times. Yeah, that's better. And now with trim dynamic, we're just going to push this thing. Let's turn off the transparency because we definitely need to see how this thing is looking. I think this thing should be higher up like this. My foot does seem to be looking a little bit thin on the, on the front view. So I'm going to just R and scale this up a little bit. It's a little bit thicker. And now we can start like sculpting the actual, for instance, the heel. That's a sculpted here. And then use trim dynamic to really push it. There's one thing with, with shoes and feed that people always struggle with and that's making it look like it's actually sitting on something. My best advice is it's just a pen like a cube or something and create a little bit of a floor plane. Because if you tried to do it with just the what's the word? Let's do a. Q. Polymers three. There we go. There. Let's leave a couple of if you just start to do with the actual floor, sometimes it's not as good like you won't get the actual result that you're looking for. So something like this, it's better. And it's going to allow you to see like how this is actually like transforming or like sitting on top of a surface, right? So move this down here like that. Now I can jump in here and I can make sure, like the backside of the helix actually touching. We can make sure that this thing is actually like curbing into a way that I wanted this to curb. I think it is too big of a shoe, so I'm going to make it slightly smaller. I'm not going to worry too much about this front side because we're going to have the spike, the spiky area in just a second. We're going to add it. Hey, do want to trim it a little bit though. There we go. Perfect, right? Looking good. We can always add one more division level and just keep pushing. And the cool thing is since this is clean topology, it should hold nicely. This thing seems to go even lower. So it's going to push it lower and create that little like a spike that it has. Same on this side. You can see it here, even flare out a little bit on the backside, creating a little bit of a silhouette there. Now let's add the little spiky like cover here on the front. Now for that thing, I think we can also do it with, with like a queue mesh. So this is it here and then it will just append it. And the way I'm gonna do this, I'm actually going to collapse a couple of edges. So I'm going to go BCM. And I'm going to collapse this edge just so that it's completely triangular. Let me move this to the side again just to keep looking at it. So being collapse, go like that. And there we go. So that's the triangular shaped the word going for. And it's just a matter of using our brush. You can always go into like dynamics of the vision to see how this is going to look and just modify it here in the dynamics of division. This also works. I definitely want to turn on symmetry. So I know this thing is going to push like this and then flare out like this. See how easy this to work with like fixed shapes like this. There we go. That's looking good. D to C, dynamics of division. So that's just gave me roughly the result that I want. It's just a matter of inserting a couple of edge loops to make sure that this is as tight as possible. So I'm gonna go here to insert at the edge. We're going to insert a one edge down here. So you can see there. We're going to insert one that's right there. Now as you can see, it's not going to the middle section. There we go. That's more like it. Perfect. So now control leap and just trim dynamic. To give this that nice, sharp look. That's harsher facility less. So one more. Back here. Here we can use the clip brushes, remember, so let's do clip curve, and let's just click here like this. And it's going to be super, super straight, super flat. That there we go. Trim dynamic and just push this main line a little bit more. Smooth everything out so it doesn't look like a, like a weird painter anything. And then on the silhouette, we can always modify this. There seems to be like a couple of like extra borders there, something like that. Just like hugging the surface of the foot. And that was just a matter of going back here. F and saying append that poly mesh 3D, go all the way to the bottom where it is. There we go. And we just position it. It's going to be a little bit bigger. That's fine. Let's go in proportion. I'm like This makes sure it's pointing to the front we're going to be posting later on. So we wanted this to be as symmetrical as possible or as nice as possible and that we do a couple affixes. That's why it's always important to check everything in, in comparison with the rest of the elements are, for instance, here, the foot looks way too thin. So I'm going to give a little bit more volume. I'm taking a look at the main line over there and it's looking good. Let's do a DynaMesh or sorry, C. Or what's the word? Daimon standard. And then inverse the unionist and D. And I'm going to use a paintbrush to really pushed out the surface area C to make it look like the sole of the foot, like that. So again, it seems to be made out of metal. I'm not sure how this would bend in video games, we have something called bendy metal, where metal literally bends and that's fine. But yeah, I think that looks good. I just think that the sea, again, here's where consumers sometimes like Confucius, like a lot. Look at this, this thing right here. The curvature looks like this, right? Like a concave. And on this one it looks convex. So either a he has a asymmetrical armor or I'm not sure. Following the general rules in general design principles that we've been seeing with this character. I would go with like a pointy and pointy end like this. So let me turn local symmetry on. There we go. So I think I'm going to push this up. So it's right there on the floor. And the very softly. I'm going to make this really sharp, like this. Perfect. I think we can combine them. So I'm just going to move this up like this. And I'm gonna select this guy. I'm just going to, let's just check how many subdivision levels this one has somewhat subdivision level six. And then this one is of subdivision level three. So it will be a good idea to divide this a couple times. So Control D, Control D, control D. So they both share the same subdivision level. And then we're just going to merge down. So merge down, okay? Now they're both going to have the same amount of subdivision levels and we're going to be able to jump back and forth between them. Let's assign the color because we already had the color for this guys, which has this nice brown color right there. Let's turn off the floor for now. Because we're also going to see if that feed our wages more. I think they're a little bit too small. So before we mirror and do anything else, and before we finished 3D, I know we're already at the 20 minute mark. Just hold on a couple of minutes more so that we don't have to have an extra video for this. So I'm gonna make the feet slightly bigger. I think that's more fortunate, little bit better. So I'm just going to say C plug-in mirror, mirror to the other side. Perfect. That looks really good. Unfortunately, it seems like I did all this tension on this side only. So remember, we can go to to do deformation and we can mirror to the other side. So the right side is now the correct one. And then we can go to Geometry. Modify Topology, mirror in the weld. And it's going to just like Caught and then mirror to the other side. So both of them are going to have the same exact elements. So let's grab this code right here and say color fill object. This guy. Let's give it a couple of divisions. Color fill object. Okay, intensity at a 100th. Of course. Script this guy again, color fill object. This guy color fill object. And the boots color feel objects and look at that. Doesn't that look good? That line should have the same, like fuel hydrogen. We're just missing the gold trims. But as a whole, the character is looking really, really good guys. Now, the next couple of things that we need to do, we need to do the knee pads. That's the final part for this specific area for the Lexend, this case. And after that, we're going to probably do the sword. I think we're going to do the sword were still need to do the shoulder path and then we jump onto the, onto the cloth and the final posting. So we're very close to the finish line, guys don't don't don't get impatient. I know there's been a lot of videos, videos and content, but hopefully with this thing you understand and realize all the things that we usually do us artists to make sure that everything looks as nice as we can, make it look. So hang on tight, keep working and I'll see you back on the next video. Bye. 58. MainProject Sculpting the leg part4: Hey guys, welcome back to the next part of our series. Today we're going to continue and finish with the R-bar. So let's get to it. We're just missing the nice little notepad that this character has. So we can check it right here on our concept. You can see it's a slightly interesting like it's not super, super simple. So I think with this one we're just going to go traditional sculpting. So let me move this to the side of this wall. And I'm gonna go here. Now one thing I am going to do is I'm actually going to sculpt it outside of the character. So I'm going to go to his fear here. Make polymers 3D. And we're going to sculpt it right here. The reason is it's going to be a little bit easier to work and we're going to be using clip brushes to get licked the general shape of the whole thing. So for instance, if I go to the side view, I know that I'm pretty much gonna get rid of half of it like this. From the front view, it has this sort of like shape right there. So I'm going to use symmetry, of course. Remember you double tap Alt and you're gonna get this sharp edge like that. So I'm going to try and get something like this. Yeah, that's a little bit closer to what we have. And then down here, we have something similar. So it's like this. However, on the other side it's like a curve. So I'm just going to heat it one time to get like the curve and it curves out and becomes like a nice little like sharp corner. So I'm actually going to make this more intense like that. There we go. Now on the front view, we have a nice line. So I'm going to use my trim dynamic to create like the middle line right there. And it stops right about this point where it creates this sort of four-sided shape right here. So from this point we're going to have another section right here is going to be like the other option. And it goes back to like the little wings on the side. So the clique brushes, as you can see, are really, really handy, especially when doing very complex hard surfaces, stuff like, like this guy right here. There we go. Now I'm going to turn on Polish and just DynaMesh. And there we go. So that holds the form a little bit better. And it's just a matter of using my brush to give it its proper shapes. So it seems to be a little bit longer. So I'm just going to scale this up to make it longer. And with my Move brush, I'm just going to push it so that it matches the silhouette of the concept. I'm gonna use a standard to create the line here that goes to the side like this and the one that goes to the middle like this. And I know that the one I do polish, that line is going to be more intense right there. And it's just a matter of using trim dynamic to polish this even more. Now, this guy becomes like a really short triangle. I wouldn't expect this to go all the way to the inside of the leg. Like there's a lot of volume here. So now we're going to use light Booleans. Remember like Booleans, I'm gonna go here and sub tool, we're going to append. And I'm going to append a sphere. I'm going to turn on live Booleans. I'm going to use negative or subtract the light Boolean to remove, as you can see here, most of the shape from the, from the element. So as you can see, we get this very nice looking. Element. And now this thing would just say make poly mesh 3D. Sorry. Going back here, we're gonna go into geometry, into Boolean, make Boolean mesh, and is going to become a new mesh PM 3D. And we can again turn on Polish, turn on DynaMesh, and just keep working from here. Or you can work on the, on the other one. That's, that's up to you. I think this is a little bit flatter, so I'm gonna make it a little bit flatter. Careful here. Since this is a new sub tool, this is going to be, we need to turn on symmetry back on. So we're going to have this, the metal caught coming into the area like this. I'm going to use the mean and standard inverse to create that. Got there we go. And yeah, this is roughly the shape. It has this little spiky things at the sites similar to what we have on the feed. So it's important that we add them. And now again with trim dynamic, There's also polish. The polish brush is really good. Celebrate less intense that the term dynamics. So you're going for like a softer look. Polished, works really nice because it's not as aggressive as the, as the polish brush. It creates this nice little effects right there. Looking at one, I'd be a little bit more aggressive, especially here on the sites. To clean this discourse DynaMesh. And if we want to, we can always go with C refresher as well and just give it another, another goal. But the other thing that's going to be necessary for this one in particular, I think we can keep it like very handcraft to hear. Nine the mission. See how nice we get the diamond shape, their DynaMesh. There we go. Perfect. So I'm gonna go back to my character here. I'm going to say append. And we're going to append that little shape right there, of course is going to be extremely big. So we'll just make it smaller and make sure it fits where it's supposed to go. I still think we can make it slightly longer. Not that much, just a little bit. And this thing is going to be a line to the lake. Now here's where we might need to do some changes. For instance, I think mine is a little bit sure curved. And that's of course because we started with a sphere. So we're going to inherit the curvature of the sphere. Of course, there's just a matter of cleaning this up a little bit. Usually this piece is connected to the lower section. So I'm going to lower this and, and kinda like welded together there. And then with my brush, I'm just going to like push certain areas out. So it looks like it's part of the leg, the leg the lower leg. I mean, like this. If we need to, we can inflate this just a little bit, give it a little bit more volume there. So that's not super thin. And DynaMesh, of course, careful here since we delete or decrease the size, the dynamics is also going to decrease. So it's important that we increase the resolution so that it matches the new size and the scale of our object. There we go. This things go a little bit further out in this things go a little bit further in creating this very nice curvature on the side. The term dynamic again, just pushing this shapes, they giving it its, its look. There we go. That looks good. Now the other one, the one that's on top, it's just slightly different, but we can use the same form as a base mesh. Because the only thing that changes is that on the top It's a little bit more square and these guys are also squared. So what I'm gonna do is I'm going to isolate this guy. Isolated here. I'm going to use the clip brush again. We clip curve to square these guys out, n squared, this guy in like that. We can even delete all of that stuff. Hello, dynamics of division. Make sure before you do DynaMesh to go into poly groups. And we're going to select all the groups. So we get one group for each island of faces. And in the DynaMesh options, you're going to select groups. So now when we DynaMesh, each individual piece is going to be affected separately. So this thing is a little bit like a flare out like this. This guy's got a little bit lower and we can use Move Topological he BMT remember is the shortcut to get them in there. And then of course, our all our trusty trim dynamic to keep it like that. The site pebble. And then like the main bevel, very careful there. We could also use the mean and standard to re, introduced the element there, BMT to push this guy out. Because it's like a really, really out. And we don't want this. In this case. I think it's got to be something like this. What happened? Material dynamics way too intense. So I'm going to soften it up a little bit on the intensity. I'm going to bring these guys down. Again. Topological disguise should hug the surface a little bit lower, like this. There we go. Remember, the most perfect shapes are going to be where we're going to be able to achieve them if we do like the full tree topology process. However, for this project, that's supposed to be a nice little introduction product for you guys. It's okay if shapes are not like perfect, perfectly fine. The important thing about this, and remember, that's one of the things that we always encourage you guys to learn is to feel comfortable with the tools, like learn the tools and once during the job, but you're going to be polishing and perfectionist Everything to the last little detail. There we go. I like that. It's a little bit it's not as pointy as I would like it to be. It's show I'm gonna go here and I'm just going to make it a little bit more pointy thing, thing here. And with clay buildup, I'm just going to get rid of a little bit of volume here, so it's not as flat. And it's a little bit more like a like a hard edge like that little bump there and just fill it in with clay buildup and then use trim dynamic to polish it off. Just like that. Perfect. So we're in a good position, guys. I think this is looking good. We're going to be doing a, another like detailed pass later on, on the, on the whole character so that everything looks even better, like little bit more realistic armor and stuff. But I think we're in a very, very good position with the overall things here. So I'm going to plug in, I'm just going to mirror this thing to the other side. There we go. And our character is pretty much done in regards to the main things of the body, right? There's three main things that were missing and they're very important. That shoulder path, which is going to be quite tricky. It's not super difficult, but it's going to be a little bit interesting. And then we have the sort which is going to be really, really goats its own, it's pretty much it's own project, but it's going to be fun. We're going to be doing this nice little lie in here. So, so yeah, this little details feels like the rope and stuff that's that's easy, that's going to be done fast enough. And then the cloth is also going to be fast. So just keep working your product again, I strongly recommend not to move along until you're close to this stage because otherwise you're just going to finish the whole thing and you're not going to be doing, you're not going to do the exercise and you try to do it, it's going to be too much is going to be overwhelming and, and it's not going to be good for you. So again, my strong advice ease tried to do this as state-by-state. You just chapter by chapter, follow each individual video until you get to that nice little position. And once you're done, you can move on to the next one. So hang on. Thanks, guys. I'll see you back on the next one. Bye. 59. MainProject Shoulder Armor Part1: Hey guys, welcome back to the next part of our series to the work and the continue we did character, we're going to start with the shoulder armor. So let's get to it. This is where we left off. Now, I think do a couple of little tweaks here and there on the proportions of the character. As you can see, I brought back this like lines that we had before, if you remember, we did them like a couple of versions ago and just brought them back and I scaled the head slightly smaller. Make the legs is slightly longer like there was there were a couple of proportion tweaks that I did. However, unfortunately, well, I was doing this. I was going to show you the time-lapse here. We have the power out the shear and my CV, so we didn't have or I don't have that recording right now. So just keep in mind that there were a couple of changes here and there and I can actually compare. So let me, let me show you, for instance, I'm going to load like the previous tool which I believe was told 17. And if I just switch from one to the other and you should be able to see, there we go. So from here to here, see, so I felt that what he was looking a little bit to cartoonish in, in certain areas like it was not asked. Nice to see. So I just made that had smaller made the legs or the torso shorter as well. So yeah, there were a couple of tweaks here and there, but nothing that you can't do just transpose a little bit of MOOC tool here and there. And yeah, that's, that's pretty much it. There's a couple of spots that we need to fix that I'm not going to worry too much about those just yet because we're going to be posting the character later on. And I love that thing. So those things are going to change. So let's jump now onto the shoulder patent and let's jump here into our little foolish on file just to see how the shoulder pad looks. So as you can see, we actually have three main things. We have this base like metallic plate back here. We have this secondary plate up here that has a little bit of a different cut, as you can see there. And then we have the lion, which is really, really cool and also slightly tricky. We have this cylinder right here supporting the ropes that we're going to be adding later on. And then there's this thing that I don't really understand what that is, but some sort of detail or something. So let's start with the first bar, which is just like the base plate. So you already know the drill. I'm going to go into my polymers 3D star right here. I'm going to go into initialize. I'm going to set this to 111 to be able to work a little bit better. And we're just going to make this a poly mesh 3D. I'm going to jump back into my character right here. And in this case, we're actually going to be sculpting or modeling right on the character so that the proportions and everything match as nice as possible. So I'm going to append, and we're going to append the polymers 3D cube. I'm going to go all the way down. You should be here. So I'm gonna move this up. There we go. Now for this guy, I'm actually going to turn on local symmetry because we're gonna be working with local symmetry, off symmetry like off axis. And you can see that it pretty much goes all the way through here. Now, I don't see the rest of it, but I would imagine that something like this. So that's sort of like the shape that we need to create. So I'm going to start up here first. And I'm going to scale this up to get the proper deformation, which should be something like that. Thickness wise. It is quite thick, so it's going to be something like this. And then on this side is going to be something like this, right? So pretty much like hugging the shoulder right here. Now of course, this thing should be probably slightly thinner like this. This thing is going to be slightly shaped like that. Now before we do that, I believe there is a deformation that we could use, but we do need to add a couple of edge loops here. So I'm going to go into my similar, I'm going to go into the edge. I'm going to say Insert. I'm going to insert multiple edge loops and I want to insert, let's try and see how many we get. There we go. So by doing multiple edges, as you can see, we get a very symmetrical distribution of the elements. So I'm going to do this because now I want to go all the way down here to the Deformation tab and there is a bend, the form, this one right here that we can use. Now as you can see, the bend right now is bending this thing on the y-axis or the z-axis. I'm going to change this so that it bends on the x-axis. So I'm just going to try and press this thing here, turn the exon spinning in, but that's not what I wanted to do. I think it's this smooth band. I'm not sure if it's trying to look for like the middle ground. Let me, let me try and move this. Think back to the center line. Let's see if that helps. Let's do as bent on the x-axis. Now it's just bending, it. Twists, seems to be working a little better. Nope. Okay. So instead of doing this in so that we don't waste that much time, I'm just going to go let's go to the last point. We forgot to Atlas the VCM, just going to add one more line right there. And then I'm gonna go into local symmetry. But in this case it's going to be local symmetry on the c-axis. So I need to go into the Transform tab and change symmetry from x to c axis. So we have the symmetry on both sides of the element. And I'm just going to go into Q mesh. Well, let's do, let's do on the edge, Let's poly group first. So let's pull this guys and then those guys, and those guys, there we go. So we have a different polygon for everything. Now we're gonna go into MOOC right here. We're going to align to access because we want everything to move on the same y-axis. And we're gonna say poly group all. So see, that's going to be a lot easier to do it that way. And we're going to be able to create the roundness that we're looking for. So like that. And then I'm just going to go into the MOOC edge. And we're just going to move this guy up and MOOC this guy up. There we go. Easy-peasy. It moves slightly weird there. So another option would be to press Shift so that it's a line. When we press the Shift, as you can see there, the option is a line, so it's going to become aligned to the axis. Perfect. So now we have the proper shape and you can see that we have some very nice indentations there that it's not that difficult to add. So what I'm gonna do here is I'm going to go into poly group. And I'm going to group this guy with a polygon. Just click, click, click. And then I'm gonna say inset. Right here. And we're going to inset d poly group island right here. So we're just going to insert this. We're going to do the first one which is going to help me for the boiler. Let me, let me get rid of this to see how many lines we have. See that nice little element there. So I'm gonna do another one. And I'm going to press Alt while I'm doing this so that we get this very nice bevel edge right there. Now, I'm going to go into Q mesh and I'm going to do Q mesh polling group Island as well. I'm just going to push this guy. S like that as you can see, now, this is pretty like flushed with the surface, so it's not like a concrete thing. So this thing, I'm now going to insert this again, like this island a little bit. And then we'd cube mesh. I'm going to hash out. So it matches the same element right there. You can also remember, turn on like a line of full step here. And it should align itself to the notes. Now let's change one. So the only normal traction we could structure nowhere is it? That's fine. Let's just do this. There we go. So now when we press D Remember the ease our dynamic subdivision, we should get like a nice little result of the whole thing, which is not looking bad. Of course, we need to insert a couple of support. They're just so I'm actually going to bevel the whole thing on the outside. So I'm going to go into bevel. I'm going to say bevel. And we're going to bevel this whole thing. And I believe we can change the way the Bible works right now it's just, it's a sharp, leaner edge shortage lists those four rows. So now you should have that. And I believe we can press, or rather it, Let's go four rows, soft edge. There we go. And that should give us a little bit of a softer edge, weight. Two rows. Nice. Same on the other side. There we go. So now when we press D, It's better, not perfect yet because we still need a couple of extra support the edges. So I'm going to go to the edge loop again and say Insert. We're going to insert an actual grade there. Let's do the same amount or close to the same amount that we did for the other side. So half it's going to be 0.5.55.5. There we go. So now when we press D, look at that pre, the nice, pretty sharp, this is a little bit sharper. So this is where we would go and change the Insert Edge Loop to single edge loop and just inserted one right there, probably one right there. And do the same on the other side like this. And now when we press D, that's going to look a lot sharper. Very nice, very cool. Perfect. So yeah, that's, that's the square. So I'm just going to turn this off. And we're going to position this where it's supposed to be. Should be about here, hugging the surface. It's a little bit closer to the center. If we, if we need to scale it, we can, of course, scale it and modify. And again, this is one of the cool things about this whole process. It's very modular so you can change things around. Now here, we definitely need to go back to our fur cape and do a little bit of tweaking. So I'm gonna, I'm just gonna grab my Move brush. Let me move a couple of things here in my desk. And on the, on the actual for weed. No symmetry because this is now going to become asymmetrical, which is one that makes sure that this thing looks like it's coming from below. Now, I'm not too worried about this specific points like on the inside here because they're going to be covered by the next layer of armor that we're going to add later on. But everything else should be like hugging the surface and going around the surface. Think of it. Like when you were like a hat or something, your hair pretty much tries its best to to mold itself to the new shape that the hat or the Cap keeps it right? So it's the same sort of deal. There we go. Now for instance, here we can fluff it out. So that kind of like supports the whole path. We hang a little bit of overhang there, which is going to look really nice. But other than that, we want everything to look very, very cool, very convincing. Look at that. And again, this is why, if you remember that, let me open one of the first leg symptoms that we had, like let's say number three. Well, we're we're here back who like the love videos are a while back. This was what we have. And yet you probably thought, Damn, this teacher is not going to teach me how to get to the final result very soon. And you can see that after several videos, of course, we're in a very, very good position like this is looking a lot sharper. We're still missing balling paint. It's going to really help the face look a little bit better. We're going to scope the hair a little bit more. We need to add a couple of details and stuff, but yeah, just just look at the difference that a couple of hours of work make. Now you can see that the proportions have changed. There's been a couple of changes. Things have shrunk, but we can always just scale this out or scale it up in and it's going to look fine. So that's it for this video. Guessing the next one we're going to continue with the next part of the path, which is this one right here. And the end. Yep, So hang on tight and I'll see you back on the next video. Bye-bye. 60. MainProject Shoulder Armor Part2: Hey guys, welcome back to the next part of our series today we're going to continue to the next part of the shoulder arm hurts, so let's get to it. This is the next shape that we need to tackle the second layer before we jump until the lion head. And for this second layer, we need to create this shape. Now, this shape, it's a slightly different than the shape before it, because it has this code right here and this is going to be quite important. So we're going to do a very similar process that we did with them with the previous shape. This is of course a symmetrical or I expect this to be symmetrical. So let me show you how we can simplify this a little bit. I'm going to select this tool right here. I'm just going to duplicate. And then this guy, I'm going to go back like all the way back to where we were creating the, the initial polygons. Because as you can see, this gonna say it was a lot of time, it's going to be a lot nicer and a lot easier to just work from this guy right here. So I'm just going to increase, Let's center that pigment. There we go. We're going to increase the curvature a little bit because this should cover or should have a little bit more overhang right here. It's shorter on the, on the x axis. It's kind of like this. What's wider on the, on the c-axis like this. So I'm going to jump into my similar. Let's turn on poly frame so that we can see what we're doing a little bit better. And I'm going to go into move again. And I'm just going to move this down. We'll move this down and move this down. Move this down a little bit as well. So that's a little bit more curved. There we go. Now the trick here is we need to create this sort of shape. And if we trans, trans transport is that the early interpolate or if we, if we just project the shape, it's sort of like doing this one too. And then the main curvature. So it's on the final, like two edges like this. I just right here where we have that sort of effect. I'm gonna move this guy back and then move this guy back a little bit as well. Because that's sort of like the qubit through the house. Maybe this one a little bit more like that. There we go. So we definitely need to add a couple of extra edge loops so that we can recreate this nice sharp line a little bit better. So for that I'm gonna go here into Insert. And we're going to insert one edge loop here in a second. Here, one here. And that one's a little bit too close to the edge, probably like there. Then I'm going to go into my move polygon. And we'll pull the gun single pulley right here. And see how I can align this and create a little bit of coverage. I'm pressing shift when I'm moving it back and pressing shift. And it creates that nice little curvature because it's supposed to align to like the normals of the element. So for instance, here I'm just going to push it as well. And there we go. So we do have the nice division that we have or that we want. So I think that's a good position to be. I do want to modify this guy's a little bit so they hang a little bit lower here. Like this. Like I want to create a little bit more overlap with the, with the other part of the polygon. And now we need to. Create the indentation because we all have this line like similar to what we had before going around the whole thing. So I'm going to go into again VCM, going to poly group. And we're just going to grab a different color. There we go. We're just going to public good the whole thing here. Again, we're going to grab now Q mesh poly group, or actually let's look inset Pali group Island and we're going to insert the island. Now unfortunately that's giving me some weird errors. Let's see if we are, let's do board. They're only now we want the whole thing is an insert instead that we want. Yeah, right. So let's do let's do center and border. There we go. Let's do one more. That's weird. I'm not sure why we're getting that. Let me go back one more. There we go. Let's start with a single poly and see if we get the same error. No, see, you know, like a single bullies not creating that error. So sprawling instead of doing poly group island with poly group, all really weird. Let's see the options here. Instead region into each Bali. Tender. There we go, stand there works a little bit better. It's probably trying to protect me from this overlap that we're getting there. But that's fine. I can I can handle it. So we're going to do this, which is gonna give us the first border. I actually do want to be or to go a little bit higher or not hire like closer to the edge. Even if we get a link a little bit of a pinch there. And then we need to do one more. And here's where it, where things could be or could get slightly complicated. We can also try and do extrusion. Extrusion is gonna do something different. So we need to definitely work with inset. Let's do legacy and see that one gives us a little bit of a better result. Nope, Not really. So the problem here is that since we have a lot of lines on this area, it becomes a little bit difficult for the insect to work nicely. And this is an issue that you sometimes get on the like on traditional tools like Maya and 3D Studio Max. Because eventually like this board there is going to collapse with the next board that right? So one thing we could do instead is we could extrude out like what we can do is just grab this thing, make it smaller. And then from here, we're going to poly group the whole border here. There we go. And we're going to queue mesh this guy out the whole poly group all. So we see that we do once and twice. So on the second one we need to definitely change the color. So something like that. So that allows us to control a little bit better the way this thing is for me, while still keeping most of the shapes that we're going for. Which again, press D, we get a nice shape there. This a little bit of a pinch here and they're like those areas there. That's an easy solution. We just need to make sure that. Well, it's like I don't want to soften this too much, but I definitely want to bring this guy up so that we don't create any weird-looking effects. There we go. Don't often too much because you're going to lose the shape. Perfect. So now we're gonna go BCM again and on the similar, we're going to do something similar to what we did on the other guy. So we're gonna get Q mesh poly group, oh, no, sorry, inset. And we're going to insert this guy in. And then Q mesh, make it go down. And then insert again, slightly in. And then Q much again. And we go out, well, we're going to say Pauline group island. There we go. So now when we press D, We're going to get that nice babble that we're looking for. Again, we are going to go into Insert Edge and we're going to start inserting a couple of edge loops. So there's going to be 0, 1, sorry. Insert. There we go. We're going to have one edge loop rule to the camera because the shelves or non-living me see exactly what I wanna do. Let's just wait for this thing to save. There we go. Oh, sorry. There we go. So we're going to have one line going all the way to the back. One line on this corner right there. One line on this corner right here, one more in this corner right here, and one going across on both sides. So 1, 0, and 2. So we'll press D. This is going to hold a more much sharper shape right there. So that's a lot closer to where we were looking for it, which I think it's a good approximation. We do have those weird-looking like lines right there. And the reason why we have those lenses, because we have a lot of lines there, but I don't think that's much of an issue. Want one reason is because we're going to have this thing on top, the lion, the lion crest right here. And the other reason is that we are going to be hammering this to make it look a little bit more like a metal. So I'm just going to Control Shift D and then Control D a couple times to give this a couple of divisions, turn this off, and then with my trim dynamic, I'm just going to flatten those out. Same. So pretty much getting rid of those like little kinks here in their king son nicks that we have there. There we go. It's going to look more like a polished piece of armor. And yeah, I mean, that's that's pretty much it. We can again grab these guys right here. The color, say RGB, color fill object. So like this guy as well, color object. And as you can see, and this is one of the main things I wanted you guys to take away from this part of the lesson is that it's very easy to just think something that we've already worked with. This initial plate down here and just reuse, utilize most of the things that we have and create something new. You don't have to reinvent the wheel every time you're sculpting like a will take us forever if we did everything from scratch. So if you can recycle things, go for it. And as you become more and more proficient with the 3D world, you're going to see that there are some other things that we actually reuse. Like, I don't do the same wood material every time I need a wood material for my renders or I don't do the same body type every time I need to do a mail like traditional character. Sometimes when you already have the tools and you know how to get the tools. Just easier to start from scratch or sorry to start from like a base measure something and work from there. It's not cheating. Some people think that it's cheating. But I always say that in the production side of things like when when you actually have deadlines and stuff. One of the important things that the QR efficient with the, with everything. So even though you could do everything from scratch, it's not efficient and your clients is going to value efficiency more than anything. Now there's one more thing that we can add from like right now, which is this cylinder thing. And I want to add it just because it's easy. Because it's going to allow us to find where the, the lion, the head is going to be positioned later on. So this thing is going to follow the same angle. So it's important that we see the angle because it's about 25 degrees of angle right there. And then from the side it's about 270 degrees of angle. And this thing's going to be right about there, right on the middle, so about there. And it's going to be important because again, the lion heads is going to be wrapping around that specific piece. So, yeah, there we go. Let's save this real quick. Say new version. Remember always save different versions. This is because if for any reason your file gets corrupted or you need to go back to a previous position, It's way easier to just move that around. Now, do not make the mistake of moving the hair and the end, like erasing it or trying to sculpt it out. No, just move it. Just move it and make sure all the nice buckles and details that you sculpted on the hair are maintained. They're just transposed pretty much. They're just moved to a different position. So this is it for this video guys, in the next one we're going to start working on the lion the head, which is going to be tricky. I'm not going to lie, it's going to be triggered, but let's do, we're gonna do some nice little tricks to make sure that we get the nicest shape that we can. Okay, So hang on back and I'll see you back on the next one. Bye bye. 61. MainProject Shoulder Armor Part3: Hey guys, welcome back to the next part of our series. Today we're going to continue with the shoulder armor and we're going to jump onto the ligand thing. So let's get to it. So before we jump in, I decided to do this quick diagram. I'm gonna save this image for you guys in case you want to use it later on. It's just a general idea of how I think this thing is kind of like flowing. And we're gonna be using this as a reference point to create our main light base mesh for the, for the whole thing. So there's of course, a lot of different ways in which we can approach this thing. I'm going to use one that I believe is going to help us or give us the best result. And the way I'm gonna do is I'm actually going to mask out. I'm going to delete symmetry here and I'm going to mask out the general shape of the element, going to give it one more subdivision level so that the mask is a little bit nicer. I'm going to place this image to the side. And I want to mask out the silhouette of the lion. So the lion fangs are common, like grabbing this thing right here. And then we have the head, has this sort of lay pyruvate or here. It's like this now for something. And then have like the eye. It of course goes outside of the boundaries of this shoulder path. Down here we have the other side of the Fang. And then there's this curvature going down here like this. So he held the masks a little bit pixelated. That's fine. We're going to be polishing all of that stuff. So all of this is like a solid piece. And then right about the middle section, which is about here, it actually goes outside. And then it creates a curvature going to the top like this. So this is roughly the shape of the light. And it's important that we have this shape because that's, that's the part that we're gonna be kinda like extruding from. So I'm gonna go to subdue, I'm going to hit extract and I am going to keep thickness now because I want to try to get the actual thickness of this thing. So it's probably Lebo 0.04. Yeah, that seems about right. And that's a little bit closer. Let's go to points 0, 3 instead. Oh wait, there we go. So points 2, 3, or hit extract. There we go. I'm going to hit Accept. So now I've got this piece, which is super ugly of course, but we're going to be using this to create the like the main thing, right? So what I'm gonna do is I'm actually going to start using the tools and the clip brushes to trim this and clean it up pretty much. So. First things first I'm going to turn on DynaMesh, going to turn on Polish. And we're going to start like cleaning up a little bit of this main details that we know are going to cause issues later on. So I would just smooth them out. And as you can see, this is nicely becoming this solid piece. There we go. Now, if we turn on the rest of the elements, I know that I'm going to have where I should have like a circle on that specific area. So I'm going to go into my brushes Control Shift and I'm going to click, I'm going to say Control clip circle. So the way the clip circle works is anything that's outside the, the clip. It's going to get. Like you're gonna get this thing. And if you do old, you are gonna get like a circle right there. However, if you place this in the little plus sign is outside of the element, you're going to cut out that specific part, which is what we want. So in this case, I know that that's where the circle is going to be. So I'm going to isolate this thing real quick. And I'm gonna, I'm gonna position, let me do a clip circle center. There we go. So I'm going to position this right here. And I'm going to press Alt. And there we go. So as you can see, that pretty much creates the circle. Then looking for. So again, Alt with space Barger going to move this out. And we're going to position it in such a way that we get the nice little circle. Just going to check periphery and that's a perfect fit. Yeah, That was really good. Then the mesh. And we're of course just going to increase the resolution a little bit. And let's soften this up. I'm just going to trim this a little bit with like a trim dynamic to make this sharper. There we go. So that's gonna give us the nice little effect of the, of the lion going there. Now we need to clean this area as well because we have a very sharp curve going there. So I'm going to use my clip curve now. And I'm going to start up here. I'm going to do a couple of taps to clip this in such a way that we get this very nice, clean caught their DynaMesh and over those holes, that's easy to fix. These t-shirts are just like fill it in with the mean and standard, sorry, clay buildup it in and just clean it up and polish it. On this side, we're also going to have like a nice curvature. A little bit like this. There we go. It's a little bit more difficult to to polish, so I'm just going to inflate there. And then we trim dynamic BDD, oop, be td. We're just going to latin this out. Not too worried about this inner sides because it's going to be on the inside of the actual like geometry. So that's fine. Perfect. Now if we go out of this thing, we can start modifying the silhouette a little bit because I know if you remember that this thing should go a little bit further out. Now we have a problem here, it's more problem. And that's the fact that this thing is a little bit thicker than I initially thought. So I'm gonna go to my gizmo, I'm going to rotate the gaze most of that it matches the closest to the surface as possible. And then we're just going to move it up. That way. We're going to be able to just move this whole thing up like this so that it fits there and that we're not having as much like extra spacing. There. We go. Perfect. So now that we have this nice clean shape here, it's actually good that we have those like nicks and stuff. Because from the concept I can see that there's a couple of like guts. So we're going to be using a masking to create the, all the different planes that this lie on the hat. So I'm gonna start with the front side here where the, where the mouth is and I'm going to mask out. We're going to need a lot of resolutions. So I'm gonna go almost double the resolution here. And I'm going to mask out this area right here. Which is like the, like the mouth of the lion. The snout. It goes about here. Because right about here is where the eye is going to be. So it's something like that. And now I'm going to change the focal shift to like a very sharp element. So we can actually cut this into very, very sharp light like that. I'm going to invert this thing. And with w, I'm just going to move it up. I'm of course going to move this to the center there. And then I'll move it up DynaMesh. And as you can see, that's gonna give me that nice little plane coming from the mouth. And if I want to make and use Dynamo DB and standard to push this even more. Now in here, here's where the eye is going to be carved out. So it's like the I is going to be right about there. Looks like a line here. So I'm going to actually use clay buildup to carve out. And this top part here is supposed to be like the like the eyebrow. So I'm going to add the volume there. This volume is going to flow back here. Smoother that a little bit. Trim, dynamic and DynaMesh. And that's going to sharpen all those planes up and give me like a very nice effect here. Now I do think this thing, sir, a little bit off in the proportion. So I'm going to push this to the side. Now this, see this spike or thing that we have there. That's not something that I see on the, on the concept. And we're just going to use my clean build up two to get rid of it. And we're going to push here and here. Because it's important to have clean planes for the, for those like gold piece that we have here. I'm not sure we want the eye to be like concave. So I'm actually going to give it like a roundness to it. There we go. Now we here we have another plane. So I'm going to do something similar. I'm going to just mask out this plate. The spleen goes about there. It's a very important plane because from this particular plane, we're going to have this sort of like a main that the character has. So like the main dose, this then creates a curve like this. It goes all the way to the back leg into some sort of like flaps that are outside of this area. So I'm going to grab this. Let's look a little bit of a slide. It's, it's, it's a very interesting shape to be honest. We could do like whole series and just like sculpting this sort of thing. So I'm just going to push this out a little bit like that. And then with the brush because this guy's actually do create a little bit more height. I'm going to push this guy's like up, like this. And the mesh DynaMesh. Now this area right here like this thing, blends into the, into the rest of it like the gold stuff. So I'm just going to Blend this in because that's, I'm seeing like a shadow actually, I think I'm missing a little bit of volume here. So I'm just going to start adding the volume here. And which one dynamic which is flatten this up. Dynamesh, LAN this up DynaMesh carefully those areas, remember those are areas where things are way too thin. So just use your flat brush to re, construct them. And that should be it. And that's very blocky. It's like a very blocky and it can elect geometric looking main. So we have an angle about here. So we can of course, sketch this out. And we could do something similar to what we did with the belt. Like we could sketch this out and then go into like actual geometry and create the rest of the elements. I don't think it's necessary to be honest. Like up here close to the, I have this strands of main flowing into the character. And then there's like one big string that goes all the way to the back, this one right here. It kind of creates like a weird angle going here. Where are we going to do is we're gonna do it in just a second. It's just a very weird detail there. And when we talked about like form follows function and all that stuff, That's the kind of stuff that I sometimes don't understand. Like it does look cool. I'm not going to lie. But it makes for a very difficult thing to, to conflict model. So I'll just need to fill this in with all this volume DynaMesh. It's going to like create that nice little angle there. There's definitely need some more volume. And it's a lot of policy here. There's going to be a lot of polishing that we're going to need to do. We're going to get rid of this error right here. So we're going to create like a sort of like a curb thing there. There's like a spike here on the behind the eye, like the top part of the skull. In this case, I'm going to just isolate this because as you can see, the, the fur is acting like a mask and some things we want that, but in this particular case, we don't. So we're just building the general shape here of the lion. Lion main thing this a little bit too low, so I'm going to push it. And I really wanted to snap to look a little more prominent. So I'm going to take some artistic liberties here just to push it into more like a lot in SQL, the effect. So this is a very, very tricky piece. That's why we waited until the very end as well. Because by this point to eat, It's, you should be a little bit more use to how seabirds works. And this should be slightly, slightly simpler for you. However, don't loose your patients. Remember that's one of the secrets to any good artist. We need to just keep pushing, keep polishing until everything looks as nice as possible. And as with everything we've said before, everything is perfectible. So eventually, we'll have more time we spend in a more Yeah, the more time we spend, of course, that the better everything's going to look. So there's like a little bit of, I'm a little bit confused by this sort of slide that we have here. Because this thing kind of like goes all the way over here. So I'm going that at this like this brush trim dynamic. And then we have this sort of like a line here. Also goes up, which is a little bit weird. We're just going to keep pushing their head like a couple like hair strands here. One there. This one goes back here. And then there's this one right behind the eye. Also going to like this nice volume here on the, on the back. Let me select the yellow color real quick. Since gonna select this guy and say, and we can just go with this. And the only reason I'm using the color right now is because I went to visualize a little bit better how, how things are going to look. Because sometimes we, we think too much about certain things of the sculpture. And then when we, when we actually see them with the material and the redder and everything, it's really not that important. So I'm going to push this up to get more Leica. Like this obese to look. It's very important that we keep the circle as clean as possible because that circle is holding the, what's the worth the rope. So we're going to have a little bit of rope later on. Switch BTV, they mean trimmed dynamic rather. Let's make this a little bit lighter. There we go. I'm going to have this very sharp line right there. Cool. Yeah, that's looking good. I'm going to bring this down a little bit. I like that. And, and yet, so I'm going to do the weird flying thing that this guy has part of like the main real quick. So let me show you. One of the ways I would do it is I would just dynamic solo this thing, select this bark, which is where that thing originates from. And then just like extrude out because it's this sort of like, like spirally thing. So I'm going to extrude this out DynaMesh, and then I'm going to use the spiral brush, BS G. And I'm just going to mask this area out. Invert the mask. Because it's this sort of thing like going, going backs, like a very, very flat element going back. So I'm going to twist it. And then with the Move brush, I'm just going to. Like push it into, into place like this. Again, if you are in a studio where you have access to your concert artists, make sure to always ask him any questions you might have about this sort of thing like this is what I think this thing looks like. Sort of like Spiral, these like detail and the whole thing, It's a little bit more square. So I'm going to use clay or a clean brush. We're going to use my clip curve. I'm going to clip it in certain areas to make it a little bit more like a tip, like on a small tip. One thing I think I didn't mention, but while you're looking at this now is the fact that the clip curb respects masks. So it's very good. For instance, if I want to clip all the inset of this thing, I can just mask at the outside like this so that it's protected. And then I can just like go here, all old, old, old. It's only gonna do that. For instance, let's block all of these areas. So we're only affecting this one's right there. So there's a little bit of a pinch of there, but that's fine. I was just going to just fix it, for instance, on this. We can just mess this, invert the mask and use our brush to give it this, this very flat look for even though flat look, but I wanted us to become thinner as we go out like this. Careful there means not that big of a deal. Good. Just a little bit of clay buildup there and just patch that. And there we go. Dynamesh. I am going to inflate this a little bit. And then I'm going to use my trim dynamic to flatten this out. And the most important thing now, like it's giving this a little bit of consistency, right? Because just having like that weird thing floating around, it makes it look really weird. So I'm going to have like a hair-like flow into the sides like this. Again, we don't see it because the concept doesn't have that information. But we need to make sure that everything that we do has a certain purpose. So in this case, we're going to have to kinda like imagine how this things flow into one another to create this sort of like element. So now we see it again in, in conjunction with the rest of the things. We can just started adjusting a couple of things here. For instance, modify this a little bit here. And permissibly, like move this guy up. Like this, like that weird hook right there. Especially when we see the, on the, on the angle that we're gonna be seeing it. We should see that weird angle. If it were me to be honest, like if this was my decision, I would definitely avoid having that thing. Like, I don't think it looks good, I don't think it's a good idea. It makes it look really weird. But maybe if we were able to see the whole thing, it might be a little bit better. So yeah, that's set forth for this guy. Let's set a little bit more volume here. So that strand of hair has like actual support. Let's just wait for this thing to save. And there we go. So there's a couple of things I'm going to do guys. There's going to be one more video of me working on this thing. We're going to work on Part 4. But after that, after we've finished polishing some of the things here, I'm probably just going to do that off camera. Just keep moving, keep polishing and keep working on this thing so that it looks a little bit better. I am not going to do the whole tree topology process, but if you want to for this particular piece, because you feel like you can get a cleaner look, feel free to do it is of course going to take you a little bit longer than it's taking me to finish this main project for this course. But again, you're welcome to do it if you feel that that's going to be good for you, right? So yeah, I think this is looking good. I think we're in a very good position. The character is looking more and more complete as we move along with the rest of the elements. So one more video of this shoulder path and then we're going to jump to the sort, we're going to jump on to this war, because that's going to be one of the most important parts of the character as well. After the sword is done, let's just take a look at how many things where we have left after the sort is done. I'm probably going to do this little emblem that he has on the other side. And we're going to leave the ropes until the very end because it's easier to just boast everything first and then add those fine details later, same as this cape pull. The paint is also going to be done. After we're finished with the posing, we're probably going to post first and then we're going to poke me. So yup, hang on tight. And I'll see you back on the next video. Bye bye. 62. MainProject Shoulder Armor Part4: Hey guys, welcome back to the next part of our series. Today we're going to continue with the shoulder pad armor. So let's get to it. This is the final part for this initial state of the shoulder shoulder path armor. Oh my God, sorry, my English. So one of the things we're gonna do here is we're going to polish this thing a little bit more. But before we jump into polishing that thing, I wanna do the little extra thing that we're missing right here, which is this little thing right here. And that's actually super, super easy. So let me show you how we're gonna do it. I'm just gonna go here. Remember we already have our little like poly cube here, which only has six sides, which is perfect for war we're looking for. And I'm gonna go into, again, my main tool, which is this one, I believe. Yep. And we're just going to hit Append. Append. So like that little poly mesh 3D cube. Go all the way down. And this is the little cube. We're just going to move it to the side. And I'm going to rotate that 45-degree angles like this. Why? Because as you can see here, this is pretty much just a square element with a flat face there. It's like a square, a little bit more like a diamond shape with a couple offenses. So this should be very, very easy. I'm just going to make sure that this is a thin like this. And I am going to reset the element here just so that the gizmo is again aligned to the main thing. And we're going to jump into our C modeler tool. So let's make our brush super small so it's easier to select. We're going to go and say poly group, well you border first. Well the loop. And wait, there we go. So we have the same bowl loop because as you can see, it's just a flat face and then it goes out. It's like an extrusion out and then it collapses. So I'm gonna go Q mesh polygonal island like this. We're going to create the, the, the thickness right there and we're going to go into a collapse on the sides. So I'm gonna say Poli loop collapse. So we're just going to collapse this. And there we go. As you can see, we have this very nice flat surface similar to this element right here. Now the only difference is that our shapes a little bit more like a diamond, so we're going to just scale it up. That's why we have to reset the gizmo right there. And we need to create the little extra jewel that it has there, which again, super easy. We're just going to use an inset on this guy. It's going to be on poly group island. This one right here. I am. I am I using inset? It's working unless the islands this guy so I'm just going to say you single Pauline, this one right here. Well, that's really weird. Let me use Q Mish. Just keep it a little bit of a bump there. So that's a different poly group. There we go. And now we create that nice little jewel. So we're going to do another cue mesh. I think with acute MI, she's fine. We're just gonna do a Q mesh to give it the thickness of the jewel that it has. And then we're just going to bevel. So we're going to bevel the whole thing quite heavily so that we get this very sharp looking crystal right there. There we go. So now again we are, we're just going to make this a little bit more of a diamond shape. And I don't want to have a little bit of thickness back here. So I'm gonna select this guy. And then let's isolate this for just a second. Hide, hide. All of this would select lasso. So I'm going to hide this guy is right here. So we only have the back faces. And we're gonna go to poly groups. All the groups that we go and we're going to have that back face birth rate go. So Q mesh, I'm going say polygonal islands, just going to give it a little bit of thickness. Why? Because when you have like this very soft corners, sometimes it gets a little bit difficult to hold the shapes and the forms that you want. Now again, if we press D, we're gonna get this very ugly shape and it's just a matter of adding support edges. Now the cool thing about this is we can turn symmetry on and go into insert. And if we inserted like one here, you can see it goes all the way to the other side. So we're going to have one there. And we're going to have one there. And with those two, that should be more than enough to hold everything nicely on the corners there. We're going to add the one here, 1, 0, one here, one here, and one here. And I'm going to go into my Insert and I'm actually going to select multiple edge loops because I do want to have everything in half so that the squares are a little bit more divided. And that way, if we need to add a little bit of extra geometry or details later on, it's not going to be as difficult. So you always want to have as close to a complete or a uniform resolution for the whole, for the whole thing. But as you can see, that looks really, really nice. And it's going to be very easy to just place this exactly where it needs to go, which is right here, right about that. A little bit lower than the, than the thing. Let's get rid of symmetry. How big is it? Roughly the size of his nose. So like that, if we need to make it thinner, we can make it thinner and it's going to rest right there. Now of course, again, similar to what we did with the other thing, I'm going to need to accommodate this so that it fits the, the nice little further we have there. And remember, we're not going to sculpt the fur off. We're now going to just like push and we're just going to move it around 0. So we're going to go into the fur and we're just going to push it in. So it looks like this thing is resting on top of it. It's going to look more like inserted. Now you can see that we have this interesting looking like arrow coming from the sites. The topology seems to be fairly simple. So again, we're gonna do the same thing we did with the cube. So I'm just going to say append. We're going to append the poly cube 3D. Go all the way down. Where is there we go? And let's bring it up so I can see that this shape, if I were to make a little bit bigger, let me show you. It's like this sort of like shape, straight on the top probably. And it has a little bit of an indentation on the middle. You can see that little orange line in there. And then the little arrow comes out like this. And this diamond, it's easier just to do it as a separate piece, to be honest. So here what I'm gonna do is I'm gonna make this really thin. Keep it roughly that. The thing is that we're going for, which can always change, going to see modeler. And I'm going to insert actually, before I insert, I want to insert multiple edge loops. And since interactive resolution. So I'm going to, oh, wait, let's turn this on. I'm going to just drag up and down until I get two divisions right there so that we get the middle section. Now of course, the middle section is a slightly thinner. So what I'm gonna do here is I'm actually going to like add one more. There we go. Like I'm going to add probably like five, like that. So now we can very easily just select all the lower faces right there. I'm gonna go into do, to do well the groups. And then I'm going to say group visible. There we go. We can already position this where we want this to be. You so that we know how, how long is it? So it's slightly longer than the, than the jewel itself were done to little like metal there. So this is going to be thinner like this. It's probably something like that. Yeah, I think that's a good size. And then we need to do the little arrow. So that's why we created this little thing right here. Because we're going to say q mesh poly group Island. And we're going to move this poly group island down like this. And then we're going to say q mesh single Bali would symmetry. Turned on, Let's all the way down seeing angle pulley. And we're just going to give the little arrow here like that. So you can see that little thing. And then I'm going to go move single pulley. So let's move this guy down. Let's make sure that when we're moving them, they're moving them on the same axis. And then we're going to move the middle one. There we go. Then the edges, we're also going to move. There we go. And now I want this to be a sharp line, right? So we're going to have a little bit for division there. You can see it there. It's actually creating this sort of like diamond shape. So we probably need to shift this up and let's go two points. And we're going to move the points as well. Let's make the brush radius slightly bigger so that it can rush radius. Yeah, I should have a good brush radius. Let me increase this. There we go. There we go. So what I'm gonna do is before we create the little like sharp edge here for the arrow. And this a little bit too big to be honest. So let me, let me just make the brush like really big. There we go. And we're like a little shield thinking a little bit thinner as well. It seems. Yeah. And this points this points are a little bit lower as well. So I'm gonna go to edge. I'm going to say mooc, mooc. There we go. And we're going to move this edge down. Let's make this smaller again, so that's a little bit easier to manage. We're going to move this. There we go. So now I'm just gonna go here to this. Let me isolate this. I'm going to go to this middle section because I want to create that little border that we have there. But instead of creating the border to the, towards the inside, I'm actually going to go towards the outside. So I'm going to go to Mesh Pauline group Island. I'm going to push the whole island like out. We definitely need to group this as a single, single islands. So let's group visible. And so all of this thing should be selected. Things that I didn't want. There we go, just up the group as a whole. There we go. So we push this thing out. And we're going to select face-to-face or sorry, a single poly are going to push this guy out. And then just click on that and that guy so that we get the same elements. So when we're busy, we're gonna get this. Of course, it looks really battery now, but we're going to use our insert two, sorry, on the Edge. Insert and we're going to insert dynamic. We're just going to do single poly. We're going to do like one right here. One right here. Let's turn on our D key. One on the front, one on the back, and one on the. And as you can see, that's going to give us that nice little arrow that we're looking for. So I'm just going to Control D, D, D a couple times. Trim dynamic to trim a little bit of this. Like weird painters that we get there because it's supposed to be like a cloth thing. He wanted to be as nice as possible. There we go. That looks really good. We're going to position this like this. I'm of course going to rotate it so that it's moving forward. Whoa, whoa, careful there. Let's turn off the symmetry so that we don't have any issues there. And this is supposed to like float around. So I'm just going to use my brush to give me a little bit of a flare, right? So this thing should be behind this. Let's rotate this around a little bit slightly, push it in. There, we go. Just a little bit there. And then we'd go to the for and again, do not cough, like don't try to use your labial them and just carbon there. No. You're just gonna go with your brush and you're going to move it back here. There we go. Like that. Now that thing is going to be hanging like that. It's a little bit by little bit bigger than on the original concept. If we want to, we can we, the archae, use the green scale to scale it down a little bit. It does seem to be heavy though, so I would expect this to, to actually like a little bit straighter. And therefore push differ in because it's supposed to have that little like blue crystal. So for the blue crystal, very easy. We're going to go back to our little star right here. We're gonna go into initialize and we're going to see cuz fear. We're going to have like a very simple sphere that should be more than enough. We're just going to say make poly mesh 3D. Back to our object here, sub tool append. And we're going to append that polymers 3D. Let's just move it up. And let's select the actual gem that we're working with, which is this one. And we're going to just move this up. Make it a little bit more like an oval shape, flatter like this. You're going to see the letter D works really nice there. So I'm actually going to divide, just give it the one division. I'm going to go into geometry, delete lower so that we can work with our C modeler. And on the sea molar, I want to give it this sort of like a golden like trim that it has. So I'm going to go into poly group on the top right there. And then I'm going to say q mesh Paul II group Island. And we're just going to push this out like that. And we're of course going to bevel. So I'm going to go into Bevel. We're going to bevel that, oh, that's a very small bubble there. Maybe a little bit of a bigger bubble here. Here. Let's give it a little check there. That looks great. And it's just a matter of positioning this where it should go. Which is under slow thing. Don't worry about the materials just yet. I'm just going to leave it as this golden color for now. But later on we're going to be adding the proper materials, poly paint and everything, and try to rotate it so it's as close as possible. You might think that by doing this, we're breaking symmetry and that's going to make it a little bit difficult later on. But I'm going to show you very cool plugging that we have for posting characters. That's gonna take care of all of this things and we're just going to have to worry about everything looking good. There we go. Perfect. So we are here at the beginning of the shoulder, but as I mentioned, I'm going to be polishing this very similar to what we did with the hair. And the code is just a matter of using clay buildup, trim, dynamic and working it until it looks very, very good. I'm going to try to save the whole process. I can give you a really quick rundown of like a time-lapse of how I managed to make this thing look even better. But in the next video, we're actually going to start with the sort guys, it is now time that we jumping to the sword, which is the final prop of our character before we jump into the texturing and renderings stages of the whole thing. So yeah, hang on tight and I'll see you back on the next video. Bye bye. 63. MainProject Greatsword Part1: Hey guys, welcome back to the next part of our series. Today we're going to start with a great source. So let's get to it. Before we jump into the great sort, Hagel want to show you a couple of things and I'm going to show you how we're going to be doing this. I just did a couple of fixes here to the shoulder path. I want to show you real quick, quick time lapse of what I did. As you can see, this is how I started, took me about 25, 30 minutes to just like polish this and start getting the main shapes of the concept into the element. It's a mixture of clay buildup, the mean, the standard trim dynamic Polish like all the brushes that we already know for this sort of how service thing. And just like creating this things, I'm still debating about this tail right here. I think it looks really weird and wrong. So we're going to keep it for now. But later on if we see that the postal some work and we're just going to fix it. Now for the sword. One thing that I did this, I went here to Photoshop and I measure this. And I realized that this is a very long sort, of course, it's a great source, supposed to be like a two-handed weapon. So if you take a look at the character and the source, you're going to see that the measures pretty much the same height as the character, and it's divided into four parts. The blade, the guard here, the handle, and then the Bumble. So we're gonna be doing this in a different file so that we don't clutter everything into one single file and then we'll import everything into the main file. And what I did here is I added where I append this arrow. It's just a 3D arrow that I expanded and got it into like the size of the character because this is going to be my guide. So once I have this, I just created a new sub tool, I cloned it. And here is where we're going to be building everything. So we're gonna start with the handle right here. And the handle is actually pretty easy because as you can see, we have this section here. Looks like a little like a slanted like leather wrap that just repeats itself several times. And of course you can see it's going down, right? So the only thing we need to do is we need to create one of them and then just duplicate it, give it a little bit of changes here and there. So I'm going to go into my cylinder right here. And I'm going to reduce the amount of division that this thing has. So I'm gonna go all the way to, let's say initialize. And then the v divide, I'm going to go to like eight. Yeah, that's way better. And the reason this is way better is because we're going to be able to just move this in a better way using of course, RC molar. So I'm gonna make this a poly mesh 3D. I'm going to go into my similar. And what I wanna do is I want to create this sort of curvature. So I'm going to go into Edge Loop poly group, this whole edge. There we go. And then I'm just going to go into poly group Island. And we're going to move this, where we're going to move this a quick. There we go. We're going to move it in. So let's turn symmetry on. Or rather let's just do a Q mesh. I think this is going to work just fine. So we're just going to push this in like this. So that's roughly that the curvature of that I want this thing to have. And then we're going to accumulate this. There we go. And we'll just click here. And as you can see, we get this very nice element. Now one thing we can do is we can go here and just bevel this thing. So we get a little bit of a better curvature. There we go. And then if we just Q mesh this thing out. Let's do a poly group this first. And let's cue mesh this thing out just a little bit and see how it looks. I think that looks fine To be honest. So that's it. Now, the only thing we need to do is we need to curve the cell because as you can see, it's skewed a little bit. It's not completely horizontal. And the after we do that, it's just a matter of like layering them out into seven pieces. So I'm going to go into deformation, and I believe we do have these Q deformation. Yes, you can see this is skewing it to the x, x axis. So I'm going to change this to the y-axis. And from the front view we're going to get this. I'm just going to delete symmetry. Or one thing we can do is let's duplicate this object. Or rather, let's just select all of these guys. I wanted to expand. Now, let's duplicate. I'm going to do something a little bit crazy. But I'm going to go here. I'm going to say the formation. We're going to skew this. Let's say minus 30 degrees. And then the other one, I'm going to skew this 30 degrees. So we're gonna get this thing. Now on the first one, I'm going to delete all of these polygons. So I'm just going to go into Geometry, modify Topology, Delete Hidden. And then I'm gonna go to this one, and I'm gonna do the opposite. So we're going to select, all of these guys are going to delete hidden, going to go sub2. And we're going to say merge down. Okay? Now the problem is if we divide this, these are not welded. So we need to go into geometry and say, well points. So now when we divide everything, you see single piece, which is exactly what we want. So it's a little bit of a workaround, but it works. If it works, it works. So Bevel, we're just going to bubble this things because as you can see, the borders are slightly beveled. So we're going to bevel this guy and this guy with the same amount. And that was just a matter of duplicating this guy seven times. So that's one. That's two, that's three. That's 456. And sat. There we go. Now we're gonna go remember when do we do this? This guys do not have any sort of poly group, so it works weird. So it's important to all the group. And I'm going to go to the top view. I'm going to rotate this around 45 degrees, sorry, 90 degrees. So what we can see it from the front, we see this curvature, which is actually two of the other side. So let me do a 180 degrees to the other side. There we go. So now it matches our soil right there. And the cool thing is, we can divide this as many times as we want and we're gonna get this very nice effect. Now, if we need to, we can always just modify this. Slightly. Another thing I like to do without actually going into like DynaMesh or anything. We don't need to do that. You can just use your inflate brush and inflate the whole thing a little bit. And that's just going to keep it together. The next thing I'm gonna do is I'm actually going to give it a little bit of sculpting and I'm gonna give a little bit of life. So I'm going to add like a couple of like extra wrinkles here and there, especially like on the borders. But I'm going to try to be like a little bit asymmetrical. Like I don't want things to be completely symmetrical because I want this to be like a rugged sort of leather. We can make like smaller effect right there. It's important that we do it pretty much from both sides because this is a handle that gets used from pretty much every angle. Smooth this out. So it looks like, like smooth it out letter C, that nice lunar surface detail that we give it. That's gonna talk. And that's going to help the whole thing, the whole project, and the whole character look a lot nicer when, when, when things are not perfect, I always, I always have I've always had the opinion that when things aren't perfectly look cooler. Because when nearly completely perfect people that are like, Yeah, that's CGI, someone made it then it's another regional. However, by doing this sort of detail is doing the sort of things. It really brings history or as history to the, to the whole thing which is, which is good for us. There we go. Again, it's just smooth everything out so it's not super obvious. And we added those like wrinkles that you've seen that you probably have like, I don't know, like boots or like gloves or something, you know, that this sort of thing gets this sort of elements. So I'm going to jump back into the arrow and I'm gonna say sub tool path. And we're going to append this cylinder that we created is going to be humongous, of course. So we're just going to scale it down into a more appropriate size. So how big is this? It's fairly big. It's roughly about the size of the characters have. So I'm going to go here. Now if you want, you can make this a little bit thicker, bigger. And then we're going to have the pump them up. So it's going to be right about there because this point that's going to be or should be the, the polymer. It's a good idea to try to keep this in the center or as close to the center as possible. It's not, it's not a problem if things are not completely centered. The only things that need to be completed, the center are the things that are lining up with the source. Now you can see that it also, I think it's a little bit wider. So I'm gonna make it bigger. And then just like whiter there. There we go, that that seems to be a little bit closer. Look at a little bit less. There we go. So that's the, the handlers rather. Now, let's do the puzzle. The bubble is, as you can see, made out of two parts. We have this gray part right here, and then we have this little crown. That's very, very cool looking. Now at the crown, we can do the following very similar techniques that we've used before. And what's the word? And this thing right here is just a cylinder with a little bit of a bevel here and there. So I'm going to go into my cylinder here, the basic cylinder with a we were using. Let's see how many divisions that has this. A little bit too many. Then we had like a polymath cylinder does one's better. So this one right here on the initialized stab, it has eight divisions and 32 on the y-axis. I think this is good. So I'm just gonna, I'm just gonna make this a poly mesh 3D. Jump back into this thing. Say sub tool, append. And we're going to append, oh, oh, this guy right here. Let's check it. There we go. So this guy is going to be the gray area which has a little bit of a flare, like a flare out. Okay, so that's the center. So I'm actually going to move this thing closer to the center. There we go. I know that's the center because this is an initialize the mesh, so it should be exactly on the center. Now this is really thin. So I'm going to compress it a little bit more. And we can see that it flares out right, like it has this sort of like inclination to it. So one of the easiest ways to do that would be with a Q mesh. So I'm going to first poly group this whole loop and let's pull group doesn't want as well, maybe even this one as well. And then I'm just going to Apollo Group island, bring it out until we get that nice little element. And then on the edge we can just say delete. And we'll delete this edge. We're actually instead of that, let's collapse and we're going to collapse the poly loop. We're going to collapse that polytope right there. There we go. So now we can, what else can we do? I think that's fine because we have this little like element there. It has like a couple of things. There's, I'm going to turn on symmetry. I'm going to go to move. And I'm actually going to turn on radial symmetry if you remember. I'm not sure if I've mentioned this before, but we have something called radial symmetry that allows us to work on a radial basis. It's right here in the stroke and it's seen the modifiers, sorry, in the transform, radial symmetry on the y-axis. And I want this to be six. So as you can see, we're going to have six lines going around the element. Now the only bad thing about this is maybe, yes, it's not symmetrical, the thing It's not symmetrical. So instead I'm just gonna say Transform, no real symmetry. We're going to have symmetry in z symmetry. So we should have four lines right there. So what I'm gonna do is I'm going to move this guy down to create this sort of like crown shape. There we go. If we do this, and then just click, smooth this out a little bit. There we go. And let's move this inner line in a little bit more. There we go. So we get that nice crown looking. Now you can see here on the front There's a little bit like a spike. So I'm going to go to the front, see the face here. Login, sorry, transform, get rid of x symmetry. I'm just going to see symmetry. I'm just going to push this. Or actually no, we, we, we could benefit from both. So X and C symmetry. And we're just going to move this guys. And then on the point, or it's going to move this point. There we go. So we agreed this very nice-looking element. Of course, if we do d, the things are not going to look as nice. So we need to add a couple of things here to make this look even better. And the things that weren't gonna do is we're gonna do a couple of bubbles. So I'm going to go here. I'm going to bevel this whole edge loop that we're going to label this thing so it remains sharp. And we're going to build a whole thing here like this. So as you can see, that's going to keep it a lot better right there. Now if we want to really make this sharp, like have like really, really sharp lines, you already know that we can either crease the lines or we can insert that she looks, I personally prefer to insert actually because I have this traditional like box modelling approach to things. So there we go. As you can see, That's going to give us this very nice-looking. There might be a couple of like a lines here and there, but we can very easily use trim dynamic to fix those. And I'm just going to select the color that we already have here on our character just to start adding colors to the general thing. So let's select this armor color. Go back to our, our main source right here and say RGB color fill object. And then for this guy, it's got to be like a brown color fill object. Perfect. So we have two parts ready? I think this a little bit too big, so I'm just going to make it smaller. This thing seems to be a little bit off axis. So I'm just going to try and correct it a little bit. So of course, asymmetrical, so that might be showing. But yeah, this is perfect. I'm just going to do a couple of divisions here. Trim dynamic. We still have what's the word? The symmetry on both? Excellent and see. So ironing out this little lake. Weird looking things, it's going to be fairly easy if you want to. You can also go with the standard and just like give a little bit more depth on this areas. I don't think it's really necessary. I think this looks really nice with this effect. The one thing I am going to do is I'm going to add a little bit of the image, just a little bit of chip damage, similar to what we have on the sort. So asymmetrically I'm just going to like bump a couple of things here and there. Just to keep it a little bit of more of an interesting look. There's something that police are thus a lot on their, on their, on their style. If you've played World of Warcraft or Diablo or any other games, they usually add a little bit of damage everywhere and just to make sure that things look cool. So that's it for this be their guess. I'm going to stop it right here in the next one, we're going to continue with the little crown right here. And we're going to move on to the probably the blade. We're going to leave the light on the head until the end. Hopefully for us are thankfully for us, this layer is going to be a lot easier to do than this one right here, because this is a 3D models. It's not just like a flat surface, it's not like a high relief or anything. It's a 3D moles, so we can model the head by itself and then just adjust this so that it fits very nicely here on the sort. So yeah, hang on tight and I'll see you back on the next video. Bye bye. 64. MainProject Greatsword Part2: Hey guys, welcome back to the next part of our series. Today we're going to continue with the great sort R2. So let's get to it. Let me just, There we go. So we're going to continue with the little crown that we're missing, which is this guy right here. And of course the gems going to be a separate sub tool. We don't need to do it with what's the word with similar but the main crown, it could definitely benefit from having very nice and clean topology. So as you can see, we have a little bit of a board there. They're like a trim, so we need to respect that. And then we have this thing. I'm not sure about this thing. This thing seems to be part of the jewel like a like the casing of the Joule. Now that I zoom out, it is definitely a little bit of a spike, so I can see another trim right there. So it's just a cylinder, It's just a cylinder that we need to modify before we jump there. So I'm going to go back into my cylinder right here. And we definitely need a little bit more divisions to make sure that this follows the proper shape. So I'm gonna go here to the cylinder, the initial cylinder, I'm going to go into initialize. And I'm going to divide this a little bit more on the y-axis instead of 32. Let's try to do like 50 if will become a little bit more complicated to manage. It's just what we need, right? So I'm also going to reduce the divisions 21. I want to keep it just like this way. And the the inset that we're going to eventually do, it's going to be very, very, it's going to work nice. So I'm gonna make this in polymers 3D. There we go. And that was just a matter of starting at two to work on the general shape of the crown. So I'm going to start with like the low 0, like this low points right here. And we definitely need symmetry on x and c. So let's make sure that we have x and z because it's a double. So this initial point, I'm actually going to use MOOC in this case instead of instead of a similar. Just going to move this things because I know that right now we're in the front camera. So it's going to be easier. And I know that most of them are going to be like really, really flat. So there's going to be like the high point that's not as sharp. It's going to be about there. And it goes from about this point. So this is the next point that we're going to have. And then this one. And this one. And then this one. I find a little bit easier to work with the brushes sometimes. So that creates that nice little. I think it's a little bit wider though. So I'm going to start at this point right here. So it's going to be this one and this one. And then this one. People say, sometimes we say a one as one, which are Spanish like diction. Sorry if it sounds like that. It's not my intention. I'm gonna give it a little bit more like an outer flare. So like like a round dish, crown. The important thing here is to keep everything as clean as possible because the cleaner we get this, then nicer, everything's going to look. Now down here we have a little bit of a spike. So we're going to add the little spike here. Now the crown has a little bit of a flare. I think we can add this, we the deformation and we can taper this. We're going to taper this to the y-axis. There we go, see it just by pushing the taper out. Everything is going to flare out. But we need to do. Now this is assuming it fairly symmetrical. Yeah, there we go, a little bit of a flare there. And now we need to do the side like spikes right here. So we're going to do something like this. This, this I'm against these guys are really close together, not super close because remember, then things don't work as we would like them to. Yeah, that works. I think that's a good that's a good distribution right there. And I'm just going to push this guy's little bit further down like that. And it just to give this a little bit more of a for roundness, I'm gonna, I'm gonna push this guy's up. It's going to give us a little bit of a better look there. Again, artistic decision. Now we definitely don't want any of this things. So I'm going to erase or delete hidden. I just want this home. And now we can jump onto are similar. So the first thing I'm gonna do is I'm going to give this a thickness. And to do that we're gonna go into Q mesh, all polygons. And we're just going to give this thickness because I'm not sure if there's anything inside. It's probably just like a golden, sort of like a sphere or something. Probably just going to do that. But it's important to have a little bit of thickness. It goes, it goes well with everything else we've done before. Now this guy, Q mesh, we're going to inset all polygons, poly group island, this guy. And we're going to create the trim. As you can see there. It seems like as soon as we hit certain point, the trim works really well. Not perfect here, but it's, it's, it's getting there. Now one thing we could do is we could smooth this trim. They're a little bit and we can actually collapse this edges. So I'm gonna go here when I say collapse. And we're going to collapse. This guy is right there. It's collapsed. The etch. That guy. There we go. So now our trim looks really, really nice. Now the term is just a line. So what we're gonna do is, I'm gonna go here. We're going to bevel this line. I'll be more, something like that. And then just click on this guy to have the same one. And then we're going to queue mesh the poly group, whole group all. It's going to bring this in. So when do you press D look at that nice little crime right there. That's what we're going for, looking really, really good. So I'm just going to hit Shift D. I'm gonna go to Edge insert. And we're going to start inserting a couple of support edges. One here, one here to keep that. This is going to help me keep the thickness so it doesn't become super round. And I definitely want to add just one, not super close but close enough to the corner. Here are the corners here. Just so that it holds the edge a little bit better. See. So this is going to help me avoid having that like weird pinched that we have sometimes. Because the closer things, the closer the lines are, the more intense that trim is going to look. Now, it seems like we we didn't do the pebble on this guy. Here we go. Nope. Let's just push it manually. What the hell? Just push it. There we go. Now to keep that or to give. I think that's good. I, I honestly think that that trend looks very nice. But if we want to, we can of course, like a pebble, the, the outer edges with a really small pebble. Let's make sure that the Bible is the same for both of them. There we go. So when we precede, that's going to be even, an even tighter edge loop. So now it's just a matter of going into our main source right here. And we're gonna say sub tool append. And we're going to append that little crown that we just created. Of course, we need to scale this down. Oh, scaled this down so that it matches, as you can see, we're not that far off. This thing gets there. Now one thing we can do is we can make a slightly longer. So it sits nicely on top of this element because we can see that it sits right about there. Right about there. Perfect. Now for the gym, we actually already have a gem. Remember we have this, the gem from the character. But unfortunately I think this gem is what's the word. Since we move with it, then it's not completely symmetrical. It might be a little bit difficult to, to make sure it fits the sort. So we're going to do this real quick. Remember we can go to a little star right here, all the way down to initialize and say we want a Q sphere. That's fine. We're just going to make polymers 3D, divide this sphere. Make it into like a little gem right here. Flatten up. And this one seems to be just like laying on top of the elements. I'm gonna keep it like that for now and later on, if we need to add just like a gold trim or something, we'll just add it up to append a pen. And we're going to again, Ben, sorry, append. We get this guy. Bring it to the front. It's going to be right here. Following the same sort of like curvature. There we go. Perfect. Already assign like a blue color to it. It's like this, turquoise, right? Like a very light blue color fill object. This guy is supposed to be like gold. So let's look a like a golden color fill object for now. And this guy, I'm going to go into see blogging. I'm going to say subtle master, and we're going to mirror it to the c-axis now, to the back. So we have it on the back, a couple of division. So that's this MOOC. Very nice, very nice looking. Look at that. Perfect. Now, again, I don't know what is inside. I think this spikes could be a little bit bigger. So one thing we can do is go here and just Like push the spikes a little bit higher. And we want to make it a sharper, just push them closer. As you can see, that's going to look really nice. Now, I'm just going to append a new sphere. Having such a problem with spheres. Now, I'm going to color fill object this so that it's gold as well. I'm just going to feel the inside of the crown. Again, we don't see it, but we always need to think about what the audience or the players or for whatever we're working, we need to think about what they, we'll see. So in this case, that's fear is going to help me cover that specific area very, very nicely. Qu, So we can now start with the blade. I'm going to start with like a very basic blade here. And the most important thing about this blade is, as you can see, this little spice right here, and of course the general construction. Now the cool thing about this, and we're probably going to use the remaining time of this video to focus on this is the topology. Like we need to understand how the topology of this thing is working. And as you can see, we have a very defined like edge loop right here. So we can have a big square here, Let's say another big square here. We definitely need a big square here to hold that edge, and then another one to hold that edge there. And then these guys are just going to be mirror to the other side. There's one, see how this is already a square, so that's going to be it. And then this guy is going to go all the way to the top here about bear. I'm going to focus on the blade first and then we're going to do this thing. So from here we're gonna do here. Now here's where things can get a little bit tricky because we want this edge to flow into the point here. So we're going to have this very nice square, and then we're going to have a smaller square creating this edge right here until it becomes like a very small square right there. And the same thing as supposed to happen on this other side. So this thing is going to do this and then it's going to flow into this. I like this. These are, we're going to have this point. That point's going to be really important because that's when it's going to have several edges connected to it. But one of the cool things about this is that it's very geometrical. So we should be able to, to create the general shape of very, very easy as you can see, I'm just drawing. This is an exercise that I strongly recommend whenever you don't really know how to do an a specific like moldering thing. Tried to do this exercise, like tried to do it. Let's try to draw on top of the element and see where you're going to need a polygon. So for instance here, this tells me that I'm definitely gonna have a triangle there like this. The guy is going to be a triangle. Triangle. I'm going to paint it blue just to remind myself that that's going to be a triangle. And then we can go back to the reds. And then from here we're going to have something like this. That's the square of the square. Now here, see that line right there. Like, it's not really obvious how this thing unfolds, but I would suspect that this thing, since that's a point, that's probably there's like another triangle there. So I'm going to grab another blue color. I'm just going to paint my triangular. These guys, they seem to be triangles. Although the gem, it's easier to do as a separate sub tool, and that's it. So we just need to have to translate this, this like nice diagram that we have here with the topology into actual geometry. So we're gonna do that on the next video where we are just going to start building this whole thing up. So hang on tight and I'll see you back on the next one. Bye bye. 65. MainProject Greatsword Part3: Hey guys, welcome back to the next part of our series. We're going to continue with the great sort Part 3. We're going to go into the plate. So let's go. As you remember from the last video, we did a very nice dissection here of what we need to do for our sort. So since time to start building, I'm going to move this to the side. And I'm actually going to start building it here because I want to have the HMO and the handle essa as a reference point in regards to size. So what I'm gonna do, I'm gonna go back to our trusty star initialize and I'm going to say key cubed, but I'm going to change this to 111 KEQ. There we go. Make polymers 3D. Go here, oh, sorry, here and say subtle. Append. And we're going to append the pm three, perfect. So I'm going to position this cube, right, wearing that to be which is about here, I'm going to rotate it 45 degrees because this is going to be the start for the, for the whole thing. This is where the gem is going to be kind of like setup. So I'm going to make this a little bit. It seems like I missed five degrees. There we go. So reset the gizmo there. And I only need to worry about half of it. So I'm going to push this to the halfway mark right about there. Because eventually we're just gotten a mirror to the other side. Now, on this part, this is where the gym is going to be sitting. So I'm going to go into VCAM, which is Myc molar. Turn everything on so that we can work nicely here. And we're going to inset first. So we're going to insert to create the little place where the gym is going to be located. Jump seems to be slightly smaller. So something about there. Now this face right here, it's actually on an inclined plane. So what I'm gonna do is I'm going to go into MOOC. I'm going to move this forward to give it the, the nice little element. Now we can go here and we can cue mesh. Bring this, or rather, let's do another inset. And now we're going to move again and we're just going to push this in. There we go. So that's where the main gem is going to be located. Now from here, I'm going to start first with the blade and then at the end we're going to do the little spikes that it has on the on the sides. I don't think we need the call. Yeah. Just to get the proper length. So from this, this is the dark area. If you check the concept here, is the dark area here. So we know that from this dark area, we need to create something that's going to become the blade later on. So let's try doing that. The first four that we're going to need a couple of triangles. So what I'm gonna do, or actually I don't think we need triangles. Let's turn on symmetry and let's just insert an edge loop, right, where I would expect this to be. So about. There, there we go. So now what I can do, and a little bit more of an easy way, I can just go to Q mesh, let's say single pulley. And we're just going to move this guy that doesn't want to move it like this on the, on the normal axis. So where is it? I'm just going to extrude instead. Let's see with extra their works a little bit better. Now It's still doing the thing. Now we can of course move this. So let's try moving at first, just to make this completely straight. So I'm going to use my move tool. And we're going to move it until it's right there. Perfect. Of course it's not as long. So I'm going to use my MOOC with the masks now or with that, with the faces now, I'm going to move this. I'm going to move this. It's going to move it along the normal. I don't want to along axis, I want to do it. So it's not letting me, that's fine. Another easy way is we can just select this guy's like those guys right there. Invert Mask. Selected. There we go. Math to them. And then just W and move them up. And it's going to move the whole thing up. See. So that's another, another cool way to just isolate this public group. Let's get rid of that. Just keep it out. Even though if you don't see it, remember, you can go all the way down here to display properties and he doubled. And we're just gonna move this up a little bit more. Careful. There seems like we select that something that we didn't. It still has to be like, Sure. So let's mess this. Invert the mask. Again, invert mascot, Invert, invert the mask. Invert the mask, and that will move it. There we go. So we can get the nice length that we need here. Now from the outside, we need to create another edge loop that's going to create a little bit of a border. So I'm gonna go here, I'm going to poly group the whole border. And let's get rid of the mask. Should be the same poly group. This thing shouldn't be that folder up. So I'm going to give it a little bit of inclination there. And now I'm gonna go again into BCM, Q mesh. And we're going to say q mesh body group. And we're going to o, careful there. Apparently it was so different political, let's do a different color. There we go. So this is gonna give me my next area, which is going to be this one right here. It's looking really, really nice. Now, this thing also has a little bit of a bevel, so we need to bring this whole edge back. And a quick way to do it is with a bevel. So I'm just going to bevel this. I'm just going to bevel like this. So i'm, I'm looking at the yellow one and then all of this edge I can just delete. So let's delete the edge loop complete. There we go. See how we get that nice little effect. Now, this does have a little bit of an indentation here. So I'm gonna go into bevel again and we're going to a beveled edge loop there. It's going to separate the div element from the rest of the things. And then this poly group, we can just Q measured in a little bit. Look at that beautiful shape there. Now, from this site is where the blade is actually going to be coming from. So this size right here, like this guy, this guy and this guy are going to be really, really important because this are the guys that are going to be creating like the main blade. So what I'm gonna do is I'm actually going to go into public group per face. And I'm going to find like a new color that's good enough like that one. There we go. And then from here we're going to queue mesh out. So I'm going to queue mesh Paul, the group Island. And we're gonna queue mesh out because again, this is going to be my actual blade like this is the The actual blade of the, of the element. Now, the thing is this face right here. It's actually, it's two phases going down. So I think this one is actually like the NYSE or the proper length. That does seem to be like cartoonishly exaggerated, which is what we're going for. But I need to get rid of this face right here. So I'm gonna go back into Q mesh. I'm going to say a single poly and I'm just going to get this guy out. Same with this one. Let's get it out. Well, let's try it again. Let's do this like a very small size. There we go. That's what they want. Because now I'm gonna go back to poly group here. So I'm going to say poly group. And we're going to pull the group this as a different face because from here we're going to extract the rest of the source. So now what I'm gonna do is I'm going to go into Q Michigan Q mesh. And I'm just going to bring this guy going to say q mesh poly group Island. And look at that. Perfect, That's exactly what we're going for. Now. I'm going to use my move border here to align it to the outside. Very careful, Let's try to snap it like that. And I'm just going to move this this single poly. So you'd get like a flat blade right there. And we're gonna do the same trick that we did before. So I'm just going to grab this guy right here. The bottom one, mascot, invert the mask like that. And then if I move this guy's down, I should only be moving these elements right here. And as we go further down, this should become slightly smaller like this. I do think that the whole thing, It's a little bit the wife. So let's do something like this. Careful there. There we go. Like that. We're going to move this edge closer to the center. Let's say it's supposed to be a line like that. It's not as though something like this. And then we're gonna queue Michigan because this thing is going to go out to create a little bit like the blade of the sword. I'm a little bit worried about the thickness up here, so I'm just going to use my brush to to give it as a proper like finished at this thing should have a little bit straighter. Same thing here. This should be a little bit straighter. It does get slightly smaller as it goes further down, but not that small. Now I'm going to move this vertices out because the inner side seems to be a little bit wider. So something like that. I'm not worried about like the fact that it's not becoming like perfectly flat because we're going to be doing the mirror later on to the other side. So that's going to take care of that. And there we go. And now we can use BCM and we're going to use q mesh. And we're going to bring that, we're going to create the tip of the sword now. So this flare side, a little bit like this. So that's like that where it starts the bending, the bending. And then we're going to have this out. And we're going to move this edge out a little bit like that. And then it's going to go out a little bit. Or actually from that point, it should go in. So we're going to start pushing this in until we hit the tip of the source. So this has to go in like this, like this. And then this line is going to become, it could become the tip of the sword. But the one that I want to create a little bit of a flow here. So I mean, I think we can, because I want this guy. So I'm going to say single poly. Look at this. Q matches single poly. And I'll bring this guy. And I'm going to say move. Because I want to kinda like I want to connect this guy's like bridge from this guy to this other guy. So one thing we can do, instead of doing that specific thing that we can use the breach tool. So for the breach, I am going to say Delete. We're going to delete this bullies right here. And then I'm going to say on the edge you're going to see Bridge a two holes. We're gonna do an an arc. And it's gonna go from here to this one. It's Glick. And then click and drag. And you can see that the thing they're inaction, which we don't exactly one that it's a little bit too intense, I think. So let's do, instead of an arc, what can we do? I mean we can collapse as well. Let's try collapsing. So I'm going to delete this guys and then I'm going to collapse. I don't know, I don't need to collapse. Technically, the only thing that I want to do is I want to combine this two guys, like this. One, this vertices to create the gap, to create a connection with other British. You don't like complete the line here. That's what I'm going for. So now I should be able to bridge this a little bit easier BCM. And I'm just going to again the bridge, but we're going to breach just edges. And there's this guy to this guy. And it's this guy to this guy. And this guy to this guy. There we go. And we only need to add one edge loop there. So we're going to insert multiple edge loops so that we get one is specifically on the middle. Just one. I'll come on. Whatever for some reason it's not living at just one, so I'm just going to move on. That's why I hate collapse. And it should lead me into just one. There we go. Now we're gonna go to points and there should be a stitch. 1.2nd.1, the second birth. So now we go again to move, and we're going to move this edge out to create the tip. Now that is really, really important because that's the edge loop that we're gonna be using to create the actual like sharpness. Wait, what happened there? Be Cm. Let's bring this back out. And then with my move, I'm just going to bring this back to. It's like straightness, straightness that we need here. Cool. So now I'm going to do something similar where we need to actually work on the, on the top side here before we do the actual like, what's the worst? Before we do the actual trim, we need to do a little bit of a change here. So let's keep this as the circular sharp looked at it has there, there we go. So this polygons, I'm going to inset, or rather poly group this guy. So again, a different color that's easy to identify, and there we go. So all of these guys are going to be q meshed in bold, the group Island. To create the mainframe there are domain like changed there, we're going to bevel that later on, that's fine. But up here where we have the little like horns, those horns are coming from this area. So I'm going to leave it with this guy. Again, pull the group, this guy. Let's do that again. A weird enough polygraph. There we go. And what we're gonna do is we're going to queue mesh this guy out and in and out. And I'm actually going to smooth one trace moving to make this a smaller. That's breaking up quite a bit. So instead of us moving, I am just going to like this thing, this, this element I'm going to move. So let's go to move single bully. So we're going to move this guy in, this guy, this guy. And then we'll be in. Because it's become like this little like horns, right? It's a shame that even with shift this doesn't like snap perfectly. Hopefully they give us a tool soon to, to get this into a better position. The most important thing is I want to make sure everything is as flat as possible to like the middle ground, the middle line. And then this becomes like that little horn that we have there on the on the source. I mean, I think we can move that just a little bit, just a little bit there. Just to kinda like going to this element because remember we're going to have the other half of the sorted is going to be mirrored to the other side. So we're going to have a different effect there as well. So now it's just a matter of finishing this area right here. So we're just going to mesh this single polling right here. And as you can see, it automatically like snaps to this area following are flowing with the rest of the of the late. So let me see how we're doing on time. Okay. We're running a little bit late on time right now, so I'm going to stop it right here, guys, as you can see, we have the general shape of the, of the sort. And in the next video, we're just going to keep polishing this and start adding the actual elements that we need. So hang tight and I'll see you back on the next one. Bye bye. 66. MainProject Greatsword Part4: Hey guys, welcome back to the next part of our series. Today we're going to continue with the great sewer. We're going to finish the deals and get it ready for to character. So here we go. This is where we left off. And as you can see, this is looking really good. However, if we press D, This doesn't look like a, like a nice graceful, like there's a lot of things that we need to know a lot, but there's a couple of things that we definitely need to fix here. So the first thing I'm gonna do is I'm actually going to use my clean brush. It might seem like something really crazy to do, but we can actually use our clean brush to flatten this thing out. C, because remember that clean brush does not delete anything. You just pushes everything to a single plane. So what we just did there is I pushed all the polygons that were on the backside of the sort into a single plane. And that will start that we started, it's time that we start adding support edges. So for instance, how I'm going to go with what's the reward. See you mesh here and we're going to say Insert single edge loop so that we can control. And we're definitely going to have one here. We can turn on like our dynamics of division here. And oh, wait, before we do that, we need to add the actual like sharpness to the sort, right? So the only thing we need to do is to do something very similar to what we did with the other thing. We're going to bevel this thing right here. And then we're just going to delete that this line right here. So we're gonna go into the leet. Actually complete and we're just going to delete the whole edge loop. And as you can see, that's going to give me a flat, like what's the worst? Yeah, blink a flat sort. Now, I'm going to I'm going to flatten this a little bit more because I do think it's a little bit too thick. So I'm going to blend this a little bit more. As you can see, all the shapes are going to be kept very, very nicely and the sides are going to be a little bit sharper, which is what we are looking for. Let me open my reference here just to have it, we'd me, yeah, everything is looking nice here. And now we can again turn on dynamics of division, and now we can start adding our support edges. So I'm going to go VCM again and go into edge mode, go into Insert Edge Loop. And let's start with the middle sections. So let this guy right there. And this guy and this guy right here. Like just adding those two sections, see how sharp now, like the point of the sword is and the rest of the element is, we're definitely going to add the one here on the sites. So the sharpness of the sword is really, really cool and it holds its sharpness really nicely. We're going to add like one here on the inside where the crystal is going to be. We're going to add one to here. We're going to add one here, one here, one here, one here, and one here. And as always, just check how things are looking. Seems to be looking fine. Down here. If you remember, we have this very strong angles, so we definitely need to add one there and one here. Which is where the, where the soil becomes this very sharp line. I'm actually going to add a second line right here, just to keep it a bit sharper. Up here. A very important area to have, to have an edge loop. Here. And here Let's set to edge loop so that, that becomes like really, really sharp. And then on this area right here, I did excellently on this line right here. Oh, that's going to really make it look super, super sharp, which is good. And then we need one up here. Let's do a couple there. Perfect look at that. Beautiful, right? Like that looks really, really nice. We're getting this very nice effect. We need to add a couple of extra lines here. So here and here. And that's going to really hold the edge now and give us exactly what we have on our concept. Very, very close. Now, I do think that this line right here on the, on the inside, It's a little bit too. Wife. Like the sharpness is a little bit closer here. So I'm just going to use my move tool to, to push this in a little bit, recover a little bit of the, of the sharpness there. Lot better. There we go. That looks really nice, really, really nice. Now the only question is, how do we create the other side? Right? Like Is there a way we can just duplicate this mirror then make sure that it falls on top of the other element. And yeah, the answer is yes. We can very easily just mirror this to the other side. Remember we have this Geometry, Mirror and weld and we can use z-axis now. And if we do mirror and well, it's going to follow the CX is the only problem, as you can see here, is it's going to go and it's going to weld it pretty much on the, on the origin. So I'm going to dynamic solo. This one thing you can do to find the origin is just a bend. Any sort of like initialize element like this sphere. And the center like polygon of this sphere, that's going to be our center. So see how far off we are. It's just a matter of let's move the pivot point here so that we can match it with the sphere. And I'm just going to move this in. Let's see a little bit more. Even if I'm like a little bit over the edge, that's fine. I rather have that. And now we should be able to just go into Geometry. Mirror in the weld. The only issue we might have is if things are not completely lineup, then when we divide, see how there's like a, like a gap in between the sort, I mean, it doesn't look half that. We honestly, it's a little bit of a nice detail. I think. I don't need the arrow anymore, so I'm just gonna go here and select tool and delete that arrow. We don't need this fear anymore. And then we go like we got this very nice, cartoonish looking of course, source. Now if you want to, we can go into our transform symmetry Z and just cnx, to be honest, Transform. Cnx can just like polish this guy's like closer together, so it's not like super, super thick. And now I know that this center, that's like the actual center of everything. So I'm going to try and line everything up with that center or I mean, it's not a big deal if we just move this just a tad bit. That we got Control D, Control D, Control D a couple times. And we're going to be in a very, very good position now if we need to, we can always of course, use our trim dynamic. Let's do local symmetry so that matches both sides like that. And we can just touch up on certain areas of the element that we might have missed so that we might want to change, right? I don't think I want to damage this sort of this much and want to keep it like a really clean and really simple, as you can see it right here. There we go. Really cool. Now, this looks really tight and as you can see, it's pretty much complete. The only thing that we're missing is the lion half. And that's going to be whether the trick, I'm going to leave this video short. I know we've had very long videos in the last couple of sections, especially on the shoulder pads and stuff. So I'm going to leave this be their short guys. And in the next one we're gonna do the lion head. So hang on tight and I'll see you back on the next one. Bye bye. 67. MainProject LionGuard Part1: Hey guys, welcome back to the next part of our series. Today we're going to continue with the sorting and we're going to start working on the lion Garth. So let's get to it. This is where we left off with this very nice-looking blade. The palms ready to guard is ready. It's only time for or it's only a matter of finishing this thing right here, which is the lion's shape right here. Now, as you can see, this is a very geometric sort of shapes. So that's going to make it a little bit easier for us. Now the war we didn't do this is pretty similar to how we did the shoulder back. So the only thing that's going to change is that now we're working with the object in that, in a different view, right? Like this is a side view rather than on the front view. I usually like working with front abuse. So what I'm gonna do some actually going to turn on my, what's the word? My main tool here, I'm going to select also tools. I'm going to go to the top and I'm going to go to the to the access to the very center here. And I'm just going to turn off symmetry and I'm going to rotate this 90 degrees. So now the sort is looking at me sideways and this should allow me to model the head looking straight to me and that might be a little bit easier. So I'm gonna start with a sphere. And I'm just gonna start using first the clique brushes because I think the clique brushes are gonna give me a very nice caught here. So I can see that Let's turn on symmetry on. That this thing is, it's quite flat, so I'm going to cut right here. And then we have the main coming on the top. Like a boat here. Like this. Now this thing, of course, I'm going to turn this off now, should be down here. Because we can't count the seven. We should be able to count the seven lines right here. Before we go into the into the Garth and the Garth should go. I am actually, yeah, this is x symmetry, so that's fine. So we're gonna go up here because it's right here on top of the crystal. So on this side of the, of this little element we have the main going out. And on this front side we have like the actual face of the line. It's like it's, the lion was eating part of the, of the sort. So as you can see with the very simple sphere and with very few cuts, we can already start to blocking the general shape of the element. To be honest, this is one of the main things that I normally do when I'm working on an any kind of character. Like I start with the blocking and then work from there, and then turn polish on, increase my resolution quite a bit and turn DynaMesh on so that we can start working with actual like DynaMesh. And I'm going to start sketching out the main parts of the lion. So the phase is going to be here. So this is going to be like the snout right here. This is going to be like an open mouth because it's like eating until the blade like this. The jaw line is ligand, very sharp Joe line that we see are there. I think this is a little bit shorter, something like this. That's why I wanted to have the front view because it's going to be easier to have like the ears right here. And then there's like a zygomatic arch. Remember when we did the skull all the way back in the first videos? Well, this is where all that important information comes into play because we can very easily start sketching out like this sharp lines that this guy has. So this thing goes all the way up to the year like this. And then on this side we have like a, like a hair here, again, the zygomatic arch here. The eyebrows right about there. This is a little bit thinner, like this sort of shape here. And then this snout right here. There you go. See solo matter of form, perspective and shapes. As you can see the very fast, very quickly we can get some interesting looking shapes into our character. Like this. Now on this area right beneath this like hair strand, we have like a like a spirally thing going on here. It kinda goes there. Let's DynaMesh so that we can start polishing this up. And then back here, we have sort of like best supported the main give a little bit of volume. Because from the side view, I can see like a little spike here, like this. And then a secondary spike rate both here. And then we need to remove a little bit of this volume because the hair just lace like ghosts goes down like this. There we go. Now I can see a line going here. And this is giving me one strand. There's like a secondary strand right here. There's like a tertiary strand right here. I'm just sketching, don't worry, we're going to be polishing this quite a bit. So right now we're just sketching this whole thing. And then this thing has like a couple of planes in there. Now the most important thing about this guard is that we need to make it believable. So that means that we really have to adjusted in such a way that doesn't look like a completely like overwhelming to the whole thing. I think we can go a little bit wider just to give it like that very nice silhouette. And now this, now let's modify it so that it looks a little bit closer to what we have, is like a very accelerated the temperature here. Like the, like the angle is like really, really sharp. And then when turn dynamic, I'm just going to like really pushed this guy saying, I don't think it's S wife here, so I'm gonna make it slightly thinner there. Dynamesh. And we just keep polishing. So main volume there, there we go. It's not that there's no little separation between this upper like eyebrow and the actual like sort. So I'm going to push it here. I do see a little bit of a plane here on the sites like this. And this is like the I like a rolling over and treating us sort of like a like a triangle shape. And then this thing is just like. Going in here, like this. Let's go here. The mean is standard with the, with the Alt clicked so that we get that sharp line. And now we start polishing. After we get this very nice base mesh, we can now start polishing. So for instance, under this buckle here are like main shape, there's like a main like Kerberos here. I'm going to carve in a little bit. Let's go there. Again. As I mentioned, there's this like smoke buckle coming in here and then they're slick like a surface here. It's like a triangle going to the front. I do think it's like the zygomatic arch. So I'm going to sculpt kinda like a triangle there. And then we'll trim dynamic. I'm just going to polish that to make it look really sharp. On the snout here. There's like a very distinct plane. Starting wife here. Like it starts why that this point, and then it goes forward and becomes a little bit narrower and see all of this area underneath. That's the kind of thing that we need to polish a little bit to create again, the plane. We've got a couple that we have a couple of teeth here. So I'm not going to make them super thin. I'm going to give them a little bit of volume here. It's not on the concept with I'm going to just like make them stand out a little bit more because they're supposed to be like biding into the sort. Now here on the snout, I'm saying it's going to show that's the, the proper worth. But this particle here on the front, I would expect to see like the, like the nostrils and stuff. But since this is like a gold sculpture, we can forgo a little bit of anatomy there. What I do see is again, a little bit of a line here. Like a different plane on the side there. This one is actually kind of like merges into the front like this. So that line right there and that would trim dynamic. Just push this in because I know that when I do DynaMesh, the polish is going to help me keep those lengths are really sharp. Look at that. It's only been almost 10 minutes and we already have a very, very nice-looking base mesh here for our lion's head. Now it's just a matter of, again, checking the reference and modifying things until they look as close as possible to the main thing. Now see all of this stuff that's like, really like, like why? Let's fix it a little bit. The shape of the mouth is like very square. So this goes like in this diagonal looking shape. And then here we have the other, the other Fang coming up which would be closer to the, to the element. And I can see like a very distinct plane right here. So again, we've trained dynamic. This is plink ion like fates out into the, into the weapon. It goes really close to the. Essentially kind of like hugging the surface there. So like that, there we go. And then from here, from this jaw line that we have here, which I think could be a little bit wider to make it like a stronger jaw. There we go. From dislike, very strong jaw is where does like hair buckle originates? Have like the main hair buckle here. And there's like a secondary hair book right here. Similar to the way we sculpted the hair, we we need to make sure that things flow into one another and they're not just like drawn, right? Like we want to make sure that the overlap actually feels like one of them is on top of the other one. For instance, that line there. Let's use the mean or clay buildup to build a little bit of the jawline there. And again, when we did DynaMesh, see how that very nice effect, very nice effect that we get. I still think that we're missing a little bit of a plane here. So what I'm gonna do is I'm going to add the volume here. And then we trim dynamic. And we're going to flatten on one side. And then flooded on the other side. Like this. On the front here. Let's sharpen that fangled more. So again, if we need to, we add a loop the volume with clay buildup and then trim dynamics going to help us really, really bring this into nice sharp point. Looking good, looking good. Let's go up here with a little like ears that he has. Very square is just like an indication of years. Little bit of extra bowling there and there, there we go. And this is going to be like hair strands coming from this area. They're all originates from behind the ear. Pretty similar to how they doing in a real lion. So now this is a part of where we start sculpting this nice long lines. Now for instance here it doesn't make sense for this guys to be like super thick there. So I would add like the volume on the middle and then and then trim it down a little bit. So maybe a little bit round there. We don't see a lot of the stuff up on the top here because he is covering with his hand. But I would expect to see like a couple of extra detail hair strands like this. Right? Like a kinda makes sense to have something like that. So I'm just going to push this here. There we go. Looking good. Of course, from the front view, it might look a little bit weird. So it's very important that we like fix that because we want this to read this a lie on even from the front. So I'm going to push like the main a little bit further out. Which is one of the indication of this being a liar, right? They mean a standard. Let's push this line a little bit more there. The eye, there's no eyes, just like an indication of the eye. Just like a triangle in there, like carbon there. So I'm just going to carve it there. Again lights. Remember when we move the lights, we're going to get a little, a little bit of a shadow there. And that's going to, of course, help us sell the effect that this is supposed to be a client element. When these Damien the standard here with the inverse option selected with old selected. So we get that nice sharp lines on the outside. And there we go. That's a very good start. Now I'm going to stop the video right here, guys, so that we don't go extremely long. Again. And the next one we're going to keep polishing this and we're going to get this ready to import it with the character and makes sure everything is looking good. So hang tight and I'll see you back on the next one. Bye bye. 68. MainProject LionGuard Part2: Hey guys, welcome back to the next part of our series. Today we're going to continue. We delight in God, we are going to be polishing it and getting it ready for like final presentation. So this is where we left off. This is the lion head, nothing new. It has been added. I just isolated this pieces so that we can focus on getting rid of this hole right here. Like I don't really like those guys right there. And the ECS, or quickest way I can think of is by using light booleans. So I'm going to clone this guy so that we have a separate piece right here. I'm going to turn live Booleans on and I'm going to append a couple of shapes. So for instance, let's start with the cylinder. I'm going to rotate this 90 degrees. There we go. And we're going to use this to cut out of the character. We can just select this guy right here. And as you can see, this is going to cut out. So for instance, right there, we need to increase the radius here. There we go. So we're going to have a circle right here. So right around that part of the hair that I think that's a, that's a good position. Let's increase this radius. There we go. And then we're going to have like a cube. So I mean, it's, it's kind of like a cylinder as well. So I'm just going to Control Alt and drag to create like a copy here. And what we can do is by turning on symmetry, of course, we can use our Move brush to just shape this cylinder into more like a square like shape, as you can see there. And that's going to give us that nice little caught there. I am going to control D W and duplicate this thing because we need to cut all of this area down here. And same thing since we're already working with this cylinder, I'm just going to increase the radius and use it to cut the whole area down here like this. There we go. I'm going to use Control Alt, rotated this and use it to cut the shape there. This guy's we can, we can fix that. That's an easy fix. So again, Control Alt to make this really thin and use this line to cut right there. And I'm just going to Control Alt and use a little tip here to carve into the teeth. And we need to do a little bit of a change there we can do it. There we go. That's a lot better. So I'm just going to say it's going to make sure that there's no crazy elements floating around. There's a couple of things that you can see there, but I think we're going to be fine. So we're gonna go into Boolean, make Boolean mesh. We should get like a mesh right here. That's the new thing. I'm just gonna go back here. I'm going to say Append. I'm going to append that new mesh. This guy that I'm selecting right now, which is not the EU mesh. I'm just going to delete because we don't need it anymore. And then this guy, I'm just going to increase the resolution, ones with like 600, turn polish on and DynaMesh. And as you can see, this will hold the shape a lot better. Now, I'm not too worried about those areas that we're now going to be seeing. Because it's always important to just like what's the word and make sure that everything is as nice as possible. So again, increase the resolution here, Polish DynaMesh. There we go, gently dynamic symmetry on of course. And there we go. Just clean a little bit of the shapes, their soften some of these areas, just getting rid of those like very weird hard lines that we have there. And that's it. And then if we see it in in tandem with the rest of the things, which would have a very nice look there. So for instance here I'm seeing that we need to move the mouth a little bit lower. And probably like the facts a little bit like out. So Hux the surface a little bit better. There we go. So a lot cleaner, a lot sharper, right. So now what I'm gonna do is I'm going to clone this tool because I want to work on just the head without having to worry about anything else. Actually, we can do it here without having to call it. I'm just going to duplicate this guy. So when I keep a copy of this original mesh and in this guy I'm going to see remission. So I'm gonna go geometry. Let's isolate this. So we aren't only seeing this guy see Ramesh, I'm going to say detect edges, freeze border. That's important. And we're going to say just see refresh. Now, this shouldn't actually like, I like I'm not going for like perfect topology. I just want a little bit more of a nicer topology. So there seems to be an error there. Let's get rid of this and see if we can get it to work with just a summary measure. If we get an error sometimes is because there's like floating polygons or something. We can fix them in, in a, in a pinch very easily. Let's see how this looks. Okay, it worked. And as you can see this, this mesh looks a lot cleaner, a lot nicer than what we had before. So the edges, the flow and everything should be flowing in a better way. So I'm going to duplicate this or sorry, divide this a couple of times. Turn on the other one, and then on the new one, the one that has the new polygons, which is this one. I'm just going to say project right here. Project all. And what this should do is I should get the projection of my hard surface into this new surface. So this one is the ugly one. We're just going to delete it. The bats topology. And this one, as you can see, has a very clean topology. So now if we go one more subdivision level up, we should be able to use our Damien, the standard. I'm going to change the Alpha to a tighter alpha like Alpha 45. And I'm gonna change this stroke to a Lacey mouse gesture with a little bit of a higher radius. Because now what I'm gonna do is I'm gonna go and I'm going to start carving in like the actual divisions in a more like sharp way like this. So a lot cleaner. I still want to have that sort of like hammered look, like very, very handmade look. This is going to help me really sharpen the the details of the face. For instance here, well, right here, there we go. And it's going to make it look a lot, a lot cleaner. You can always use our traditional brushes like the, like the clay buildup here, for instance, to give it that sort of look. I think the lacI mouse is, it's okay if it's a little bit too intense. So I'm going to reduce it. So they have a little bit more of a free flow sort of like sculpting process here. There we go. Now for instance here, careful with those like that's, that's the way com tablet like not being able to properly create the different elements. There we go. I always like to soften this a little bit because otherwise it looks a little bit too sharp for my taste. So this nice line that we have there, Let's reinforce it. Screed a nice reinforcement there. And here is where the mooc verse is going to be really handy because we're going to be correcting this curvature. So it looks a lot more natural, lot nicer. I think I'm going to decrease the intensity of the standard. There we go. So that my groups and all the other lines of them adding or not as intense. We're still going to be adding that nice line and it's going to give us this very sharp look. Shouldn't be that intense. See how everything is becoming a lot more defined. That's what we're going for. So now see here more brush. And let's just give this like a proper like hair flow here. We have our curvature there. Let's just push the curvature and use it. They minutes 10 there to really give this accent to the, to the like the main here, on the back here. Let's keep it symmetrical. Again, we have to take some artistic liberties because it's supposed to be like a sword Garth. So there might be certain things that are slightly off, a slightly different look at that. Not bad, right? Not bath. Can we make this look even better? Yes, of course, everything is perfectible. Remember that's something important to keep in mind all the time. But we also need to keep in mind the time. You can't work on the project forever, right? So, so we need to get to do the best we can with the amount of time that we have. If you're wondering, how much time does like a professional artist takes when he's doing like a character for our production. It depends on the production of course, but if you're looking at your characters, like if you want to become a, a character artists for like a triple a bit again, guy was like on, on Naughty Dog or riot or something. Those characters usually take a lot of time. There's a lot of revisions, a lot of changes. So I remember once I saw an interview from who was it? I think it was Alexandra bulbous or ony. If you don't know that guy he works are used to work at Blur, which is one of the best house companies for like cinematics. And he is a cartoon character artists. He's Italian, I believe. And he mentioned that usually a character could take up to two months of work. So imagine working full-time like a 40 or more hours per week on just one character for two months. That's roughly what he takes to do like, oh, like a fine, like extremely well crafted characters. So this guy right here, we're just spending a little bit above like 12 hours, I think, in total. So you should always consider that time is a very big factor in how the end result of things are. So don't always believe that the characters that look like super cool wart on and just like one hour a week sculptor, something that's not true. Professional artists take, we take a lot of time to do this sort of things. Sometimes you do, do, you do, do characters that are simple and quick and you can finish them in like a week or maybe even the day. But more often than not, they do take time. Perfect. So I think we're in a very good position. So let's see what the next step is in this word, the word this particular sort. So let me turn on the colors here. I don't think we've filled the colors. Let's go color fill object or rather, let's grab the middle color, color fill object. Well, actually that's supposed to be gold color fill object. There we go. And disorder supposed to be like this, Ireland color color fill object. Perfect, so we got this sword looking very, very nice. So we need to insert all of this sub tools into R sub two over here, like the main palette than that we have, which is ready for the next stage. The next stage is going to be poly paint guys. We're going to jump into poly pain. We're going to be doing a little bit of fixing on the on the head. And then we're going to probably paint and start assigning like the proper materials before we jump into posting. So how can we import something here? There's a couple of ways. First we can do one by one, like just grab the whole element here and it's seven sub tool, so I believe one through 4567. Yep. So we can just start like appending them or I believe we can do a folder and export the whole folder. Let me see. Let's create a new folder here. Let's call this sort. No, sorry, it's not going to work. Oh, let me go back here. That's fine. So I'm just gonna go here to the very bottom. I remember whenever you want to import a new tool, you just append and whatever is selected, it's going to be appended. So there's the liner head, which is okay. And then we're gonna go, this is a one by one, so this is a sort append, so forth. And then we're just gonna go for this little sphere. Go back here. A little sphere. The little jewels up and little joules, the crown, the pen. So select the tool that you want to append and then appended. There we go. But sure, there should be a better way to do this. You bring in probably use a little bit of Google foo2 to figure this out. So just append this guy. And finally, this guy and this guy right here. So we should have everything. Now we create the folder. So I'm going to grab this guy right here. I'm going to create a new folder called a source. And then I'm going to move this guy into the folder. And the reason I wanted to do this is because I want to modify the whole leg to the sword as a whole. So we can select the folder W and move the whole thing as well. Transpose said, we're going to say, and we're just going to move the whole thing here. Let's rotate this 90 degrees. So it's facing in the same way as we have it on the concept. And I just want to check the size. It does seem to be okay. I think it's a little bit too big, so I'm just gonna make it slightly smaller. I think that's a little bit better. Probably a little bit more. There we go. So now that's the source. So it is really, we can leave it like this just for now and the end now we can start focusing on poly paint. So I'm going to stop to be right here guys, make sure to finish all the pieces all up to this point because it's now time to we start doing the painting stage. There's one thing or a couple of things that we're still missing. We're missing the ropes. I haven't forgotten about those. And we're missing the floating cape, but it's easier, way, way easier for this particular character to pose him first finish the painting, and then do those little elements. So just hang tight and I'll see you back on the next one. Bye. 69. MainProject Face Polypaint Part1: Hey guys, welcome back to the next part of our series. Today we're going to continue with the character. We're going to work on the belly pain for the face. So let's get to it. Perfect. So this is what we have for the face. And before we do the poly paint, I just want to polish this a little bit more. What I'm gonna do is as you can see, we have DynaMesh. And if you remember from the last video where we did the polishing of the actual light line head. This doesn't really work for Barry. More interesting features of the character. So I'm just going to duplicate this guy. Go to the first one, I'm going to go into geometry. I'm going to say see every measure. I'm just going to let Z remeasure do its job by, yeah, you are giving me a new cereal mesh element of my character That's going to be a little bit easier to both sculpt and paint. So let's just wait a little bit for this to finish. It shouldn't take that long because it's not that complex. We only have, we only have 0.5 million polygons. There we go. We're going to divide this a couple of times. Let's do three times. And then we're going to project the details that we had before because we don't want to lose any of the work that we've already done. We don't want to project the poly paint because we're going to be doing that in just a second. So we're just going to have to wait a little bit here. Let's wait for this to unload or to load. Actually, it shouldn't take that long, but it's yeah, there we go. So now this one, the one that had the polypeptide, we're just going to delete because we don't need it anymore. And we have this guy right here, which has proper topology. So as you can see, just by having proper topology are details are going to start looking a little bit sharper. So now is the time to go back with our Damien standard for instance, and just fixing all of these elements. For instance, here in the mouth, we can definitely clean the mouth, clean the eyes up a little bit. I'm going to push this inner side of the eye. I'll be closer in. The ICER can be changed. We are going to be changing those eyes because those ice or ice usually don't like carbon and we've just been using those because it's a little bit easier. And then we can start adding like this, sort of like details here for instance, usually here on the, on the underside of the eyes we have this line that gets a little bit of an old loop, but we don't want as much detail there. And the lips, the lips are going to be really, really important because we can now sharpen the loops a lot better. And as you can see, our mouth is they're going to start looking a lot tighter. There we go. So we want this lip to go in there. Usually we have a little bit of file like a bulge, like a small little bolts shear on the on the sites. It's a corner of the mouth and they will be very difficult to have it without proper topology. There we go. So as with everything guys, if you see anything that your sculpture needs to get fixed and stuff, just fix it. Raised, sculpted, move it along, change it. Usually the lower lip is for the outer lip or the upper lip. So I'm gonna just correct a little bit of the depth there. Give it a little bit of a shy smile. There. There we go. So how are we going to start painting this guy? Well, first of all, we need to use normal materials. So I'm gonna go into my basic material were rather, I think I'm going to go for, yeah, let's do basic material. So I'm going to grab my basic material and we're going to be using the basic material to paint the whole character. So the first thing we need to do is we need to find a base color. Now, even though we do have the reference right here, let me open it real quick. There we go. We know he has a very light skin color. We need to find a way to give it a little bit more depth with just color wheel, we're going to have like this, sort of like hand painted texture to the whole character. So usually your skin tones are going to be around this red and yellow areas and you usually don't want them to be as saturated. So I think something like this for a base is perfectly fine. I'm going to grab my standard brush, and the same way we did with the alien, and it's like color spray. And I'm going to select the Alpha 7 to get like this sort of what's the word? Forgot about the word. But this sort of like painting style. Dan wants to work a row, a row, airbrush, airbrush them. Thank you. Hair brush. So we're going to use this airbrush now. I'm going to go into RGB, turning this off. And I'm going to say am RGB so that everything is filled with the basic color. I'm going to say color fill object. And I want the skin to be math leg. As you can see, this is not really shiny because I'm going to be controlling the shine of the object later on when we did the render passes. So now with this, I'm gonna do the same trick that we did before. I'm going to grab like this, sort of like a reddish color and I'm going to start adding a little bit of color in certain areas of the characters. For instance, on the cheeks, on the nose, and the ears, everywhere where you see a muscle or were there where the blood flows a little bit more than usual. You want to have a little bit of this earth. Now again, this character is another realistic character. So we're now going to be painting realistic skin tones. But we still given and follow the same rules that we did when we were doing the alien. Because it's going to help us give a more natural look instead of realistic, we're gonna go for natural. So the red color, as you can see, it's going to really give this a skin a little bit more life. It's gonna look like he's alive and it's just like a wax character. And now I'm going to go for like a blue, like a deep purple color, blue color, which is going to go on the crevices. So let's do like the crevasses there. They're a little bit on the mouth. And this is the clown technique. So everything's going to look a little bit weird first. And then everything is customer looking a little bit better? It looks like a drag queen right now. That's fine. We're gonna go for the yellows now. Look at this orange and yellow. So there's going to be like cartilage and fat. So this areas right here and a little bit on the ears, the bones, fat here, this call. There we go. Bone there. Perfect. Now what I'm gonna do is before we do the field with the basic color, Let's turn on the shirt. I think that's going to help us see the general thickening here are the general look here. It's very wide shoulders, that's fine. I mean, we're not seeing the shoulder because he's covered, so I'm just going to move this a little bit. There we go. Really wide on the shoulder, but that's just a character. So, so now before we do that, sort of like breaking or blending of the element are showing up and going to my smooth option, I'm going to turn off CF and I'm going to decrease the RGB intensity two to about like a 30. And I'm going to use it to blur out the colors of my element right here. No, I don't want to paint it with alpha. But let's bring it all the way up. I'm stupid. I'm doing it on the shirt. So by doing this, as you can see, we're going to be able to blend the colors of the, of the, of the character and get some a little bit more like her Tunisia. Soft natural effects to the whole skin. Looks a little bit cigarette now because of the of the blues that we're going to be fixing that shortly. So now I'm just going to sample the same base color scheme that we have. And when an RGB intensity of 19, I'm just gonna give it a couple of fields here, 123, so we blend everything even, even more. If you want to, you can turn on all the different like subtitles that you're working with. How we're just keeping in mind that by not focusing on just the skin is going to be a little bit better for you. So there we go. As you can see, it would just go to the head and turn the skin on and off. It's quite the change. Now I'm going to show you a little bit of a technique that we use when we paint miniatures. I really like to paint miniatures. That's one of the, my hobbies and that's using a technique called a washes and the highlights. If you paint miniatures, you probably know this. So the way we're gonna do this, I'm actually going to grab like a lighter color here. And if we grab the standard brush, you can see that its RGB, RGB. There we go, going to make a lighter color on the head. And you can see that's going to be light color. And I'm gonna change this to spray so it's only the same color. And I'm going to keep the intensity really low. And instead of using this guy, I'm actually going to use a soft alpha like alpha 49, because it's going to give me a little bit of a different shape. So I'm going to go into my basic material. I'm going to change this a flat color. Flat chord is going to allow me to see the material just as a flat color. And while it's not working for this kid right now, but working with everything else. And with this, I'm going to add a little bit of pilot. Think of this as a make-up. I'm going to add a little bit of makeup in the high points of the character to push the, the details of the character a little bit more. And then I'm going to grab my darker color like a dark skin tone. I'm going to use this to push certain, certain areas of the character back in space. So this is only going to be texture work. We're only working with texture and we're going to be pushing this sort of elements back. So let me grab this or make this a little bit smaller. There we go. If you want to, you can just go here and you can just select m and say RGB intensity, color fill object. And now this is going to be a flat color. So it's going to be a little bit easier to see what's going on here with the, with the elements or the pain that we're doing. So again, I'm going to go for like a, like a dark color. We're actually gonna say like freehand. Say we can, of course, smooth things out here with the, with the RGB. Let's grab the same like light colors here and give a little bit more light in this area. So the secret, these, you should be able to see like the main forms of your character on a flat color material like this. Okay, if you don't see the main shapes of the character, then you're not pushing into texture enough. So let's grab a dark color like that, dark red color. And push this a little bit more there. Like the ear underneath the jaw. It's kind of like painting light and shadow into the character. And this is going to help us because since we're not going to be doing a traditional render and traditional materials, because that's not something that's ZBrush really has. We would need to use something like the, like the key shot breach and we're not covering that on this particular what's the word curse? Then we need to find another way to kinda like fake this sort of styles. So I'm gonna go back to my starting material. I'm going to say none less than the start of the basic material. And as you can see, we're now going to have this very interesting look like see the difference between having like a bland color and a little bit more life into the element c. So that's very important. I'm going to grab my reds again and I'm going to push them a little bit for probably decrease the intensity. So for instance, the eyelids, like the eye central be a little bit redder. So very, very softly, I'm going to add that little bit of extra information. So for instance, the lips. Lips are usually a little bit darker than the rest of the face. Like I don't want the lips to look like He has like lipstick guardian thing. So I'm going to desaturate it with, I am going to make it darker. Let's try that. If it's too much, I'm just going to resample this and just soften this up a little bit of color, just a little bit. Just to make it pop a little bit more than it is actually doing. As you can see, we get this very interesting look now. It's looking a little bit too sick. Sick leave a like a like a sick person. Just grab your color spray again and give it a little bit like very, very low intensity red tones. That's going to help bring the whole character back into like this reddish look, which is going to, it's going to make him pop a little bit better. You can do the same technique like at this red colors and then go back to like a blue and a little bit of blue in certain areas and then grab the same color again, we're low-intensity and say color, fill object the whole thing so that we blend the colors a little bit more like it's, it's a constant like going up and down on the under different things. So you feel like you need to do that, go for it. Now I can see on this character that he has some sort of like bluish tint on the beard. So it seems like He has like a clean shaven veered. So I'm going to use a very thin brush to have like various small dots. Give it just this sort of like scruffy, scruffy looking beard like that. I do want to have a little bit more like I wanted to appear to be very obvious from, from the outside. I think I am going to make this a little bit brighter, so I'm going to go towards the yellows and give it a little bit more light. Because I do feel like we lost a little bit of that nice light that we had before. So I'm going to bring the light back into like the nose, the tip of the chin there. And since we're working with very low intensities, the colors are going to start blending together. As you can see, they're going to go back to my reds and I'm going to do the little subsurface scattering effects. So for instance, the nose should be a little bit rather, as you can see, they're pulling another S, orangey, a little bit more like pinkish. There we go. Same for the ears so that we have, should have a little bit more, little bit there. The mouth islets are one of the other areas that we get, that sort of thing. Let me sample the same basic color just to bring that tone down a little bit. And as you can see, we're getting this very, very nice look. Now. The eyebrows he has like very dark like a dark yellow mustard eyebrow. So I'm going to go for like a dark. Not super dark, but just dark enough. Something like this. And we're just going to follow the same sort of shape that we've already sculpted before with this course. Now the reason we do this bores work really well because they also act like, sort of like shadows. So we get this very, very cool color for production. Again, if you're in 3D artist, this is not something that we usually do for production. For production, we usually do the whole UV mapping process and the end, the end creation and proper materials and everything. But for like a concept illustration or something, this actually works really, really well. And it gets, you can see like look at the difference like this is like the basic like pale skin that we have. And now with proper poly paint, things are starting to look a lot better, right? So we're in a very good position here, guys, I'm going to stop to be doing in the next one, I'm going to show you a couple of other tricks for the hair. So hang on tight and I'll see you back on the next one. Bye. 70. MainProject Face Polypaint Part2: Hey guys, welcome back to the next part of our series. Today we're where we're going to continue with the face PolyBase. So let's get to it. This is where we left off in the last video. As you can see, this one is looking a little bit more like Scheme. That's not us, damn, as it was before. And remember, if you see anything that doesn't look right, just yet, you can always go back and just add and fix stuff. It's like painting a miniature, which I really, really like. Now I'm going to go into the hair. And for the hair, I'm going to start with the main branches here and at the main strands, which are these ones right here, we're gonna do a little bit of a different approach. Instead of using this very natural-looking dotted element, we're going to go for a little bit more of a stylized look like a hand painted our hair. So I like this, don't, I think this is a good tone as a base because if we take a look at the character that's roughly the color that we have here, like a very pale yellow. Now for the shadows as you can see, it goes into like this grayish color. So I'm gonna select this guy and go down here in value. But I'm also going to change the saturation into like a darker colors. This is a very neat trick that you need to learn. If you just change the value of a color, you're going to get very boring contrast. But if you change the hue along with the value, you're gonna get a little bit more of an interesting result. So what I'm gonna do here is I'm going to change this into free hand. And just like a soft alpha like this, increasing intensity. And I'm going to use this to paint all the underside of the character here. Some pretty much painting the shadows. You can't turn on the head, for instance, and the hair, of course. Let's go here and turn. There we go. There we go. So we can use the head as a sort of like a reference point to know where we're going to add a little bit more shadow. That's going to push again the look of the hair a little bit more. So for instance, on that side, The right there, That's really, really covered by everything. So we're going to have a little bit more of ambient occlusion if you're familiar with traditional and digital painting, this is a technique that they use quite often and it's really, really efficient. So that's why we're repeating it here. So let's go back here. Now for instance, on the top of the hair you can see that we have the highlights. So same thing. I'm going to move this a little bit towards the greens, and I'm just going to start adding the highlights to really push the light of the character. Scum, like, like bathing this or adding light to the whole thing. Now, I'm not going to add it everywhere. I'm just gonna add it like here on the top. And as you can see, this is going to help me. It's going to help me push the general shapes of the element a little bit further. There we go. Let's grab that dark color there and that intellect to their roots, they are a little bit. And after that we're just going to add the basic color and we're just gonna say color, Fill object a couple of times to just keep everything very, very close together. Let's turn everything on because otherwise the hair looks really weird. And for instance, this guys right here, we're going to again sample like that darker color here. And start pushing the shadow seen there. That, that change that we're adding there, that painting like hand painted texture effect is going to help us push the form and the volumes of the character a lot more. It's kind of like painting the shadows. We're of course going to have our lights later on and the light is going to really help push the shadows. But again, this is. Technique that we can use to just add a little bit of extra detail here and there. So let's grab that dark color again. For instance, everywhere any place where I think, where I see that there's going to be a little bit of LIGO collusion from the OEM or the same hair. We're just going to add that sort of like effect there. My goal of this inner area here. There we go. Then we're going to grab the light color. And we're going to paint a little bit of that light in there as well. Perfect. Looking good, right? Okay. Don't worry too much about it. Don't think too much. Just let me make the SISO because I want to soften the hair a little bit there. It's looking a little bit too trendy. And then I'm going to grab the same dark color that we have. Let's just give it a second. That same dark color that we have here. In just a little bit of shadow there. There we go. Cool. So as you can see, things are looking a lot nicer. What I'm I missing here. We've got the light Boolean now, let's start. Light will go off. It seems like we were using live Booleans for some things. But as you can see, the character is looking a lot more alive and we're going to use the same process. But now with the for, for the firm, as you can see, it's just a white fur, right? But it has a little bit of a yellowy Hugh on certain areas. So we're going to use masking for this particular one to give it a little bit of a different look. So I'm going to go for like this yellowish like whitish color here. Never go for like full wide or for like black. That's also a rule that you should follow and say color fill object. That's a lot better, That's a lot nicer. And now I'm going to go into my masking options right here. I'm gonna say mask by ambient occlusion. And as you're gonna see here, it's gonna take a little while because he needs to calculate. It's kinda like doing a rendering is to calculate which areas are being occluded, which areas have a little bit more shadow, a little bit less shallow. But it's going to be really helpful because we are going to be able to do the highlights and the shadows really, really quickly. Let's just wait for this to calculate and finish of checking the whole thing. There we go. I don't really see a mask, but it's there, you can see it there. So when we do this, so now the cavities are not masked, which is exactly what we're going for. I'm going to grab this, I'm going to make it a little bit darker, a little bit rather, something like this. Let's do like 10 percent RGB intensity color object a couple of times like a 30 or 40 percent. And now, even though it might not look like so there is a little bit of highlight there, see. So, so we can see that now my color is in there. Let's add a little bit more. So I'm going to say if you loved with a couple of more times. And now look at that. So now when we jump back into the basic material, you're going to see that we have that nice little bit there. I'm going to invert the material because I want to do the opposite side like I want to have the points be a little bit lighter. So I'm gonna go towards the yellows, oranges and yellows. Like this, I'm going to say color, fill object a couple of times as well. So it's gonna give me a very nice interesting element. We can also go mask by cavity and mascot. See that like it's gonna give me a couple of interesting strands. We can invert the mask. And let's go into the Blur mask to bird a mask a little bit. Let's go for like a very dark color. So color, fill object like a couple of times. So what that's gonna do, it's gonna give me a couple of strands. Again, if we see the flat color, it's going to have a couple of strands that a little bit darker than everything else, which is going to be, again, a nice little touch. I'm going to sample this color and I'm going to push it closer to the whites and the yellows. Now manually, I'm going to start adding a little bit of highlights in certain areas, especially like this top areas right here. So let's increase this thing. So I'm going to increase the highlights on the top areas like this, like it just an overall like painting, like lightning, everything. And I'm going to do the same thing with the dark area. So I'm going to grab this dark color. I'm going to start adding a little bit of a dark color on the lower areas, on the inner areas. So that when we jump back into like our basic material, there's going to be a little bit of a global contrast going on all over the character. Here we go see that, that looks very cool. A little bit wider. There. There we go. So now we go back into the basic material and look at that. We're going to have a little bit more definition. Now, I'm not sure why this was on the on the lowest of division, so I'm just going to increase it to the highest of division and look at that, looking very, very nice. Now there's going to be a couple of changes we can do later on with the material so that it doesn't look like flat, is it that looks a little bit more fluffy. But right now, this is looking, this is looking good. So there we go. Look at that a lot better, right? And again, this is the thing, this is where it, why it's a little bit difficult to teach from the, from the very beginning because you see the initial steps using the initial process that we're going for and the ad, you don't see this, right? Like you don't see this final results. So it seems like we're never going to get there, but now we are getting there. So for instance, now let's jump into the, into the chest real, real quick. Same process would just grab this light green color. I'm going to push it up and go a little bit towards the yellows. And very softly. No symmetry. I'm just going to add a little bit of light in areas where I would expect light to hit. For instance, this upper areas right here, a little bit on this arm right here, and then this arm, let's see it in. Let me erase the, the bars for now. Where are they? Let's delete. Ok, and there we go. So for instance, a little bit on those top areas where the light would be hitting it. We would expect to see a little bit more of a lighter look right there, there. Maybe a little bit here on the hip. Like that's the sort of like effect and details that we want to have. Like that's what's really going to help us sell. The fact that this character is in an environment that has light into its going to give a little bit more realism and it's going to punch the character into a very nice presentation. Look at that, look at that handsome guy. He looks really good, right? Is looking, I think very, very nice. Now, let's see what else can we do before we close this video? Ice, I think the ice are going to be an important part here. So I'm gonna go to the ice and what's really going to delete them. So I'm going to say delete, okay. And we're going to add a new set of ice. There we go. Now this new set of ice, Let's turn this off so that we're only modifying this iss, this new set of eyes. We're going to project a texture into them, like a cartoony eye texture into them. So they look very, very cool. I'm going to paint the texture right now looking forward. And then we're going to do the posting, will rotate this again. So that's a good position. I think. I'm going to go into my materials and I'm going to go to the toy plastic. That plastic is really good for like, even for the skin, it doesn't look half as bad, right? Looks a little bit more natural. We can use this and then modify it. I'll show you. But I'm just gonna go for like a wide color. Eyes are usually not super wide. They have this sort of like base color to it. So we're just going to say color fill object with holding density. So a 100 and intensity, we're gonna see color fill object. There we go. And then we're going to go into see plug-in something semester and we're going to mirror oh, wait, I think I had the option to mirror on the c-axis. So mirror, yeah, x-axis. There we go. Now, if we go into internet, right into the Internet, we can just look for stylized I. And we should find fixtures for stylize the ice like those guys right here. Now we don't want that like super intense looking at this one, it's actually not that bad. Well, what's his or water colors? Green. Okay, so we can also look for cartoon I texture to get a nice cartoon I texture. So I think this is fine. However, it's always good to try and find a texture that has no light information. And that one actually has light information. If it has light information, it's not the end of the world. Also, take a look into, are taking into consideration the size of the, of the pupil because sometimes they make them really big, huge eyes. And that might not fit the specific project that we're working for. So this is a little bit better. I think this has a nice resolution. And it's not extremely, There's one cell, so not bad, although it has the light information that we're mentioning we shouldn't have. This one is good as well. Let's try this one. So I'm going to copy this image. I'm gonna go jumping into Photoshop. I'm going to create a new file. Paste this image. I'm going to say Control Shift, Control U, which is going to shift the saturation. So we have this nice green color. Now I'm going to include this into your, into your folder. So you're going to have it on your own. The folder, you're going to have the eye texture. You can have it as a PNG or JPEG wherever it works fine. Let's save it. There we go. And now if we jump into C brush, I'm gonna go here. I'm gonna go stand there, change this to drag wrecked, know Alpha. And I'm going to import the detector. So we're going to import a texture. Go here. So like the texture x. And we can just drag and drop. Now remember, the more polygons you have, control D a couple of times, the nicer texture is going to look. Try to make sure that it lands right on the center. Here's where Jane and see whether your character is like, has this like sort of like crazy I or not. It looks good. I think think that's good. And now I'm just going to go back to my, going to turn the texture off and I want to add a little bit of shadow. This is important because the shadow is going to really help your character look a little bit better. So the way we're gonna do this is we're going to select like a darker color like this. And with my standard brush and freehand, soft Alpha, I'm going to paint very softly. Let's start with very low intensity. A little bit of a shadow on top. See there. It should be like the shadow of your eyelid, like projecting on top of the character. Like that. There we go. And again, it's like paintings, like cheating, cheating a little bit because instead of having this, we'd like materials and proper rendering stuff, we're getting this with the actual like painting effects. Now the only issue is that we might lose a little bit of that nice dark iris. So I always just like painted back because that's should always be like super, super dark. And there we go. We have this very nice looking eyes. Now, before we finish this video, let me go over the materials real quick because as you can see, if we go back to our basic material, the eyes are going to remain with the toy plastic or they didn't change. Okay, let's go back to the toy plastic. There we go. Going to the eyes and we're gonna say m or just m with a 100 and intensity and say color fill object. So now when we go back into our basic material, the eyes are going to stay like that. So you might say, Hey, a really liked the way, for instance, like the skin shade looks, maybe this key, she looks really good for the character. Or maybe the, I don't know, like the soft plastic loop, goodness, in this case it doesn't of course, but maybe you would like a, another shader that you think looks good for the character. If you like it, just selected, it's fine. You can just select any other shader. So in my case, I think Let's say the plastic look good. Like I think it'll look good. The only issue is that the, the specularity, which is the shininess Lord, that plastic index of the element was a little bit too much. But I like the way the skin looks with this lighter look. So how can we fix this? Well, you can go into the material tab up here and go into this toy plastic and say copy material and then paste material. Or rather, we're going to create a new material. We're going to copy this into a different material. So we're going to copy material. And then I'm going to select any material that I'm not using right now, for instance, this steel material, I'm not using it. And I'm going to go into material. I'm going to say paste material. So now this toy plastic one is a little bit different. And if you go into the material properties and you go into the modifiers, you're going to be able to change the way this works. So if I decrease this peculiarity, for instance, you're going to see that this material is, becomes a lot more like a math cap are met like a math material. So I'm going to reduce these peculiarity. So there's not as shiny. And I don't want to decrease the diffuser. The fewest looks really good. So I'm going to keep it up. Ambient is how light the material is so I can increase the lightness here a little bit and I think that's going to look good. Let's just move this to the side. There we go so we can see it. And if you go into the specular curve and this is what's going to tell you how the specular shininess is going to be. So I'm going to reset the curb and now I'm going to start pushing it until I get exactly the amount of specularity that I want. So depending if I wanted a super rough or I wonder like super tight, I'm going to be able to achieve the exact sort of like level of scheme that I want. So for instance, I think that works well. I'm going to reduce the specular to a little bit more and look at that. Now the phase looks really, really nice. The only thing that is important about this sort of materials is that you need to save them because otherwise, when you open the project, if this has not been set up as a material, you're going to lose it. So you can just save this material. Let's call this skin prototype. We're going to say there's a skin prototype. And now we're gonna go, of course, into our brush here. And we're just going to say m, a 100 percent intensity color fill object. And now we can go back to the basic material. I'll wait. Let's go to the skin. So like our nice little scheme prototype and say color, fill object, go to the eyes. The eyes are going to be toy plastic, color fill object. And then when we go back to the basic material, everything else is going to go back to its original state. So again, it's going to look good now, materials are tricky. We're going to be taking a look at them later on when we finished the polyline for the whole thing. But one thing you do need to take into consideration is that they might look slightly different when we do the render. So if you'd like a material, make sure to try it a couple times, we'd be PR to make sure that it still looks good because as you can see here, some areas are a little bit too saturated. They might not look exactly as you would expect on the real time elements. So again, just a, just a reminder there. Anyway, this isn't for this video, guys. I'm going to stop it right here and we'll continue on the next one, focusing on the next part of the rest of the character. So hang on tight and I'll see you back on the next one. Bye bye. 71. MainProject Metal Texture and Thickness: Hey guys, welcome back to the next part of our series. Today we're going to continue we detection of our character. And I'm gonna be showing you a very nice trick that it's nice to see verse 2021. So let's get to it. Here is our character. As you can see, the skin looks really weird. Why is it looking really weird? Because if you remember, when we used, I believe it was the fast overlay or something. It changed the material, but now since we opened a new session, it's no longer there. So it's important that you select the face and go back into your material picker and go into load and load the material that we had before. There we go. So now the scheme prototypes should be about here. Where is it? Oh, should have it. There we go. So I'm just gonna go into the face and I'm going to say M, I'm going to say color, fill object. And now the skin is going to be back to its skin tone that we have. We're going to be changing materials later on. Don't worry about those just yet, but I'm going to keep this logarithm because the tool that I want to show you will actually work really, really well with this, with this material. So I'm going to grab this metal block right here, the shoulder path. Let's get rid of the mask. And I want to show you a new tool that we have here before we jump into poly paint, which is the thickness tool. Now the thing that's cool is something new that was added in 20.521, roughly at the end of 2020, if you were seeing this later in the year. And and the way this works is it pretty much safes or CAM gates? How much, how far, up or down we can push something into the object. So let me show you. I'm just going to go here with my Clavier. Look. Actually, no, I'm going to show you in a new brush that's really good for metals, which is the brush and then the malate, malate fast. This one's really, really good in the recent. This is really good is because it allows us, let me turn on Alpha there. So weird color, I'm not sure if it's the skill of a change back to the shuttle there we're getting there. Let's find, seems to be just like a display issue. So the way this works, this brush works is it pushes the surface, is pretty much like the trim dynamic, but it's a little bit more aggressive. So it's really, really strong to do like Nix in the, oh, sorry, change to clay buildup. It's really good to give it a little bit of a different profile to certain areas. As you can see, it hammers out certain stuff. One way like to change this is by changing the alpha to a round alpha like alpha for you. And it's gonna give me, as you can see, this sort of like hammered look to the whole thing. Really cool, really good. Now, we definitely need a little bit more resolution. So I'm gonna go, I'm gonna go back here and I'm going to Control D to the by one source of where we are in the million polygons. Now, we're going to be able to move this around and push this into the DLM and look at that, the nice, nice hammered element. So what's thickness? How can we use thickness to help us with this? I'm damaged effect. Sometimes when you're working with this sort of affects. One issue is that you're gonna do like a very deep cut somewhere and then like a very shallow cut somewhere else. And you might want to have the same sort of depth on both of them. And thickness is a way in which we can add surface details to the object without actually damaging it as much. And it works very easy. You're gonna go or very simply, you're gonna go here to thick-skinned is just going to turn a thick skin on. In this thickness. Thickness, a slider is how far the object is going to push. You can move it around to see like the general idea, Don't worry, the object will inflate, but then after you drop it, it's gonna go back to normal. So I really don't want this to go like extremely. The term I'm going to go to like a 12 or something, let's say 15. And I'm just going to click outside. So now look what happens if I try to do something like a clay buildup and I tried to push detail into this element. It's only going to push until a certain point, until 15 units of thickness right there. So this is great because it allows me to control how deep my details and my damage is going to go. It also worked on the opposite side. So if I tried to add a lot of detail up, it will only push this 15 units out. Now, this changes when I either do DynaMesh or when I add a news of the visual level and this becomes permanent. And now the new change with the new thickness will be up to this surface. Just keep that in mind. It's not It's not something that you can turn on and off. Like if I turn it thick skin on and on, that's still there, like the object is not going to disappear. I believe we saw layers a while back and morph targets. It doesn't exactly work like those, but it gives a similar result. So I'm gonna keep it here at 15. And I'm going to use now my malate brush. I'm going to start damaging the structure in certain areas. But again, the cool thing is that they will only allow me to really hammer this down, up to 15 units of depth. You can see it. They're like It's not letting me push any further because I just hit the 15 layers of depth. So super, super handy. Let me get this out so that I can see where I'm damaging this a structure. Let's for instance, like damage it. All the more here. Like here, maybe a little bit of there. And as you can see, we could add this very interesting details, very interesting damage features without actually pushing this into like a, like a weird situation, like not making it look extremely ugly or extremely damaged, which is sometimes a risk, a risk that we have when we're adding this sort of like surface damage. So thickness really, really useful as you can see right here. I'm going to jump on to this guy. And one thing that you need to remember is that thickness is paired tool-based. So if you add more tools, you need to turn things on for every single tool and each single tool has its own thickness. So if you want to keep the same sort of like pattern, you definitely need to R, we need more dimensions you how we only have that. This does work with the dynamics of division. So I'm going to increase the dynamics of division here. Actually now let me turn it off. So I'm gonna go here into dynamics of the vision turned out off and just give it a couple of look normal subdivisions. You might need to turn this on and off again when you add subdivision levels because it freaks it out a little bit. So just, just keep that in mind. There we go. And it gives a very natural, a very handcrafted look to the whole thing. So I strongly, strongly recommend you do take this into consideration whenever we're doing any sort of project. Because as you can see, we're gonna get some very, very cool details that are going to look quite nice on the final render for a character. Let's go back here. We still have thickness turned on with that guy. And there we go. Now this also work with a damaged Let's go to the braces, for instance, turn on thickness. And what I'm gonna do is I'm going to grab my standard brush and I'm going to grab it drag, correct? And let's say we want to drag some sort of Alpha. So if I give it to my Alpha taps, you're gonna see that we have this skin alphas. I do have some alphas. Unfortunately, I cannot share this with you guys because I bought them from other artists and it's not something that you can't share, but you can look for them. They're called the orbit or a rocket brushes. I think you can get them right here. Let me show you. So if you look for or rock of brushes, ZBrush, brushes, it's on its own. There we go. It's an art station. It's this guy right here. Yeah. So you can get this guys. I'm not even sure if they're if they're free or not. Now they're under five bucks. Yeah. So it's, it's a good investment to have because this very nice detail. So I'm just gonna grab, for instance, this neuron damage right here. And if I drag and drop this guy here, you can see that the thickness is going to stop this from going like extremely low. And it's going to allow me to keep a consistent look of the image on the whole thing so I can increase the intensity to make it a little bit more intense. But it will never go below the 20 elements of thickness that I have there. So as you can see, I can add these little guys right here. It's going to be very consistent. So you can imagine that by doing this, we could, for instance, go with things like scales or, or wrinkles and stuff, and they will never hit the other side of the model. It will keep them very, very sharp. So as you can see, for instance, I can add like a little bit of a bigger bump right there. Let me look. Damaged the shoulder pad right here. We already had a couple of damages before, so we can just like push them a little bit more. Like I like this, this one to be a little bit more damaged and then this other one. So let me just add a couple of Nixon next year. And there again, just to add a little bit more interesting surface. And there we go. That's going to allow us to have a very nice, interesting look to the whole thing. Now, let's jump on to the texture because texture is going to be something very important. I'm going to do the braces right here, the rest of the armor. I'm gonna do it off camera just to save again a little bit of time, but it's going to be the same process. So metals, if you take a look at a metal texture, one of the thing that makes metal interesting, It's that it is not glossy everywhere. Like you're going to have certain areas that are a little bit more shiny and earn interests that are a little bit more or less shiny. So in this case, I want to grab this sort of like metal texture, something like this. I'm going to save it there for us. Well guys, so if you want to just use this one, you will be able to. So here nicely tool is called this metal texture. And we're going to use poly paint to project this texture onto our elements. I really like this one as well. So I'm going to save this as well. Let's call this metal texture too, because we can also combine them. And now going back here, I'm going to go into my standard brush. I'm gonna go into texture, texture, the extra import. And we're going to import, let's start with this one right here, that the lighter one, texture. So let the texture right there. And now if we turn off material and turn on RGB, turn off cf, we're going to be able to just project the texture. Now, this is an interesting part and this is something that people forget quite a bit. So don't do that. First. I'm going to feel the object. We'd like a flat color. So I'm going to say color fill object so that it's completely white and we're not distracted by the other thing. The scale of the texture is super important. I could do this and it's going to look interesting. But as you can see here, it looks way too pixelated. Any in the size of the metal looks way off. So I'm going to keep it short, keep it small. You can also, in the case of metal, you can just grab like a like an Alpha right here. Well, not here, right here. Like a color spray. And we could first give it just a rough like color fill everywhere. What this will do is it will give us a nice random texture that's going to make the metal look a little bit more realistic. And now we can go back to drag, correct? Let's have Microsoft Alpha and just start adding some of us here. But the important thing is we want to keep the size of the texture consistent. We don't want things to be like extremely big or extremely small. You can also have a really low of folk blue-shift. So it's a little bit softer and it blends a little bit better between all the different parts of the texture. There we go. Something like this. This is not the traditional way to texture. By the way, if you keep working on your, on your 3D skills and stuff, you're eventually going to get into UVs and proper texturing like in Substance Painter and Mari or 3D coli. There's a lot of softwares to do this. This is however, a nice way to do it. It can give you a nice result for like a constant piece. So now I'm going to load the other image. So I'm going to import, grab this darker one. And I'm going to do, actually, I think this is the same. It looks the same. So let me grab the lighter one and then just select. There we go. Again, I think a little bit of detail there. And now we can actually look or tried to look for the proper what's the word the proper material for the whole thing before we jump onto the, onto the cold, cold, right now, this material is not working right? The starting material is not good for me. So let's try this sort of like dole metallic one color. It's better, but I personally don't like it as much. It looks a little bit weird if you go for like a silver. So it'll be too shiny for my I think it's a little bit to China. Let's open there are reference real quick to see. This is an important thing. We need to see how shiny this is. It is quite shiny. You can see it here. So maybe this won't be asked bath. So I'm going to keep the silver one right now. Now, the color of course is not there. This is a little bit Chu to gray. So what I'm gonna do to lower the amount a little bit is I'm going to go all the way to the top. I'm going to select my white color again, lower maintenance next to like a 10 percent and say color fill object 1, 2, 3 times. And as you can see, that's gonna give me a very nice, interesting metallic look. We need to be careful with those areas right here. Because as you can see, those are going to. Create a little bit of a stretch there. So it's important to just like reproject certain areas are being careful not to create the same pattern or on the other side. This is an effect of just how texturing works in this case. There we go. So again, we just say intensity of ten color, fear object like a couple of times to make it like a lot lighter. Unfortunately, I forgot to that site. It's fine. You already know the drill. We can just delete half of it and then go back here. But I want to do a couple of extra things here to give a little bit more depth as you can see here. So the first thing is we need to add a little bit of dirt. And here's where our again, our masking will go along way. We can use mass by cavity and mask all the cavities. We can decrease the intensity or change the cavity profile like make it a little bit wider. And that's gonna give me a little bit of a different like a little bit wider, wider look. You can see there that's more cavities mask. So I'm going to invert this and let's come in like a dark, dull like like oxidized element. Then we're going to see color Fill object a couple of times. So that as you can see, it's gonna give me a very nice element all throughout my, my metal thing. So now I'm going to say mask by cavity again. I'm going to invert this, or actually I'm going to keep it like this. But let's reset here. There we go, mastoid cavity, because I want to select all the highlights here. How the high points. And what I'm gonna do is I'm going to grab like a white again. I'm going to say color filigree just to push the whites a little bit further out, as you can see there. Now for the gold piece, as you can see, it's pretty much the same element, like it's not really changing a lot. So I'm going to get rid of my texture. Go back with my alpha here and grab it like this sort of yellowy golden element. I'm going to change this directory to freehand. And now it's just a matter of painting. Now here. Definitely make sure that thick skin is turned off. We don't need it anymore. And now we just start painting this area. Now, in this case, in the case of this element, if you remember, we actually have some very nice edge loops. So if you want to, you can mask this out and then just whatsoever, Let's do it very quickly. So I'm gonna go to VCM Q mesh. Remember, just gonna say poly group, group, Bali loop. And we're just going to poly group the whole like Golden Globe right there. Invert it. And then just go up and subdivision levels say color fill object with a 100 percent. And it's going to be now a golden probably a 100% though, probably like a 50 percent because I still want to have a little bit of texture there. So I'm gonna say color fill object. There we go. There we go. A lot nicer C. And I believe we have this other term right here, so we can do the same thing, go all the way down. Unfortunately, the loops are not like flowing in the exact same way I would like to. So it's probably going to be better to just do it manually. Just make sure to change the focal shift like really high so that the brush is really, really intense there. And it just like actually, let's do a different, Let's mask this out. Same thing with the mask. I'm going to bring the focus shifts out. The reason why I need to mask is because if we paint every stroke we add, it's actually going to add a little bit extra color. So eventually we're going to hit the a 100 percent mark. And it's going to be It's not going to be even. And we don't want that oh, something that's a weird displayed to be honest, is please shoe. Not sure whether this I think it's the I think is that thickness thing because I don't see any here. There we go. So same deal, Same deal, color, fill object, perfect. And now my eraser is going to be ready. And as you can see, that's gonna give us a little bit more visual interests than the rest of the element. This is way too. This is closer to, I think the color of this element. What we're seeing here, it's actually delight. So eventually when we worked with the light, we're going to have one light going from this area, probably something like this. And that light is going to be slightly wrath as you can see here. There's like a red shine right there. So I'll probably do something like like this end the light is going to change the color of the syllabus, going to make it look darker and closer to the concept, but that's going to come later on when we focus on the actual lights of the character. So this is it for now guys, what I'm gonna do is I'm going to use this same technique of that is for the brace it, but I'm going to do everything else on the other character. I'm going to do the source. I'm going to do that shoulder back. I'm going to try again to save everything. There's not gonna be any other trick is just a repetition of dragging the texture out and hand painting everything that we need to do in order to generate this sort of detail. One thing that I strongly recommend is make sure to save this numbers right there on the color. Like I know exactly which numbers they are so that if you need to change them or get them again later on, you can't because I can't just drag and do this. Because what that's gonna do, it's gonna sample like a lot of different colors. So if you want to be consistent, you should save the color gradient somewhere. Just, you know, you can also just like select the color. And let's say this is going to be my gold color. And I can just hit V and that's going to save it here. So now I have the backup. Any case I need to go back to this secondary color. So that's it for this video guys, again, I'm going to finish adding the texture layer to all the metal stuff. In the next one we're going to be adding the color and texture to the leather parts so the handle, the gloves, a little bit of the pants, and we're going to be pretty close to finishing this guy and getting it ready for our final render. So hang on tight and I'll see you back on the next one. Bye bye. 72. MainProject Leather Texture and Render Test: Hey guys, welcome back to the next part of the first series. We're going to continue with the leather texture and we're going to do a render tests for our character. So let's get to it. This is where I left off the final polish up the character. I added a couple of damage here and there. As I mentioned, I was going to add the whole texture to the whole thing. It's pretty much done. The only thing that I'm missing all the, are the golden trims and the details on the sword and stuff. But other than that, we're, we're in a very good position. So I'm going to jump into the hands real quick. And the only thing I want to add to the hands a little bit of high-frequency detail in regards to leather texture. So I'm gonna go to my standard brush changes to drag direct, grab my alpha, say alpha off. Sorry, say, let's grab in the light box. In the Alpha section we have this leather, other elements like these leathery skin. So I'm just going to double-click here. And these guys are a perfect example of what we mentioned in the last video, which is the thickness. We can use thickness to make sure that this only affects up to a certain depth of the character. So I'm gonna go in thick skin activity, thick-skinned, let's say five units. And that means, sorry, that if I go here into CF, turn on that thing, it's only going to push up to, up to a certain positions. You can see how it just like breaks down there, which is exactly what I'm going for. I like to change this to a spray pattern, make sure symmetry is turned on. And then just as you can see, spray around, however, it seems like the thickness is not doing exactly what I want here. It seems to be overriding certain stuff. So I'm gonna change this to drag instead. And that's a little bit better. You know what, Let's move this down. Let's give a little bit more thing. Let's say like 20. And we go and let's try spray again. There we go. So that's the only thing I want to do. The only thing I wanna do is I want to break down the surface area. And this is one of the three key parts. I'm, I'm really sorry that I can't teach you on this specific course, like the proper way to texture characters. This is not something that we do in production. This is only done in like concept art and stuff. But normally we would use like a real PBR, physically-based rendering materials that worked really, really well and make things look amazing, like real leather, real metal, real everything. In our case, we were. And since this is of course a beginning class, you're only learning the basics of the software and the general workflow. We can't do that. We can't go like all the way into like super extreme details here. So just again, keep in mind, keep in the back of your head that this is not the, like the final result that we normally get with characters that we usually have a lot more detail going on. Now, note that that's done. Let's jump onto some fine tuning. Now, first of all, I want to make sure that all my characters, let me, I want to make sure that all the characters that I'm working with have the proper material. So I'm gonna go into material. And if you select any lake, we're material like let's say normal RGB and you'll see any peace light up. That means that there's no information like if you see something like that, that means that that material doesn't have a specific element. So what I wanna do here is I want to start calibrating the material so a little bit more so that we get a better result. Now, I'm going to start with the skin because the skin is one of those things that To get a little bit tricky. As you can see right now, I'm using my starting material, the basic glaucoma, long enough material that we've been using before, it works fine. So the only thing or the only issue I have with this material is that it, it's kinda dull, right? It's not super, It's not exactly as I would like to, to be. So I'm gonna go into my materials section up here. I'm going to plug this into the side and I'm going to go into my modifiers. And I'm going to start increasing the ambient modifier. What the ambient is gonna do is it's going to allow the color or the light to be a little bit more intense on the character's going to lighten up the skin, but it's not the colors are changing, It's the material itself. On the specular. I'm actually going to go into the specular curve and we're gonna make a little bit flatter like this. And I'm going to reduce this particular look at someone that's going to be a little bit more, less shiny and more met. Now, this are a couple of things that we're going to be modifying once we're back in Photoshop for the final composition of our character. But it's important that we have a nice, interesting look here. Now that we have this, it's time that we, of course, you can do the same thing for every single piece of material. For instance, if I go into this thing, I use the, if you're ever curious about which one you use, just pick the material. So for instance, the metal 01, I'm going to increase the ambient Contribution a little bit more and that's going to make it a little bit lighter. You can also increase the diffuse, which is the color no, diffuse now color more diffuse, more color. So I think something like that works. Okay, Ish. And I can do the same thing for the, for, for instance, same things you just drag and drop, select the firm, go here into modifiers. And if we increase the, the contribution there, we're gonna get this interesting result. Now for the render, we need to add a couple of better lights here in Sievers. Again, one of the unfortunate things about C versus that it's not a perfectly physically-based rendering. It doesn't use like Ray Trace and stuff at, at its full potential. So you're not going to get the best render out of ZBrush, if you will, by using, I don't know, like marmoset or Maya or Unreal Engine or whatever. But we can still get some pretty nice system. So I'm gonna go into my light section. I'm going to turn my light off. So I'm going to press 0 here on the intensity is like the flat color. And if we take a look at our concept right here, you're going to see that we have a very interesting light going down. You can see it by the shadow on the hair and by how it falls here under the nose. So it's pretty much a main light that we're seeing here. A rim light, reddish green light coming from the side and then a little bit of a rim light coming from this other side from the right side. So we can start working on the light side of a right now, I'm going to go into my light here and I'm going to start increasing the intensity until we get some interesting look here. I'm going to move this thing up. So we get the nice, interesting direction that we did. We need. Now one thing that I need to do because the shadows won't appear here on the on the viewport is I need to turn or do AB PRE a bash best preview render. So I'm going to get BPR right here. And I'm going to wait for this to work. And then I'm going to jump into the render tab up here. And I'm gonna do a couple of tweaks here and there to make sure that the render starts looking a little bit better. Now remember, this is, it's taking this long leg about a minute or so because we have a solid geometry and because the resolution of the shadows and everything is also a little bit high. So we need to just wait a little bit, just be patient and there we go. So not bad. I mean, the shadows look okay, a little bit too dark for my particular days, but even the skin looks really, really good. See the difference between the viewport and an actual render like that's the magic of CBER shear. So I'm going to bring this back here. Unfortunately going to have to recalculate everything. But that's fine. Remember the the document options here in the sapling properties. I'm going to do the sampling property. So I'm going to create a custom camera, let's say something like this, which is roughly the perspective that we have on the concept. It's going to be roughly like this. There we go. So I'm going to go into documents and I'm going to save this as custom ones. So if we need to go back to that one that we can just hit the VPL render and that's it. So let's give it a couple of seconds. I'm going to pause real quick so that the video is not as long. There we go. And as you can see, the light is hitting, I think the right angle we get a very nice shallow, but the shadows are way too dark. So I'm going to go into my render settings right here. Render. And I'm going to say snap, this seems to the side. I'm going to go into BPR shadow, the global string. I'm going to get it down to like 0.5. And let's give it another go. Now, usually when you do another render by just changing a couple of settings, you shouldn't get us. The render times shouldn't be as strong as what we have right now because of course, as you can see, all the other passes the seed that FASD, a mutation pass. All of those are now gone. I think we can push it a little bit more. Let's say 0.6. And let's give it another go. I like that one, and I'm going to change the amount of blur to the shadow. Let's go to 0 first. Let's see if we can get a little bit of a sharper shadow. Let's give it a little bit of time here for it to finish. Because you can see in the concept of the border is a little bit more well-defined. The angle, it's also a little bit high, as you can see that the shadow is heating the mouth and that's not what we're looking for. But look at this guy, it looks really cool. Even the melt starts looking really, really nice. I'm gonna show you some very nice trick that we're going to be able to do in order to get this into an even better position and some other post-production or post-production that we're going to be doing. There's gonna be some tweaks and paints that we're gonna be doing in what's stored in in Photoshop. But this should give us some nicer. So let's try something like this. Let's give another BBR. It might take a little bit longer now because of course, we changed the direction of the light. So I'm going to again pause real quick. Okay, So this is the result, as you can see, now it's a little bit too high. So again, I'm going to push this guy a little bit further up. I believe there's a way to see the shadows in real-time. But it's not as exact same preview shadows. There we go, there, there's a flat shells there. So it's a little bit of a club of a preview here on the previous shows can change. Deep shadows, flush those. There we go. So now I should be able to change this to where we need it to be, should be something like that. Let's turn it off and let me do one more quick render here. There we go. So as you can see, this looks a lot better remembered that the flow right here, the reason why his disguise foldings because the tip of the sword is slower. So it takes whatever the bounding box of the biggest object is and uses that as the floor elements. If you don't want an employer, we can just turn floor off, but I think it looks good and the concept, we do have a little bit of a shadow, so we're gonna keep it. I'm going to go back to lights now guys, and I'm going to decrease the intensity here. Let's go to 1, 25. So it's not as intense. And I'm going to add the second light. Now for the second light, I don't want shadows, so I'm going to go here into light properties. And as you can see, I'm not going to select the shadows because I don't want any shadows. And the way we're going to use this slide is we're actually going to push it to the side and give it this reddish hue. Remember we had those lice sort of ready shoe. You can see there on the, on the preview how it's looking down here. And that should give us a little bit of that bounce light that the character has. And again, it's important that you understand that this is not realistic like physically correct lighting. It's just constant light. So we're going to have a very nice looking render, but it might not be possible to achieve the, achieve the exact same lighting scenario in the game or in the actual render or something is just for presentation purposes, pretty similar to how a concept artist sometimes draw it in paint. They will make it look cool, but it might not necessarily be realistic. So just keep that in mind because it's, it's an important distinction. Look at that beautiful red highlight here on the site. Now I'm going to add the nice little like bluish highlight on the, on the right side. So here on the light, I'm going to turn on a third light because I move this to the side. Here on the light properties, your use some things will have a here and the lights type. Yeah, it's important that you check which light up you have because each individual light here sometimes has like a different effect. See how this one has radial turned on and none of this habit. So that radial thing will change how it looks. So I'm just going to change it to sun, which is a little bit better. And I'm just going to position it right here. Change the hue to like a bluish hue right here. Remember you can double-tap, I'm going to turn off the lights just a second. There we go. So we just focus on this one right here. I'm going to increase the intensity and I'm going to double-tap to bring it or to send it back to the other side of the sphere. So that way we can create this very nice little rim light without actually hurting anything else. There we go. So now we just turn on this light right here. I think this one we can increase a little bit. Lets say 0.5 just to have a little bit more red on this side. And make sure that this two lights do not have any shadows because the more shadows you have here in ZBrush that we're dirty gets. So tried to only have one light which house again, this is why this is not realistic because every single light emits a shallower, rather projects a shadow. And it's important that you understand that. Now let's wait here a little bit. I'm going to pause again real quick. And there we go. Look at this very, very nice-looking, very, very bright, very shiny on the metals, which is what we're going for. The sort looks really good. The little gems and stuff look really, really good. So I think we're in a very good position here with the light. If you start playing around with the light and you want to save it, you can actually save up this light profile, just heat, light, safe. And this is going to be saved as a light profile. So anytime you want to use the same one, you can just load it up. So I'm gonna say Paladin lights to you're going to have this on your files folder as well in case you want to use it. Because this guy's means that we're now ready to jump into the last part of our section. We are now going to go onto the transpose of our character. We're going to pose the character, get him to this position right here, are as close as we can get to this position. And add the final details which is the ropes that we're still missing and the coat that's flowing, right? Because we're going to be adding a little bit of gesture there. After that's done, we're going to do the render passes as we did when we were doing the exercises with poly paint and render. And we're going to do the final composite in Photoshop. So we're in the final stretch or the homestretch of the whole project. So just hang on tight. Keep on pushing, keep on adding to your project. Don't get desperate, like just don't getting patient, just, just focus on doing what you need to do and get it as nicely or just complete the project as nicely as you can't. Because this at the end of the day is going to be a piece of your portfolio. It's always good to have the best possible result. So hang on, tight guys and I'll see you back on the next one. Bye bye. 73. MainProject Posing the Character Part1: Hey guys, welcome back to the next part of our series. Today we're going to start with the posing of the character, a part of the whole course that's going to take a little while, but it's going to give us some amazing results. So here's the character that we have, and we're going to be utilizing a very, very nice plugging that we have here inside of ZBrush to pose him into the best possible ways now or into the best possible way into the final pose that we need. Now, the important thing about this is that we need to find a way in which we can post the whole character without having to do it piece by piece. Because as you can see right now, we have 37 sub tools here on our main tool. And going one by one would be pretty much a nightmare, right? So there has to be another way, and thanks thankfully for us, various. So what I'm gonna do here is I'm actually going to turn off certain subfields that I don't want to pose are right now. And these are d little jewel here on the ribbon. The ribbon itself, the little diamond. The main like lion thing like all the shoulder path. Because I know that's a big piece of that can get a little bit complicated. And the fur. So everything else, since it's pretty much a single piece, we can post it in this particular instance. So what I'm gonna do with this is I'm gonna go down here. Now I'm going to press all low. What this should do is it should bring all this up tools to the lowest subdivision and it should make good, a lot lighter. And now with this setup at all low, I'm going to go to C plug-in and I'm gonna say sub2 master, sorry, transpose master. I'm going to say T-pose mesh. As you can see what this is gonna do, or I'm going to show you in just a second what this is gonna do is it's gonna go all through the different sub tools. It's going to create a new tool with old substance merge into a single material, as you can see right here. Now this material will not have any poly paint information. It will not have any sort of what's the word? Yeah. It's not gonna be anything attached to it. It's just going to be the super low poly element right here. But this is perfect for us because with this, we're going to be able to pose a character a lot nicer way. So what I'm gonna do here, so I'm actually going to go to the lights and I'm going to turn off all the lights on till we only have one light left. And let's move the light position. Let's drive it like a normal, like basic material. There we go, just so that we can see the general character here. Now if we go to our character right here, we should be able to see where's the paled in documents. Here we go. So you can see that the pose, It's actually not that complicated. This left arm is pretty much falling down. We have a closed fist on this, which is going to be a little bit tricky. We have this supporting leg. The whole weight of the character is pretty much supported on this back leg right here. We have the front leg going to the side and the foot twisting to the, to the outside side of the character to the left side, and then this hand resting on the, on the actual source. So whenever we're imposing a character, the first things I want to do is I want to find where the pelvis, the ribcage, and the face are. So here's the face, this is the center of the face. So as you can see, is pointing to the front. The only thing that is changing our eyes, but we're going to do those at a later and later time. And then we have the ribcage right here, which again pretty straightforward. And then the hips which are slightly, as you can see, it's slightly tilted, just a slightly to bring all the way to the right foot right here. So what I'm gonna do is I'm going to start by posing the character. So the way we're gonna do this, and unfortunately, we don't have any sort of rig or anything. We have to do this manually. We're going to have to mask things out and modify them. So one way in which we can do it actually, you know what, I'm actually gonna go back here. And there's two more things that I'm going to get rid of right now. And that's the belt and this thing right here. There we go. So I just want like this main shape right here. So I'm gonna go again, see blogging. I'm going to say T-pose mesh. And the reason I want to get rid of those because they're very salt is going to be easy to just rotate them and get them into position. So from here, what I'm gonna do is I'm going to start masking things out and modifying them. So for instance, I'm going to go up, I'm gonna go to my masker lasso. And let's start for instance with the left arm. Left arm goes slightly lower. So I'm going to mask this thing out. Control-click too soft in the mask. Move the pivot point to the shoulder bone which would be right about there. Invert the mask and rotate this down like this. Now if we need to, if you can see that the whole thing here went a little bit too close, That's fine. Cool thing is we can actually have poly groups. So we could just like poly group. Let's get rid of the mask. Let's isolate this guy and this guy in bird the mask. And then I'm just going to mess this thing out, invert the mask. And now it's going to be easy to just isolate this and move this back into position. Can do the same thing with the globs. I can select the gloves, masks, the gloves mask, invert the mask, and then just move this thing. Well, it was the other one right? There we go. So we invert the mask. Oops. I messed up. Let me go again. Here we go. So like the gloves and then just like mess this thing out. There we go. So now if we reset the big point that we move this back in, it should be just fine like this. Now, this arm is a slightly going back in space, so I'm just going to mask everything here. Same deal, smooth out a little bit, bring this point up, invert the mask, and bring the arm back. So I'm going to try and find the proper like camera position. I'm going to go here into my document setting. And I'm going to try to find like the like the right angle which is something like this. Find the shoulders. Something like this, like a low angle. Now it's actually like a middle angle right about here. There we go. So I'm going to go into document and I'm going to say costume too. Because remember, we have the custom one from the other one. That's fine. We'll just save it as custom to. And now I am going to again go in here, mask this guys. Let's just isolate this and then I'm just going to mess this things out. Invert the selection. There we go. And now this thing, I'm going to move the mask down here. And I want to bring this hand legs slightly forward, just like this, to give it a little bit more dynamism. There we go, perfect. Now for the other hand, the other hand says also like close to the body. So I'm going to smooth out not that much, probably something like that. Move this point to the shoulder. Bring this closer to the body. Now see how we're getting those like weird deformations there. That's the kind of thing that we're going to have to race COPD later on in its own avoidable when you're working with rakes. This of course, doesn't happen because the rig should the form in a way that it makes the character feel and move nicely. But sometimes when we're doing this is sort of posing. We are going to get this sort of thing. So this guy really goes up something like about there. That's where I see the the elbow about that distance. And then what I'm gonna do, get rid of the mask. So like this guy, select this guy, this guy and this guy mask, this arm right here. Invert the mask. And now I'm only going to move this guy is right here. So I'm going to move this to the elbow. It's very important. The secret to posing a character guys is, is modifying and moving things where they're supposed to go. So this is going to be here and the hand, it's actually rotated slightly because the hand is resting on the, on the handle of the sword. So I'm going to have this sort of like effect, right? Like this. Probably not as high. So again, let's move this to roughly the elbow point. It's going to make it little bit easier. There we go. And then the hand is going to rotate. So I'm going to go into the hand, get rid of the mask, mask that handout. Again. Here, mass this hand invert mask. You can press this button which is going to go to the middle of the hand. And this hand, for instance, should be doing something like this. Because it's resting on the on the source. The closer you can get the hand to look like it does on the concept, the easier it's going to be. Because we're going to have to bend the fingers and bending fingers. It's, it's one of those tricky parts. So you've you've ever tried to, your, your hand pun intended at rigging. You know that this is sort of complicated, so, so we're gonna get it as close as possible. Cyrillic, this, I think that's a good element. Let's rotate this around a little bit so that it goes inside the like the hand hold right there. There we go. There we go. Now we can go for instance, we the head and the hair, which again, it's not really like moving that much, but it has a little bit of a tilt. So I'm gonna go with the head. I'm going to grab the hair as well. And the eyes of course, invert mask the whole thing, invert, mess the whole OR invert the mask. There we go. Move this to the center, reset the pivot point. And I'm just going to slightly like tilt this to the side, just a slightly like this. Now, all of this, I'm just going to use my brush. I'm going to get this inside the the shoulder. Again, I'm not too worried about that to be honest because it's going to be covered by the fur, but we'll just hide it. Now to make him look a little bit more heroic, I'm actually going to get rid of the mask. I'm going to use my move tool and I'm going to push the chest out, the chest out a little bit. And I pushed it back in as well. And that's gonna give me a little bit more of a heroic glucagon. Go again to our document and go to our accustomed to, and we should see this sort of like effect. I do think that the head needs to rotate it just a tad bit. So I'm going to rotate a little bit like this so that when we do the document and we go to our accustomed to It's it's a little bit closer to what we have on the concept. It's slightly tilted down as well. So I can just like tilted down slightly because the eyes are going to be looking up, right. So so we should see a little bit of a tilt. They're just a little bit, I think we're going to be changing the what's the word, the focal length of the camera and later on as well too, to get like a nicer and nicer posts. So now let's, let's, let's push the chest out a little bit. Again to make him look a little bit more heroic. There we go. Now the legs, legs are going to be one of those things that are really, really important for the overall effect. So the right-click, It's pretty straight. I'm just going to Control click to smooth the mask out. I'm going to hit here in bird mask recent the pivot point, positioning on the hip. I'm just going to rotate it out a little bit careful here, see how it's really out. Always, always tried to position it as close to the element like this. And I'm just going to move it out a little bit, give it a little bit of an angle like this. I'm also going to push it back like this, just to have a little bit of a tilt there as well. Now, the left leg, that's the that's the crazy one, right? Because this is the one that's I reset this. That's really going forward. So this is going to move out like this. And then the knee, like the top part like rotates in like this. But then the outer part, like the food actually rotates out. So this guy, this guy, and this guy, like this guy right here. Again, click Hide, mask, invert the message like, Oh, that guy is going to be rotated out. So it rotates out. And then the foot is going to be rotated as well. So again, same deal. The mask. This guy invert the mask, position this where the foot should be. And Moby them. Again. This is not for production guys. This is not something you would do for production because in production, you usually have a Rick and creeks usually do this sort of work. I think it's five of them. I'm actually going to push this leg further closer to the front. So again, just going to move this here, like move it to the front. Just a tad bit. And then I'm gonna go with the foot. Isolate the foot. Move this down. And just like full agonists so that it matches the same. Like it should be like the line we're both feet touch the ground. It should be pretty much the same. There we go. Now we can use again our brush to give this guy a little bit more. What's the word? A gesture, right? A little bit more movement. So what I'm gonna do is I'm actually going to move his hips forward. It's gonna give more curvature to the whole thing as you can see there. Let's move this guy for worth careful there. Like if you need to mask out things that you don't want to move like the like the hand there. So I'm going to move the leg forward. Again. I want this to look a little bit cooler, right. So so something like that. And and he has a little bit like that, a little bit of a tilt there, right like this here is a slightly higher like this. Now I think the army is fine, but I think it should go like slightly outer, like outwards. So I'm just going to mess this thing again, smooth. Let's get rid of the mass. They're smooth. And then move the pivot point to the center of the shoulder again, right about there. Let's reset the point and just move this out. So we see the whole character. He's, he's opened up. He's not like close to covering himself, so he's he's ready for battle. See how much relaxed he looked like. Just take a look at this from T-pose to like actual boast. He looks way more relaxed and this is going to help us with the final render quite a bit. So now of course the sort. So I'm going to grab the source, invert the mask center, the pivot point. Again, let's just mess this out. Oh, mask this out. Go, invert the mask center to the mask point, and we're just going to move this. Now the sort is pretty much looking at those, like straight up, right? So here's where I'm going to either change the size a little bit, which I think we're just going to minimize a little bit. And we're just going to position the point of the sword ASR right about the same length as the, as the feet right there. So we want something that looks pretty close to this. Now, if this is going to be like our final render here, like this, sort of like angle. I probably wanted to sort to be looking towards me a little bit more towards me going like a front view of the source with this. Now, I'm going to definitely have to go back to the character. And modify the inclination of the, of the hands here. So we just jump back and forth between like visible and invisible tools. And we modify this sort of like effects. So this thing has to go all the way to the front. There, there we go. So as you can see, the sort of this is lending nicely. I'm going to try and push the source again. So I'm just going to have to isolate this piece-by-piece, mask this out and invert the mask. Center this. And I just want to push this a little bit closer to the corner of the thumb so that I don't have to spend as much time like modifying where the fingers are going to be. So see how that hand, this is resting very nicely on the, on the elementary. Now, it's going to save me a little bit of time on the, on the posting. There we go. Look at that handsome guy. So he's looking really good, right? He, he has most of the things where they're supposed to be. And now it's just a matter of fine tuning like certain things. So once we're done with this, like general blocking of the guy, you have to go back to sleep login and you have to hit this button called T-pose to sub tool. Now it's very important that you do this in the same session because you view for any recent ZBrush crashes, all this work that you've done is going to get lost because there's a little file that gets saved whenever you use this plug-in that gets lost whenever you close CBER. So make sure to always finish your T-pose to sub tool and what's going to happen? It's going to go subdued by Sutherland is going to start projecting or modifying all the movements that you did on that transpose. And it's going to change how would your character looks. So you can see it's going to transpose everything to where it's supposed to go. As you can see, we're going to have this very nice, pretty much like close to. It's not a finished of course with very good start for our posts right here. So I'm going to save this. And usually when I start posing, I changed the name to pose. So that I know that this has to do with like the pose of the character and the end. That's it. Now we can again turn everything on. Let's go to like the first tool here. There we go. And now we can start modifying and changing where certain things are. So for instance, if I see that I can still see like the, we can go all high as well, just to see like the high resolution of everything. And if we see like any mistake somewhere like maybe the pants right here got like a little bit crumpled or something. That's when we when we change it, see how the belt changed. This is where we would fix the belt. So let me fix it real quick. I know that the video is going a little bit long, but let me fix it real quick. I'm just going to go to the belt and it's going to push it forward. So it's here on the front end to sell the low. Like I'm on balance of the hip a little bit. I'm actually going to rotate this around just like this, just to make it look like he's actually like bending to one direction, maybe not that much. So I'm going to push this forward. I'm going to do something like this. There we go. Now I'm gonna go with this guy right here, the little lion crest. And we of course need to modify. But as you can see, those are simple guys like, those are simple elements that we can very easily modify and move around. You can see that the, what's the word like the fur coat looks good. There's no like big overlap or anything. The elbow there, That's important. It looks good. There's a little bit of an empty space there, but from our point of view here, it's not, it's not visible, so, so we're fine. And again, if we were to take a render, this will look really, really nice. Now I am going to make this short, slightly shorter. Let me go here to the soar, to the little thing transpose a set. And I'm just going to with slightly lower. But I think I'm going to make it slightly smaller as well. Just a tad bit. Because I feel like it was like the hand that was not resting exactly as it should. There we go. So we're done. Perfect. So I'm going to stop the video right here guessing in the next one, we're gonna keep tweaking the small details that we're still missing here for the character. So hang tight and I'll see you back on the next one. Bye bye. 74. MainProject Posing the Character Part2: Hey guys, welcome back to our next part of our series. Today we're going to continue working on the pose of the character. So let's get to it. So we're back here with our character. I-i had to close and open sea brush again, so we lost a little bit of the materials, but that's fine. We will recover them later. And it's now it's now time to keep working on the on the bus and we're going to work on the bones of the hand. I'm going to show you a couple of tricks here. And there's just one thing that you need to keep in mind. Make sure to turn a thick skin off. Because if you don't do it, sometimes what happens and it happened to me as soon as I open this is this What's going on here is it's thinking that thick skin is supposed to be down here. So it's bringing older vertices down all the way to the bottom side, which we don't want to just turn it thick skin off and we can get to work. So I'm gonna go with some tool, I'm going to say all high. So I can see the full resolution of every single sub tool. Let's just wait for this to switch real quick. And now I'm gonna go here into this hand. I'm going to break symmetry. Very important because we just want to work on this and latrine. So make sure symmetry is turned off and I'm just going to start posting. So first I'm going to fix this overlap issues. I'm just going to push this guy's like in like it's get rid of any sort of like mask or anything that we might have. Weird. I'm going to go actually to the low subdivision level for this hand-write here. There we go. Let me turn RGB off and that guy off. Oh, wait, I think I duplicated the hands by mistake, so let's erase one of the copies. There we go. There we go. So as you can see, yeah, this one is actually working. So that's perfect. That's, that's working fine. I'm just going to click and press F to frame that particular hand. And I'm going to have to use my masking tool to make sure that this character is holding the sword in the best possible way. So I'm going to mask with mask lasso, of course, which is the easiest one. I'm going to mask all the way to the knuckle of the finger right about there. By the way, if you want to, we could turn everything off except for the, For like the sort. So here let's turn on not the sword rather. Like the, like the handle and the hilt. This guy and this guy, there we go. And the hands, we can just hide that guy. That's fine. Now we can just focus on this specific part. Make sure that this is focusing. There we go. So w, Let's just find the gizmo. Let's snap it to the center of that unmasked element. This would be another place where I will probably split the tools into different sub tools like left-hand and right-hand. Just for the posting. Let's turn off the symmetry. So there we go. Now I'm going to unlock this thing and I'm going to try to line up the gizmo in such a way that the blue arrow in this case is pointing down the finger like this. Why is this? Because this will allow me to more easily flex the fingers you can see there. And now it's a lot easier to just like grab the next part of the knuckle. Goal of this guy, move this guy up and for instance, just like bring it, bring it forward. Like this. Now here it will be a lot easier to just use my move and move the fingers slightly up so that it's just holding this like that. Let's go forward. The index finger, which is one of the important fingers of the hand. Invert the mask. Move this booth point to the center of the finger there. Move it so that the blue arrow is pointing down. This is similar to what we would do in rigging. And just move this down like this. Now as you can see, by having the fingers preclosed, remember when we were modeling the fingers I told you to, to bend the fingers are slightly and not keep them straight. This is going to make it a lot easier because now the only thing I need to worry about are like this main, like the first, the first bend and after that it's a lot easier to use if I want to give it a little bit more of an extra bend, I just grab that little piece right there and just make sure that this is, it's exactly on the Nakamura schools as possible to the knuckle because that's where this thing is going to bend at and just duplicate or move it there. We can smooth out a little bit, for instance, there it's a little bit just to keep a little bit straighter and then just move to the next finger. Same deal. Move it. I tried to find like the top view. Nope, the gizmo, it doesn't need to be the blue arrow. It can be any arrow. The only thing that's important is that there's a nice direction. They're careful there. There seems to be a little bit of a mask there. There we go. So we move the fingers down. And that's going to hold the element nicely. Let's grab the tip of the thumb right here. Bring it all the way here. Same deal. Find the knuckle, and then bend the thumb. And as you can see, that's going to give me a very nice, a lot more natural look. There's a little bit of an issue here. What can we do? To be honest? We need to take into consideration where the armor is. So let's let's go back to the hands right here. Turn everything on. That's where we see the R-bar, so the armors kind of hiding that thing. We can of course go to the ER more if we want to move the armor up a little bit to give a little bit more breathing room to the hand. And then just move the hand out like this. So it seems to be hugging the surface of the element a little bit better. But as you can see, that hand looks a lot more natural log more relaxed. We're going to do something similar on this hand right here. This one they sing a closed fist. So I'm just going to same deal. I'm just going to isolate this guy. Let's go here. Isolate just this guy so that we only see, hide that guy. So we only see this guy because we need to create a fist. Again, this is the complicated part. It's not as easy to just create a fist. So let's go one by one. So let's go with the pinky finger. Let's see where the gizmo is. I believe there's a like a shortcut. Let's assume. Let's show both and f. There we go. I can just move the gizmo here. There should be a sugar, these are chaconne now there's no shortcut for unmask center unfortunately. So let's just get this guy again. There we go. So we're going to move this guy to the pinky finger toward starts right about there. Wrote the, this routed, this are the points closer to where the finger is. Smooth a little bit. Invert the mask. And boom, we move this guy up or something like that. You usually have like a little bit of thumb knuckle in here. So we're gonna keep it like that. And then we just mask out the remaining portion there. This here. Careful with those masks. When you're doing this sort of like characters. Some people actually like to sculpt the characters with the face closely, completely close. But if we're working in Lake for production, we usually want to have everything nicely, wants to work nicely sculpture like this. Little bit of smooth here and there too, of course, soften this up. Probably gonna punch or pull this guy out to give it a leg, that sensation of knuckle. Unfortunately, hands are one of those things that are really tricky. I'm going to use Move Topological. Just move like the insight here and keep it as square as possible. Check your hand for reference, of course. Smooth out a little bit there and then push the knuckle out. Shows. And we'll want to annex one. The best way to pose the character. It's rigging. It's the same way as we mentioned with texturing, the best way to texture a character is actually texturing. Polybase is good. It will give us a cool result, but it's not the production the way to do it. So everything that we learned into 3D world needs time and needs. What's the word? And dedication, of course. So don't think that just by having this sort of nice tools is going to be enough because sometimes it's not. There we go. Now, the closer your model is, like the nicer your fingers and everything is, the better your posting is going to look, for instance, that face right there, It's looking good. The pinky fingers slightly higher, but that's fine. Let's see how with the whole poem looks first, and then we'll focus on fixing things. So we'll move this here, invert the mask. So be careful there, and it seems to be like a couple of loose pixels. There we go. This here. There we go. And then this here. I've done this several times, guys. This is not my first rodeo has they say, I have proposed a mala characters and even though this is not my favorite way to do it, because as I mentioned before, it's not perfect. Rigging is the best way to do it. It does take some time. So if you are struggling with this, don't worry is completely normal. All my students have struggled with transpose. That's why a lot of people like to present their works in T-pose, which is good. If you don't feel like you can nail a nice boost. My best advice would be, don't do it and just try to keep it in T-Pose. And just lead to The rigorous work it out. Okay, here's a little bit of an issue here. My gizmo was way off. So let's keep it right about there. There. Let's actually move this finger out so that we keep this straight like edge of the, of the hand. And then we move this gizmo here. There we go. Then we mask that little tip and bring it in. Like this. You can always use Move Topological. I recommend multiple logical because he will not affect the other parts of your model. And then the thumb. So for the thumb, we're going to mask the thumb right about there. Move this to the middle of the thumb as well. Like Ray the both here. Rotate this so that it's facing under the direction of the thumb, should be something like this. And then when we bend the thumb is going to go where it's going to look a lot better. You can see that them also transposing the thumb a little bit and, and all the fingers pretty much. That's because when we sculpt, certain volumes sometimes get lost. So by, by modifying them when rotating them, sometimes we get a, a result. Coo or beautiful smooth there. See how we get a lot of distortion here. This is a part where we're going to have to really sculpt a little bit. And the best way to do this, of course, going to the, to the highest subdivision levels, see it in, in conjunction with the rest of the elements and see how the hand looks like this thumb looks really, really bad. So I'm actually going to pull back. The face looks good, but the thumb looks bad. So I'm gonna go here and I think I'm just going to push the thumb like close like this. And then just move the last part of the thumb up like this. And I'm just going to have it like rest. And usually we can just have addressed like this. Let's see how it looks. Now Beth thing he got a little bit longer than what I would like. So I'm going to just bring it back here and I'm actually going to bring the hand out, keep a little bit more strength to the knuckles. Clean this up because of course we get this sort of like stretch going on. And there we go. Now if you want to, you can go up a couple of subdivision levels and add a little bit more like make a little bit of a bump there on the knuckles. You can also use trim dynamic, for instance here to flatten a little bit of this effect that we're going to lose the high definition that we added, the little like leather E loop, but we can very easily replace that later on. And that's gonna give us a nice hand there, like that, nice like curvature that we have on the, on the concept. There we go. So that's the hand. Of course we have the other hand, this already resting on the sort, I want to grab this sort and especially this guy that like the lion head, just going to make it slightly smaller. There we go. I'm going to, I'm actually going to use my brush to bring this thing out. Like that. Just a little bit of a change there. Perfect. So now as we did before, It seems like we didn't, we lost this thing. Let's just recover it. Just push this guy to the front, tilted a little bit and grab the little line thing, the lion like a buckle. Bring it forth. There we go. Now we can go to the ice. Now for the eyes, the eyes are, are quite important because we can very easily mess this guy's up. So what I'm actually going to do is I'm actually going to split this guy's into 22 meshes. So I'm gonna go split, split, group, split. I'm going to say, okay, only once a group, okay? So we need to do two groups. So I'm going to go into poly groups. I'm going to say other groups. Now we're going to say sub tool, split, group split and say, Okay, perfect. So now I'm going to go to this 1 first, I'm gonna go to unmask center, which should be the center of the eye. And I am going to rotate this, I'm going to isolate this, I'm going to rotate it. I'm going to take note of how many degrees I'm rotating this, which in this case it seems to be, Let's do 15 degrees. Then I'm gonna go to the other one, and I'm going to do the same thing. I need to do 15 degrees on this guy. And when to be super exact because if we're not exact, he's going to look like he's looking at two different sides of the thing right now. It kind of looks like that, to be honest. So let's go back. Let's go here. Control C. It seems like you didn't rotate this guy. So let's do that. There we go. There we go. So now he's looking to the side, which is what we're looking for. So let's take a quick render. Let's see how this looks. We don't have our light setup, but remember we saved it from the last video or the last couple of videos. So if we want to recover it, It's very easy to recover. I just want to see how the shadow looks, but I think we forgot to turn on before. So let's turn on the floor. Let's go for like nice element here. I'm going to go into my my document and I want to change the are actually want to change the depth of my camera. So we're not trying perspective on, remember that's something that we usually don't do. But now that we have the actual final pose that we can start working on that. So I'm going to go with perspective. And I'm going to say document in only we can change the focal length. So this one seems to be a little bit low. So I'm gonna go for like a 3.8 focal length. There we go, see how we push the perspective a little bit higher. So that's a little bit better. The eyes are not looking where I want them to look. So I'm going to I'm going to rotate it this two more degrees. And I'm going to rotate this to more degrees. There we go. So now he's looking see you looking at us. He's looking at those, right? Yeah. So I need to go back to the ice and let's rotate it. Rotate it down like a couple of degrees. There we go. So it's two steps down. 12. There we go. So now he's looking at those. There we go. Look at this handsome guy. So now if we take a render width, the floor turned on, what's going to happen is you're going to see that we're going to have the shadow nicely laid out on the floor. Let's give it a little bit of time. There we go. Look at that nice shadow. Yeah. I mean, this looks really, really good. I think we, we're very, very close to the BOS is not as exaggerated as we have on the concept. But again, that's just a stylized effect of the concept art. So it's not time to, we jump back onto a little bit of modeling to finish up the cape which we're missing, and to finish up the little like horse that are going around the character, I'm going to change the poses slightly. I think it's something like that because we see a little bit more of the site. And now I'm going to go back into my document. I'm going to go into sub properties and save this as custom one. Because what I'm seeing is that we see this a little bit fluffier. So I'm going to use my Move brush on my Kb right here. I'm going to increase like the fluffiness of the of the cape. There we go. So if we go back to document, we can just go into custom one. There we go. That's a nicer profile right there. What else can we do? I think we're good right now. I think I think we could rotate. This guy's a little bit more safe for the buckle. Let's, let's get rid of symmetry and rotate the bug a little bit. That's going to give it a little bit more more asymmetry. Careful here on this guy and like the little leather details that we added, we need to push them in like this. So they're not like going out. Cool. So I'm gonna save this real quick. And in the next video, guys, we're gonna be working with the, with the kth. We're going to finish the cape. We're just missing four strands of capes. Just going to be quite fast. So hang on tight and I'll see you back on the next one. Bye bye. 75. MainProject Modelling the Cape: Hey guys, welcome back to the next part of our series. Today we're going to be continuing with our project and we're going to be modeling the Cape. So let's get to it. We have our character nicely both now the hand disclose, the other hand that's on the, on the sword. There's a little bit of details here, but no one's ever going to see those, so we're just going to ignore them for now. That's usually what happens when you're working on a concept like this. If this is not going to be seen in 360 degrees and you're just focus on having a very nice perspective shot, three-quarters shot, and that's it. So I'm going to go into a bend and I'm going to append a plane. We're playing 3D. There we go. I'm gonna go here to this blank. Let's go back to a normal white collar. Pushes forward and we're going to start with this first block. As you can see, the KB, It's made up of four blocks. We have this main line coming from underneath the belt and all the way to the front very, very nicely. And then we have this flowy capes on the site and we have like another backup cape on the other side. So I'm going to do it as four pieces here. So the first piece is going to be this one. As you can see, it has a lot of subdivisions. So I'm going to go into geometry, see remeasure, and we're going to see Ramesh this to half resolution. So let's do half, see Ramesh. See Ramesh. I want to keep it as low as possible. There we go, that's better. So now we'd symmetry turned on. I'm going to delete half of it. Probably a little bit more than that. Probably like another half right here. There we go. I'm just going to say delete hidden. And that's it. So I'm just going to position this wearing it is to go which is right here underneath the belt. And we this very low political no effect. That's the only tools that I actually need to create the effect that I want. So what I'm gonna do is I'm going to start moving this around and position it in such a way The goes exactly where I need to go. So in this case, the cape is flowing down with a little bit of a push in. We're gonna go down here to display properties, double miscibility. So we see both sides, how far it hangs pretty much like really far down. So it goes all the way down here. And it's a lot easier to block in like this flowing cloth with little polygons or with little bits of polygon, rather than trying to match this with, with love polygon. So as you can see, the end of the Kb is kinda like going in, in this sort of like going in and a little bit out at the end. So I'm just going to keep it like that. Brush Foucault shift intense. We could of course use the cloth simulation that we've learned before. But to be honest, this is such a simple cloth that I don't think it's necessary. I'm just going to give a little bit of direction here. I'm going to push it in right there. And there we go. Now we'll probably need to push the buckle out because it's overlapping quite a bit with the With the clock. So this is the, one of the things that you need to take into account when working on this kind of thing. Like there is going to be fixes and stuff that you're going to have to do Control D several times to give him more subdivisions. And now we just keep pushing here, make sure it looks like it's coming from underneath the belt, is going to be really important to sell. The effect that this is a cloth like see those pieces right there. We really want to push that there because people don't know that this are separate pieces like the shirt and this thing are separate pieces. And now we need to add this little like pillars that it has. So I'm gonna go with clay buildup and I'm going to start sculpting a little bit of this billers and then smoothing them out. On the bottom side, we're going to see a little bit bigger pillar. And that's why we keep it as a thin film because this is going to push on the other side, which is exactly what we want. It's going to give us this very nice flowy looking effect like this. Now we just grab the color from the shirt is basic green and we say color RGB on color, fill object. There we go. I'll be very careful here. See that little line right there, like overlapping with the belt. You have two options. You either push the cloth a01, push this in, or bring the built out a little bit. The only thing we're looking for is that this thing looks like it's on top of the pants. We don't want to see where this begins and ends. I want to hide it. Live with the smooth there. And there we go. It's an illusion. It's pretty much an illusion. What we're creating here, perfect. So now let's do the other guys right here. And this are a little bit different because as you can see, they kind of follow the shape of the character a little bit right about here. So I'm gonna do one, post-it and then just mirrored and change the pose. It's a little bit easier that way. So I'm gonna go again into sub2. Append. We're going to append another plane. Go here. Another option you have since this splenius is symmetrical in regards to its geometry, you can say reconstructs the division and it should minimize it quite a bit. Let's go to the mission level 2. Let's delete the lower and higher. So we just have this guy right here. And let's make it bigger. It's a little bit thicker, not that thick though. It has a it has a hole. That hole is important, so we're going to have to add it eventually, probably with light booleans. So we're just going to position this here. Will it make it smaller? There we go. There we go. Now there's a brush here. Let's see if it works because it's a little bit of a finicky brush that projects the surfaces and try to mold itself to the surface that you're projecting to, which in this case is that this one, the matchmaker. See a cot tries to project itself to the leg, but it's not really working. It works better when surfaces are not as complex as what we have here. So again, I'm going to go all the way down here to display properties, say double. And we're going to just move this in, especially the corner, this, and let's increase the corners. I don't want the corners to decrease. I'm gonna go and geometry crease and say increase all. Let's shoot. It's not really going to change much on the manipulation here, but should make a little bit easier. Because I wanted, I wanted this parts to to hug the surface a little bit better. There we go. There we go. And then they go really far down as well. So I'm going to move this guy's really far down. I'm going to let this little happy accident helped me like that curvature is looking nice. So I'm just going to push this thing here and let it flow with the We, the shade that's flowing right now, I think it's a, it's a good form right there. He gets with this kind of by now the only thing I'm going to do, so I'm going to post a corner on the back here. Because I want to I kinda want to see like this, like little corner, like pointing back here. There we go. Something like this. We can make it flow a little bit more. Like if when there was blowing. And now to make this thing work a little bit better, we can of course go into Siri measure. You select like a low number like say one and C ring mesh. And it's going to fix this into like closer, nicer topology that should smooth out a little bit better. They can go a little bit lower. Let's try 0.1. There we go. That's way better. Now we can actually do the whole Hugh Very, very easily by just deleting a couple of this faces. If you leave a hole that's completely square, you get the circle. So if we delete those four hold for instance, that's not as big though. So probably just like that one hole. And when we smooth like that with a nice little circle, rare, Pretty cool, right? So now it's just a matter of, again, going with our Move brush. Let's turn this off and making sure that this thing looks like it's coming from ordinate here underneath the belt as well. So we see a little bit like empty space from the rest of the elements. There you go. Look at that handsome guy. Let's say document or sorry, Color and RGB intensity all the way to 100 fill object. Well, yeah, it's just great, right? Color fill object. Let's see other one, the color fill object. And then work. Oh, sorry, RGB, color fill up. There we go. Again, the color fill object Verifit. So now this guy, what I'm gonna do is I'm just going to mirror. So I'm going to say see plugin, subtle master, mirror, x axis. We're going to get it on the other side. There we go. Let's go down to display properties. Double and look at that nice thing. I'm going to keep it like this for just a little bit. I know that this is having a little bit of overlap and I'm going to keep it like this because I still need to add this gold trim to the whole thing and the end, it's easier if I just added when it's symmetrical and then I change it. Otherwise I'm going to have to do double the work in and just get it ready, right? So this seems to be a lot smoother. There doesn't seem to be a lot of wrinkles, but this is clot, so I would expect to see like a couple of wrinkles here and there. So I'm just going to add it and smooth them out. So we get a little bit of, of like lift on the, on the cloth like this. Having this very nice topology is going to keep it really, really simple or really, really, really cool. And now we're just missing the final cape, which is just a square shape. We can actually just grab this guy and do it again, but I'm just going to do one final time. We've still got time for this video. So I'm going to say append plane, grab the plane all the way down. Display properties double. I'm actually going to rotate this guy so that the normals are facing backwards like this. Let's rebuild geometry. Just one level. I think that's fine. Yeah. And I'm just gonna make this smaller, bring this forward like this. Turn on symmetry. And then just use my brush to push this guy inside, like the belt. It seems to me that it's it's quite wide. So I'm going to have it come at the same, roughly at the same distance underneath this other elements. Right about there. We're going to fix that in just a second. And then the cape flows down, close down and back. Let's bring the intensity back a little bit. I think that's a little bit too much. There we go. And we just push this like the bot. But it's pushing this thing out. And now it's just a matter of making this smaller and playing around with the way the corner solve it. Let's give it a couple of subdivision levels, like bring this in. There we go. We got of course going to like this like metal pieces that we had before and just give them a little bit of a push asymmetry there. Just a little bit of asymmetry just to cover the whole thing in kids, we do like a turntable or something. And then here, break symmetry. And we're gonna do the the pillars of the, of the actual like Cape. Smooth it out. And it's going to look really cool right here. Again, the reason I keep repeating the thing that I'm about their abilities because I wanted you guys to be great artists. And one of the things about being a great artist is that you need to know when we do these things and what we don't do these things. If you're doing this for production, this is a no-no, like you never sculpt the Cloud like flowing like this. These either gets simulated with like physics or you use a some sort of joints or something join system to move the cloth around like you never ever do like this. Flowy cable like this and then break, it will be impossible to do. So this only works for this sort of like illustration pieces, illustration characters where we push the guys into this sort of poses. So, and I'm just going to do this really quick. I'm just going to do the trim here on the fronts of the juicy, how I can handle this and what I'm gonna do something on a sample, the gold color. And I'm going to sample the gold color, and I'm going to sample the material as well, like the metallic material right here. And I'm going to say MVRDV right here. Standard brush freehand. Like a sharp alpha like that one. I'm going to go into my lazy mouse remembers stroke. Lacey mouse increasingly see radios because I want to add the, I'm going to turn CM often I'm going to keep marching to be on the exam. I'm going to add the trim and the material at the same time. So I want this to be like some sort of like golden thread. So I'm just going to go here and then continue here. There we go. Go across. Let's give one more division so we get a little bit more resolution. And we can do the same on the, on the shirt like give it this like golden thread instead of the of the one that it has right now? Oh fuck, sorry. I messed there at the end. No No big deal. I can just I can't erase unfortunately, and that was a single stroke. But what I can do is it can turn only RG Viviane, grab the green color. And then just like erase that a little bit. There we go. So we can go here. Now, let's isolate. So we only see this guys and becomes weight over there. I am actually, I need to sample the goal color again. There we go. Mmm, RGB again. We can solo. And this guys have like a golden trim. I didn't see it on the other side here. I should see it, but I can imagine that it follows a very similar pattern. Mr. GV. Yeah, that's fine. Let's do one more division. So it's a little bit softer. Going to try and find like a nice line that I can follow right about there. Oh no, that's way too wide. So let's give one more subdivision level. Things a little bit too pixelated. Hello school, like really close to the border. That's better. And then we continue from here. One of the cool things about leasing mouse is that if you can nail the the proper curvature, you should be able to continue fairly easy here. And then let's keep it square root here. And let's do a similar thing back here. No, they actually won that one. There we go. So back here we're going to go here. And we're just going to very calmly go around there. Just missed a little bit of a spot there. There we go. Now with what's the word? You're going to see the color on both sides because this thing is supposed to be completely symmetrical. So I'm going to use drag wrecked or actually just going to use freehand or drag those rather. To drag the golden point there. No focus shifts so that it's completely sharp. There we go. Let's give them be a little bit difficult because we didn't have geometry there. So another option would be to just like mask out here. Or let's just wait for this to say real quick. Another option is to go all the way down. And then we can go to see modeler, BCM, go to edge and say extrude edge face on, I'm sorry, we have some visual now let's just let's just paint it. So yeah, we labeled it was fine. We just need to get rid of this. And we're just going to paint. You just try to get it as close as possible to this circular shape. But we do want to have am RGB because we want this color to be like a metallic color. There we go. And that's it, guys. I'm going to stop the video right here in the next one, we're going to continue with the remaining. I'm going to just delete this guy, mirror it and ready. But other than that, we're pretty much done with the trimming. So the next thing we're gonna do, it's the cables that go here from the little medallion all the way to the tiger phase right here and to the back. So hang on tight and I'll see you back on the next one. Bye bye. 76. MainProject Curve Helper: Hey guys, welcome back to the next part of our series. Today we're going to continue with the character. We're gonna do the ropes. And believe me, this is super, super easy with the newest version of ZBrush. So let me show you. First of all, you're going to need to download a brush from this site called bad king. Backing. He's a really nice ZBrush development and resources site. It has a lot of brushes, materials of base meshes like it's, it's, it's heaven guy. So this is one of the best sites to get stuff from. And pretty much everything that you find here is going to be free. Like I've, I've, I think I've rarely encountered are things that are not free. So for instance, you can see here it costs $0. You can grab all of this junk meshes that you can use to insert on any project. Look at this like very nice wheels and stuff like you can find all the other stuff here. So you're going to go and you're going to look for something called the rope of brush. Unfortunately, due to, of course a licensing and stuff, I cannot just give it to you, but you can look for rope brush, king. And you're gonna find this bad boy right here, which is pretty much a curb brush. We've seen the curb brushes before when we did the hair where you could add like strands and stuff and you can modify those curves. And there's a very nice new feature in ZBrush 2020 1.5 that allows us to use a C spheres as guides for these elements. So super easy, I'm just going to append a new sphere here. I'm going to grab my C's fear and position it where I needed to be, where it's going to start seeing this case. It's going to start right here on the ribbon. I'm going to make it the size that I needed to be, which is roughly about this size. Let me check my constant real quick. Over here. There we go. Yes. So it snaps pretty much here on the on the front part of this like metal right there. It's roughly as thick as this thing here. I'm going to press Q and draw with Shift so that it remains to the same size. I'm just going to W and move this with a very small brush size to this position right here. Oh, let's bring it forth first so they can see query this. And then I'm just going to bring it up and position it right away. It stops, which is right there on this like sort of like a cylinder right about there. Then I'm going to use q. And then we're going to find the middle ground, which is right here. And with W, I'm just going to position this guy as well to the front. Let's just move this guy to the front. Just a, just a middle sphere. There we go. So it's like we're going to have to remove this guy right there. So this guy sits yeah, a little bit on top of the first thing. We're going to add a couple of extra edge loops here, or rather see spheres. And then we're going to use my brush to move them forward. For worth. And give them this nice, like hanging element like this. As nice as possible. It doesn't have to be perfect, but the nicer the curve, the more natural this is going to look. So for instance here, we can add one more here and just push it up so that it seems like it's like there's like a little shelf and then it falls right. So something like this. Oh, careful there. Perfect. And then I can write now do the next elements. So I'm going to add a new sphere here. And I'm just going to do another one. And this is going to be the other one that goes like same deal, like right about there. This a little bit smaller, it seems a little bit smaller. So I'm going to draw and press Shift so that it matches the same size. Let's make this a little bit bigger. There we go. And then this guy goes in. Let's draw one more. And this one goes all the way to the back. We don't really know where this thing, what's the word Like connects in the back. But we can, we can kind of guess, right? So can guess that this thing kind of goes a little bit of a nice curved like this, like hanging right by the sides. And I mean, I would expect this to be like there to be like another sort of like this thing right here. I don't really care right now because it's not going to be seen. Someone's going to anchor it right there, and that should be it. And as you can see, we have this very nice anchor for the whole, for the whole rope. So the only thing I'm gonna do is I'm going to go up here to the stroke menu. And again, this is super easy, like the guy said, C versus picks logic made this super easy for us. And down here, there's this curves helper. I'm just going to say Copy, see sphere chain. I'm going to keep append new on Copy sees food chain, you can see C's fewer chain has been copied. I'm going to go to my light box. Sorry, I'm going to say stroke, I'm going to say Create curve. And what it's gonna do is it's going to create a curve, as you can see there that follows, that sees fear guide that I created. You can see this right here. And the only thing you need to do now is I need to go to my brushes. I loaded this into my basic brushes, select my brush and then just click the curve. And what's going to happen now is I'm going to have the rope right there. Well, let's just click the curve. And I need to make the brush bigger, of course. And when they click it, look at that beautiful, simple, right? Remember, the size of your brush is going to make the size of the rope. So the bigger the brush, the bigger the sample. So I'm gonna keep it something like this, I think. Perfect. And that's it. There's nothing else we need to do guys like this is the only thing I would suggest is just click outside of the element so the deletes their current function and it's now like total impure geometry. And if you need to modify your mobile couple things around, just move them. For instance here I can make this a little bit like looser. I can get this closer to the little emblem right there. I'm definitely gonna make this golden. So I'm just going to select color, sorry, sRGB, color, fill object. And there we go. The rope is ready. Now if it's a little bit too straight, you can, of course, try and soften that up a little bit. Use the Move brush to modify a little bit as well. You could try using Dynamics to make this thing like hanging a little bit more. But again, I think this is more than enough and it gives us a very, very nice look. And as you saw, it's really, really simple by using that sees fear trick. You're going to be making ropes and envelopes and this sort of like vines very, very easily if you ever need to like, I don't know, like the sort of core or something like for a tennis shoe or anything like that. This is going to be super, super heavy for you, as you can see here. It's gonna give us this very, very nice look. Now, I'm only going to be pushing and pulling this a little bit just to make sure that it looks as nice as possible. And as you can see, guys, we are done. I believe we are not missing any single piece from our character. There's of course, the details and stuff that we can still fix to get this guy into its best possible scenario. But let's take a look at how it looks with our lights. So remember, we can just load our lights right here. The NYSE like red lights and stuff that we have. The materials unfortunately are not working as I would expect, but we can change that real quick. I'm just gonna grab this face material, go into materials and in the modifiers, let's increase the ambient a little bit. So the materials have a little bit more light into them. Let's found like our nice camera right here. And let's do a quick render. See how this looks. Shall those are probably going to be a little bit dark because we haven't changed the shadow settings just yet. But that we should get like a very nice result here. There we go. So let's go to render BPR shadow. Let's bring this back to like 0.5. And remember, we can increase the angle of the lights, let's say like 45 degree angle. And that should soften the shadows very nicely. Let's see how this looks. There we go. Nice soft shadows. I think the angles a little bit too much. It's mainly because we're missing a little bit of angles right there. So again, render, Let's lower the angle to like 15 degrees, and let's increase the re-select 24. Double the rates should give us a little bit of double the resolution. So we should be, this should look a little bit cleaner. There we go. Nice. Okay, so this is looking really good guys. I think we're in a really, really nice position. So in the next couple of videos, we're going to be working on the post-production side of things. We're going to be moving this guy into What's the word into Photoshop. And we're going to get this looking very, very nice by modifying and painting layers in and out of the character to make sure this works very, very nicely. The only thing that I'm missing is the blue crystal right here. I'm going to add it off-camera just very, very quickly to get it there. And yeah, so make sure to keep pushing up to this point, guys. Make sure to add every single detail introducing go over the lease that we did before, see if you're missing anything more. If we're missing anything like maybe a little bit of a detail here, like painting something here, like I'm missing the paint, like gold paint right here. So look at all those things and change them so that we can find and make this look the best possible way. So hang on, guys. I'll see you back on the next one. Bye bye. 77. MainProject Final Render Passes: Hey guys, welcome back to the next part of our series. We're going to be talking about the final render passes for our character. So let's get to it. First. This is what we have right now. Oh, sorry, I forgot to turn off the color. There we go. This is where we have right now. This is our main position. I finished adding all the different materials and things that we were missing. And now it's time to actually get to render out of ZBrush and into Photoshop to finally work with this very, very nice character that we have here. There's a couple of things we can still do. We can move them handle a bit. I think I think rotating this hand might be a good idea. So let's go move brush. Let's go to the hand. Let's mass the hand, invert the mask, and then go to the center. And let's just rotate the hand a little bit and just move it in like this. Remember, we're only worried about like the main areas that we're gonna be seeing, which is this one right here. We can move the camera a little bit, and now we need to make sure that the document size is correct. If you remember from the rendering video that we have, this is usually what we have, so it's fine, but I think we can make it little bit bigger. In this case, we're going to go for like a horizontal or vertical proportion. So I think we could go like 2k on the, on the vertical axis and about one K on the horizontal axis. I'm going to go document. I'm going to get rid of proportion and I'm going to go height 2048 and width, I'm gonna go 112 or 1200. I'm going to say it Resize. I'm going to say yes, Control N. Draw one more, tea. Go to my document and we have our custom here. There we go. And now we'll just find like the perfect angle for our character because he is kind of like seeing us. So we're going to have something like this. We can go here on the zoom and zoom out to see like the actual whole document. This is important because remember this is the actual size of the document. So even if we don't see it like the proper or correctly, this is the actual size. I think it's a little bit narrower. I'm gonna go here again, let's say 1800. And let's say document or reset. Remember this is going to actually take a toll on your, on your computer. So don't worry, just let's go here. There we go. Now the perspective you can see it's quite a wide, like it's a little bit too intense. And and I think it's it's way too much. So I'm going to go into document, sorry, draw. And let's change the focal length to like a 55, which is a little bit narrower. And let's find our new is going to be like our new Folks for the whole character like this. Perfect. So yeah, that's quite in the middle. It's a nice composition which is good for us. I think I'm gonna go a little bit higher here, so we're more eye level with the guy. So something like this. There we go. I'm gonna go into document and let's save this custom tooling kids. We want to return to the custom one. So now if we hit Render, we're actually going to get the full render of the whole thing. So what we're gonna do is we're going to use a plug-in that we've used before, which is this folder shop plug in c v2, full show. Because we want to export all of this information. We want to export our lights. So we're going to have several life passes, like coming from different sides. So we're going to be able to play around with and get into a nice interesting element. We're gonna do a mask. We're going to do depth. We're gonna do BPR, which is just like our usual paths. We're going to do the ambient occlusion. I'll be doing actually a good pass because we're gonna get the pure colors in kids. We want to play with those colors as well. I usually like to do a specular paths as well. I'm going to show you how we can use that for or to our advantage. And I'm gonna do a subsurface scattering bass as well. I'm going to explain what that thing does in just a second. So before we do any sort of render, I'm going to save this real quick just in case anything crashes because you know, C brush and so forth. And yes, I'm just gonna go see plug-in. And I'm going to say sent to fully show. So this is definitely going to take awhile. So what I'm going to do guys is I'm going to pause my video right here. Let the computer do its thing because it has to do a lot of processing here. And after it's done, I'll show you how it looks in in Photoshop. So give me just one seconds. Just going to be a jump for you. Oh, okay. If that happens, it says something that's not a poly mesh 3D. That's weird. What is not 0? The sea spheres. So the C3, so I'm going to delete them. We don't need them anymore. Careful with those, and let's try again. So C plug-in and sent to Photoshop CC. Let's check. Let me just see the UC that everything goes according to plan. There's no error or anything. It's just checking that everything is working nicely. And that's true. This is done. I'm going to pause the video real quick and then we're going to continue in Photoshop. Okay. So almost there. Perfect. So I'm going to pause to be there, guys. It's just going to be a jump in as soon as you're gonna see the fundamental passes involution. So guys, one last thing I'm going to read through the render here. This is just a quick boss for you, a quick jump, but I wanted to remind you a couple of things. I accidentally move my camera. Well, the whole thing was rendering and this is what they got. So a mismatch on the, on the elements, so make sure not to move the camera. Otherwise you're gonna get this. However, I did get one other error and that's the fact that on the plugin, I activated SSS, which is this one right here, which is gonna give me the little bit of a skin look for the, for the face. I'm going to show you how to use that. But on the render you actually need to turn that on as well. So I'm going to go here into my render passes and I'm going to select SSS. So I'm gonna, I'm gonna just activate it right there. And I also need to go into the lights and the main light in the light properties, it should give me an SSS. So I'm gonna do a quick render here just to let you see the past. It's going to be a black and white past as well. But we're going to use that as a mask to tell Photoshop where things are slightly more translucent. And then we're gonna get this sort of like reddish tone for the face. And we're also going to use it for the fur. We're going to make it look a little bit more fluffy. So let me just show you here real quick how it looks. And yeah, if we go here into the render tabs and we Chris, why did it not generate? And let's see, SSS. It should have for some recently did not. Let me just check once more. Let's see if it generates the best and we're missing render passes. That's really weird. It should add it. Let me just check here. Bpr, sss. I need to go again to the lights. Yeah, it should have it. Well, and for some reason it's not working. I'm going to try it again in case my computer is the one that's making the issue, but you should just click on that setting and it should technically be on. But for some reason it's not on. Let's see. Oh, no, Sorry, render properties here, we need to turn SSS on. So now if we do BPR again, there was that that was the last option, that wasn't me. I was missing. You can see up here, it now says shadows and SSS. Every now and then it says SSS. So now we should get that extra, extra element. It is going to take a little bit longer because it's of course a, another pass that we need to take into consideration. So for instance, I think the last surrender took about 10 minutes approximately. So just keep that in mind. And now if we go here into their BPR render passes, you're going to see, that's really weird. For some reason we're not seeing the render pass right there. Even though everything is on. Okay, Let's SSS across SAP tools. And let's see if that works. Sorry, it's been a long while since I've done this. Fortunately, this is only going to calculate the SSS because that's the only render peasants missing. Let's see if it actually works. It seems like seabirds doesn't like sss for some reason. That's really weird. I'm free. Oh, way, way, way, way, way, way. There's one more option I need to select. And we're gonna go to my face, which is the one that they really cared the most about. Let's go to the face here. Let's select the material. And the material. I believe there's another SSS option here. Wants their wax modifier. Let's see. Okay. That's the BPR and see if that works. So I think that wax modified as the one that actually activates the SSS. I think that's it. If not, let's just ignore it for now. We can do it manually in, in Photoshop, that's fine. We can actually use the C pass as well to create the SSS, which shouldn't be that much of a deal. Again, remember, unfortunately, we're not dealing with VBR with, sorry, with PBR, which is physically based render here with this ZBrush renders. So there we go, see how it looks a lot better now, a lot like waxy on that stuff. It's a little bit too much of course, but it's there. So now if I go into my render passes, I should actually have, well, it's not, but it's under renders is going to be on the beauty render, which is good for us. So now it's just a matter of going again into C plug-in and I'm going to say sent to fully show. I'm going to send to Photoshop and I'm going to stop the video right now. We just do, again, save a little bit of time. And in the next one we're gonna be exploring all the different passes that we got and we're gonna be seeing how it looks. Okay. So hang on tight and I'll see you back on the next one. Bye bye. 78. MainProject Final Composition: Hey guys, welcome back to the next part of our series, one of the last videos of the whole process. So let's get to the final composition as eventually use the C plug-in here, the C brush to Photoshop CC. And I did all of these things and I decided not to do the SSS weeks, I was getting some errors. So if you can get it to work on your side because your software is working nicely as it should, then perfect if not, don't worry, we'll get this. Now, the cool thing about this is that we get a lot of different passes that we're going to be able to use in order to create our final composition. So let's take a look at where really know what we get here. But the most important thing that I want to take a look at, It's the beauty render right here, which looks okay. We did get a little bit too much of that like wax effect on the whole thing. Which again, we can very easily if you don't like that, don't worry, it's very easy to fix. You're just going to go here to material and the wax modifier, we're going to bring it back to 0. We don't need to do the whole process again, we just need to do the BPR. One time. Let me just wait for this to finish. There we go. And then we go shoot to see, sorry to the render preferences. We go to the Render passes and we click here on the, on the BPR, render the shaded one. So we're going to save this. I'm going to save it on the desktop. Let's just be IPR Render. And that's fine. I'm just going to hit, Okay. And back here in Photoshop, I'm just going to open it here in my desktop, BPR render. And there we go. Just grab this, bring it into the thing here. And it should match perfectly. So that way we can, if we want to blend a little bit between both of those guys. Now, we have a mask right here or up here. This is very important because this mascot will allow us to cut the character and pretty much everything will use it later on. But right now, I want to focus on the main character here. So we already have this guy right here. And I'm going to use my opacity to blend a little bit of that like subsurface see, look into it and as you can see, we're gonna get this very nice affect, especially like on the, on the head itself. We're gonna get a little bit of that red color, which is really, really nice. Now if we jump into materials, this is where, er, sorry, into the effects. This is where we're going to be playing with something called the specularity. So pretty much every single material in the world has some sort of a specularity. It's how much light it reflects. And depending on how intense we make this a speculator, we're going to be able to get some very nice looks. So as you can see, this is already set up to screen at the 25 percent opacity, which is really good because otherwise it would be like super shiny. So I'm going to lower this a little bit more. Let's go to like a 12 percent. And what I want to do is I want to play with the levels Control L. And this will allow me to either push like the highlights and make it a little bit shinier, or push the shadows and make it a little bit duller. So by modifying this, we're going to be able to get some interesting looks here and there. Especially like on the, on the metallic bars, I'm focusing on the metallic bars right now. And this will allow me to see how much shininess we want this thing to have. Now, we don't want to have as much shininess everywhere. So this is where masks come into place. Because what we're going to be able to do is we're going to be able to go into here, add a mask down here with this little button right here, and with our brush B, as in brush, I'm just going to select a soft round brush. We can paint out where we don't want that effect to be. So if we paint black as you can see, we reduce the amount of shininess. So for instance, if we don't like our cloth to be as a shiny, we can just paint a mask and paint out all that specularity from the character and leave it only like on the leather, a little bit on the leather, a little bit on the armor and stuff. This is a very important guys. This is one of the tricks that they don't usually teach. And that's the fact that every single image that you see has come through some sort of processing filter to get like the best possible look. So don't get, DO, don't be fooled. People always tweak their stuff, so that's totally fine. Ambient occlusion, as you can see, it's a little bit of a shadow and extra shadow. I think in this case it's a little bit too intense. So we can reduce this by, let's say, let's pull a 30 percent. And that way we are going to get a little bit of an extra shadow there, but it's not going to be like overpowering the whole thing. Shadow, this is the main shallow, the main shadows that are being projected on the character. This is very important because one cool thing that we can do with the shadows to give it a little bit more realism is we can actually paint them. How are we going to do that? If you press Control, you, you're gonna go into the hue and saturation menu right now this layer, so black and white layer, but we can colorize it and then change the saturation of the shadows see there. So we can have a little bit of a hue on the shadows cast shadows usually have a little bit of hue. Red is usually the color that we get. So I'm going to add a little bit of red there. You can see the shadows. We can also make the shadows a little bit lighter if we want or if we need to think it's necessary. I think something like that is fine. But look at that, just that little Smart Filter there. And it really changes the way my character looks. Overall. I'm going to jump now. We don't have anything in materials. I'm just going to erase it. I'm going to jump into lights. Because one thing that this thing does is it actually gives us some more lights that we can use to paint on top of our character. So for instance, if I turn off my base layers here and we turn, or we keep only the light shadows here. We can see the like a rim light here. We can see like a front light here. We can set this guy right here, this guy right here, this guy right here. So I really like this backlight because the ICA reminds me of the red light that we have. So what I'm gonna do is I'm going to again control you to colorize it. I'm going to change the hue. I'm going to colorize the whole layer. I'm going to make it like a reddish line right here. And now if we turn on our layers here again, see how we get this very nice red element here. And the reason why we're getting this as because this actually set up to screen. So this getting rid of all the dark colors and it's only leaving the light colors, which in this case it's of course at the light. So I'm going to decrease this a little bit because I don't want this to be like completely overshadowing everything. And another thing we can do is we can also add a mask. That's why masks are super important because as you can see, we're getting some shadows where we shouldn't be getting them like all of this area right here. So I'm going to get rid of all the shadows on the inside. And I only want this to be like on the outside of the character. So wherever I would expect to see a little bit of what's the word like ambient occlusion. I wouldn't see that shallow. So as you can see, it's only now on this side here. We can add a little bit here on the soar, maybe a little bit here on the head. And that's gonna give us an interesting look again, just to make a mental note of how the thing looks here and how it looks here. Completely different, right? That's the, that's the main point here. So we can go for like a main light here. And I want to make this main light blue. So I'm going to colorize this and make a blue. Let's saturate it a little bit more like a very light blue. There we go. That's, that's pretty cool. It also helps me balance the color sad because by having a little bit of red and a little bit of blue, everything becomes a little bit more closer together. So this thing, we're also going to add a mask here. And in this case, I want to hide a little bit of this, a red sites. So that way we have this very nice blue light coming on this side only. And as you can see, that looks really, really cool. What else? Let me see. I think in regards to lights were fine, but let me see. We have like another like strong rim light that's a little bit stronger. That's fine. Yeah, I think this one is fine. It's a ride light though. And that's fine. I think I'm going to leave the lights like this for now. I definitely want to add a background to my character. So what I'm gonna do is I'm going to go all the way to the bottom here, outside of the whole thing. And I'm just going to add like a textured backdrop. So if you've seen like foolish shoots, let me show you here. Like full background. They usually have this sort of like cloudy effects elements to make it look very nice like a, like a studio. We have the shadows somewhere on the layers. We're going to look at them in shortly. But for now we're just going to select like a like a light gray, something like this. There we go. Now as you can see, we have a little bit of anti-aliasing going on. They're not perfect, but it's there. I don't think we have the the shadows apparently. Now we do have the shadow, but it's not, it's not doing exactly what I want. So I'm gonna go here and I want to export the shadows as well. So I'm gonna go and render. And I'm going to graph. Wait, we didn't have the floor. I thought that we had the floor. Let me do a quick BPR here to see if we get the shadows on the floor, which is what I'm looking for. High it seems like we don't have the floor. That's weird. Let's go render Shadow. She we do when they're under shadows. There we go. Let's wait for this to finish. While that's finishing, let's go back here. I'm going to turn this off for just a second. We're going to be changing that color. I mean, it's fine. It's just a little bit too light. So I'm going to go like a little bit lower like this Control Delete to fill the layer. And it's going to give me a little bit of a better look. We're going to add that mean, yeah, Then something else there as well. Now one very important effect, again is this peculiarity, this picture, it is really good because it allows us to give this metallic loop to everything. So I'm going to Alt and drag this layer to copy it. I'm going to disable the mask or delete the layer mask. And then I'm going to crank this up like a really, really high because it's going to give me the metallic look that I'm looking for. I'm gonna see if I can get like another like affect you for instance. Overly looks really good. It's a little bit too intense. So I'm just going to start lowering it a little bit. And then I'm going to add a layer mask again. I'm going to paint everything out with my black color. And then I'm just going to add a little bit of an extra punch here to the north and to the erasers and the armor. So by painting black and white on the mask, we're going to be able to recover a little bit of this like metallic look to this elements right here. I'm going to increase this so you can see a little bit more, see that lot nicer. Look more metallic, which is what we're going for. Now. Again, unfortunately, we couldn't get the subsurface scattering to work, which is gonna give us or should give us a little bit of a better look here on the character. So I'm going to show you a quick little trick. I'm going to go all the way to the top, on top of the masks. I'm just going to create a new layer. I'm going to grab this red color. And I'm just going to use a very soft pressure here on the nose, a little bit on the ear, and probably a little bit on the islets. Kind of like makeup. And then we're going to change this to screen. And we're going to lower the opacity quite a bit. And as you can see, that's gonna give me a little bit of redness there that we didn't have before. And it's going to make it look a little bit more alive. Now if you want to remember, you can also add smart filters. For instance, if I grew up this layer right here, the main light color layer, I could bring it up and then mask everything out with like a black mask. And let's say I want him, his face and he's here to be a little bit lighter, right? Because on the concept everything was a little bit lighter. So I just create like a big, huge freaking mask everywhere like this you can see it's completely black, the black everywhere. And then I'm just going to grab like this area here on top. I'm just going to be very broad right now. And white of course, we're going to bring it back. And then Weed Control L, We can again change the levels and modify how that specific area looks. I'm going to keep this at a 100 percent control L. And again, just by moving this things up and down. Oh, sorry, not that this guy right here, Control L. We're going to be able to push the wideness in this case of the face a little bit higher. And that was just a matter of going back to the layer here and painting the areas that we do need to cap like a clear mask and whatever areas we don't need, we just paint black. So again, this is suppose production guys, this is fixing things after the fact back after we've finished in C worship, we weren't able to nail some specific element. This is where we can change it, right? So let me see if we get debt. There's a shadow there. So I'm gonna go into render, render passes. And we're going to grab the shadow here. So we're going to save this into vest that was well AS BPR shadow file open, we open the BPR shadow, grab the whole thing. And I'm just going to paste it on top. Now this, we multiply. It's going to be working. It's the mask, then the mascot is a thing that's cutting it out. It seems. Yeah, there we go, because there's a shadow down there. So now of course this is way too much, so I'm just going to lower this and we're going to have the very nice shadow there. Now, I have a good friend of mine gave me this like sort of camera effects a while back. Let me show you. Where do I have them? Here? Camera effects. And this are really good because they can add a little bit of texture to the whole render. It's a little bit of post-production. So. Let me show you what I mean, what I want to add this. I want to add those sort of like clout, cloudy, effective building ISS around them. The general like this. It's not like a bouquet, but it's something that's just a little bit of a glow like a post-production globe. I really like this, like light leaks effects. I'm going to drop this for you guys as well in case you'll want to use them. For instance, I'm going to use this like number two. And I'm just going to drag and drop this. I'm going to rotate this around, make this really big like this. And we go. And then this goes with like something like an overlay or like a screen or something. Try to find something that works nicely, multiply it. So okay, ish screen, I think it's better. So I'm just going to lower this like a really low percent. It's just like a little bit of an effect. It's going to give a little bit of interesting color. Another thing you can do with this guy is add a little bit of a vignette being added. Something that works really, really nice pretty much anytime. And it's just, just make like a really big brush here. At the little bit of a vignette here doesn't have to be everywhere. Something like that works. Going to like overlay. So the colors mix a little bit better. And then just go like really down. Again, just to like punch the character and make sure that he, he's the main focus of the whole thing, right? They're not particularly fond of this like effect right here. So let me show you what we can do there. I can, now that we've finished with the whole thing, I can just grab this guy. Let's turn this off for just a second and hit Control Shift Alt E. And what this is gonna do is it's going to create a new layer that has everything go with the width created before he merges all the layers. And now I can select this guy which is the mask. Any here, just say filter or sorry, in the selection we're going to feather this. We're going to go here. We're going to do like a, a five pixel feather. And then we delete. So that's should soften everything a little bit. Didn't do that much thing. We're also missing the depth of field, which is blurting out things that are farther away from us. And I think that one's going to really help. So let me see if we have the depth mask right here. We've got the AO shadow that, yeah. So I'm going to go here with the depth. Let me turn everything off. Well, not, not everything off. I'm just going to go here on the depth channel. I'm going to marquee selected DEF channel control C to copy this, go into MET channels and then create a new channel down here, and then Control V to paste it on this channel. And this is going to be called depth. We can just name it depth. Then you can just turn it off and that's fine. We don't, this doesn't need to be miscible or anything. Now if we select this image that we just created, the one that has the older layers combine, we can select the character right here and say Filter Blur, lens blur. And in the lens blur, we're gonna wait, oh yeah, we're going to change this. That's the, that's the source, but it's masking or something. I bring this all the way to the top. Oh, it seems like we deleted something here, so that's fine. I'm just going to select here Control D. There we go. So this guy right here, we're gonna say Filter Blur, lens blur. And what this is going to do is you can see it's going to use the depth channel to blur out the parts of the character to the not visible or more are farther away in them, in the c-axis, right, and the seed depth. So I don't really want this much. Let's do like a 15. Or maybe you like decrease the radius. Like I do want a little bit of the blur here on the firm which I think it's good. And the focal distance is, I want to, I want to pick this guy right here. Let's see if he, if we manage to like the eye, we want to make sure that the face is in-focus because that's the, that's the most important part, right? So let's not embed this. There we go. So the phase should be in focus right there. And now we can play around with the amount of folks that we want or don't want. So I think that's fine or something like that works fine. It's just a little bit of blur, especially for instance, the cape, you're gonna see that it goes out of focus, the shadow that's going to be really important. It goes out of focus. So we get this very, very nice looks, I'm going to hit Okay. And there we go. I think the haze is a little bit too much. Maybe another blending mode could work because it kept those things out. Will be bead life, I think works or it's nice. Okay, let me close a couple of this tab so that it's not super heavy. And there we go, We're in a very good position. I'm going to stop to be right here, guys, because we're doing a little bit over the normal time. We're almost at the 20 minute mark. So I'm going to stop in right here. And in the next one we're gonna be talking about polishing this and a couple of closing words and my advice to you as an artist and how to get better, how to keep practicing, how to improve, of course, so hang tight and I'll see you back on the next video. Bye bye. 79. MainProject Final Touches and Words: Hey guys, welcome back to the next and final video of our series. It's been a pleasure being your instructor throughout this whole process. Hopefully you've learned a lot throughout the way. As you know, these are not your traditional tutorials. We always like to do this in such a way that it feels more like a class rather than just like videos of someone doing the work. So hopefully you have fun along the way and you'll learn a lot of tips and tricks. I'm gonna do a couple of final touches here for this guy just to make him look a little bit nicer. And then we're going to jump onto just some final worst that I would like to share with you. So first I'm gonna go here, I'm going to go into Filter Sharpen. And I'm gonna say smart sharpen because with all this things that we usually do, we sometimes lose a little bit of detail. So the smart sharpen is going to help push everything back into like this. Nice sharp looks. So you see that we get this very nice lines pretty much everywhere. Now, I do want that play a little bit with the saturation and the colors because the character that we were following this guy, It's very saturated. Very nice, very interesting. And it's time that we like punch the colors a little bit. So again, in this final image, I'm going to hit Control U. And I'm going to increase the saturation a little bit. Just to bring the colors back up. Look at that lot, china or more like golden stuff. So that's perfect. And I also wanna do Control L to play with their curves a little bit. This will allow me to either crunch the colors to get a little bit more contrast or keep them like low depending on the study that I want to go for. So I think I want to like, I don't want to punch the lights like super high. Like I don't want to burn the image, but I don't want to crunch the colors a little bit more to get some extra contrast. There. There we go. So as you can see, this is what we had before and this is with a little bit of post-production. So why the change, right? This is what we're looking for, this is what we want. This artist's, I'm going to crop the image a little bit just to give you a little bit more of a final look to it. Like I don't want a lot of empty space. And that kinda got rid. I'm going to try and follow the rule of thirds. That means that I want to try and make sure that the character is on the third of the element and then the source is on the other third. So this sort of like composition is good. There should be enough room for him to breathe. That means that there's enough space for the sword and for him to coexist on the same page. And that's perfect. That's exactly what we're going for. And now we can add a couple of extra touches. So as I mentioned, I'm going to be sharing with you this camera effects. Let me actually copy this into the folder right now so that I don't forget later on. So I'm going to say Copy C2. And right here I'm going to have the camera effects for you guys. So It's a little bit heavy. So just bear in mind that there's the files are going to be a little bit heavy, but it's for you guys. It's a little bit of a gift and hopefully you get a good use out of them. So from this guys, from the camera effects, I want to do a little bit of like a Godrej got trees are really good and they really have like a little bit of a lively like this CRM burst a row seat left screen. There we go. So I'm just going to bring this all the way to the top. Let's Control T and make this bigger like this. Since this is mostly black, I can just go into multiplayer, sorry, into screen. And the, and the black is going to like shine on top of the character and then of course, lower the opacity. So there's not like overriding anything that we have. I think I am going to go Control U and I'm going to desaturate this so that it's a little bit more of a white light because otherwise he doesn't match the light of the character. It's going to look good. And also here in the camera effects we have a little bit like dust, this like fairy dust, Okay, It's really good, It's really cool. So for instance, if you want to, you can just add this. Let me move this thing, make it a little bit bigger. These are just a little extra details that make a render pop even more. So screen and bring the opacity down like this. As you can see, it looks a little bit more fairy tale ish, which is cool, right? It goes along with the, with the whole thing. Don't overdo it though. Don't don't go super crazy because, believe me, people know when you like abuse filters. One thing I didn't know this is that there's a couple of little tweaks that we can do to the overall scene. For instance, we can paint this blue because for some reason, either the light is too sharp or something and it's not registering as blue. So I'm just going to paint this blue, going to like overlay. And then just erase the parts that we don't need. There we go. So now that gem is completely blew. The eyes, for instance, I think they're a little bit dull. So something that we can definitely do is just grab like a white line or a white little element here and add the like, Annie May ish. Let's do one more new layer here. A brush, like five. There you go. So now the eyes shine a little bit more like a plastic. And that's going to give the character a little bit more life if you want to. You can also do like so unfolded bashing on top of this guy and add a little bit of like a leather texture, cloth texture and everything. But that's going to depend, of course, on the project and on the whole thing. I think I'm going to give it a little bit more room here on the, on the crop. And that's it. So if I do that, I definitely need to bring this out. What else did I miss this guy? So this guy, I'm just going to Iowa. Forget it. So looking weird, we got something. One last thing that I suggest you do, this is very important. Images on the Internet float everywhere so you never know where things are going to end up. So you can do just add a little bit of a credit here. Treaty our work by Abraham Lille for next 2D education. And there we go. Keep it simple, keep it nice. Keep it style dice, like don't, don't go where, where do you have like a signature or something, like a little icon or something just added there. That's fine. And that's it guys. This is say this is the end of the road. It was quite a bit of challenge, right? Like we went, Let's go into ZBrush and see where we started like all those lessons ago. If we load our tools like this, of course you, you learn C right from the start. You'll learn how to use sees, fears, Syria measure, subdivision levels. We learned several, we had several exercises where you learn most of the tools that seabirds has to offer and then WR with the palette. And let's take a look at the first tool here. Look at this ugly guy. Oh my God, this is where we started. You probably saw this up first and we're like, I don't think the teacher is going to be able to do this in real time and showed me how to get to this point, right? But hey, here we are. This is the Render you saw on the first intro video, and this is the Render I present to you now. So hopefully again guys, you've learned I, I would like to give you one last bit of advice. Art station is a great tool for getting to know other art is getting to know how the industry is operating and stuff. We have all of our tutorials in here. If you look for next to them, pretty sure you falling, you can find like all of our different tutorials. I'm not sure where they are right now, but you can definitely look for them. And I have several tutorials for you as well. So if you want, you check them out, I strongly encourage you to do so. If you like characters, I strongly recommend my creature. Creature creation for games where I go more in-depth about anatomy, like actual UVs, topology, like everything you need to do to have like a game ready character. We do a daemon. That's really, really cool. We have an environment class as well where we use Maya and C versus well. So if you've free to learn, that's the, that's the, that's my model. My personal quote is, I always learning, always improving. So make sure you're always looking for something to learn in a way to improve and that way guys, I can assure you that you're going to get to your goal and you're going to be able to work wherever you want. You can start your own studio. You can work on the best that you can think of. But the secret, the secret for everyone that's in this industry is that we work very hard every day and we are continuously improving because that's what makes a great artist. So hopefully, with this introduction, serious to ZBrush, you have all the fundamentals you need to start exploring this amazing 3D world. Feel free to contact me if you have any question, if you want to show me your final result, I'm happy to give any feedback or any comments always to my students. So just look at me, look me up on art station and I'll be happy to help you. And will well, that said guys, this is my final goodbye. Thank you once again for struggling and working and moving along with all this journey. Hopefully again, you've learned a lot of information, a lot of cool tips and tricks. It's been a pleasure for me to be your instructor, and I hope to see you in the next one. Bye bye.