Zbrush Advance Creature Sculpting for Production

1. Introduction: Hey, everyone. My name is Matte Hui. I'm a digital sculptor and character artist, and I've been working in the industry for about a decade now. In this course, I'm excited to take you through my full sculpting workflow from start to finish. We begin with a quick introduction to my custom Zebra UI and the essential brushes I'll be using throughout the course. Then we jump into the blocking out all the major elements of the character from clothing and armor to accessories and establishing the course structure of the sculpt. After that, we focus on the upper body elements, adding stitches, damage and surface details to bring the form to life. We continue by refining the leather pieces like belts, straps and the skirt, enhancing their realism with lino sculpting and surface breakup. Before moving further, I take time to adjust the body proportion to better match the concept, and then we move on to the modeling and sculpting the sword using Z modeler, adding wear and fine details. The lower body comes next, where I work on the trousers, boots, and bandages ensuring everything stays consistent with the overall design. From there, I sculpt the horns, hair, and the accessories to tie everything together and push the final lock. Once the sculpt is complete, we move into skin detailing and pose the character for final presentation, and to wrap it all up, I walk you through my rendering setup using Marbs a Tolbag and Photoshop and creating clean final images ready to showcase your. By the end of this course, you'll have a solid understanding of my Zebra's workflow for character creation. Hope you enjoy the course and find it helpful, so let's get started. 2. Concept & Color ID: So in this episode, we're going to create an ID mask for the concept to break it down into smaller and more manageable pieces. After that, I will show you my reference sheet for this character. Let's start by analyzing the concept. We will divide it into different materials and objects, making it easier to identify each component. This approach is especially useful for complex design that might feel overwhelming at first, but by breaking them down, we can focus on one piece at a time without getting lost in the details. All right. So first, we're going to create a new layer. And with Bucket tool in here, the short head is G. We can assign a color and set the blend mode to color. This palette might allow us to override the existing color. Next, I will add a black mask by holding down Alt and colic on the mask. Now, let's use Lassa tool and start selecting this part. The shortcut is L. For example, this part. Like this. And it can hold on shift and add a part or hold on hold and decrease it. After selecting the part that we want, we can use a bucket tool again by selecting G and assign a solid white color. And now we have this ID mask for this part and this material. Now we can add this part as well. G and Derik. I'm going to repeat this process for all the pieces, and if you want to use this concept, I'm going to provide the concept and ID mask in the project folder. But if you have another concept in mind or want to do something else, you can break down the concept like this. I'm not 100% sure about this area yet, especially the shoulder part and the forearm. I will probably tweak the design a bit as I get deeper into the sculpt. Yeah, I think it's good enough for now. Alright, this is the reference sheet that I provide for you. You can check it out. I these are the leather references. You know, some of them are from other artists, you know, for sculptor leather. And for example, we're going to use this reference for the leather skirt area, and there are some other references as well that you can use. Reference for the shoes, belt, bandages and horns. Some references about anatomy, you can use them body, head, arms and legs. Yeah, after this, can sore as well. And yeah, some of them are for the skin, you know, and detailing and stuff like that. And, yeah, that's it. 3. Custom UI & Sculpting Tips: Alright, before we jump into the fun part of sculpting, just want to quickly show you how my zebra setup looks. I've customized my UI hot keys and created custom menus to make things faster and more intuitive for the way I work. I also provide you my UI hot keys, brushes, and materials so you can follow along easily during the course. You can tweak them later to fit your own style, but this could give you a solid starting point. So yeah, let's go through my setup real quick so you can have a better understanding of what I'm doing as we move forward. So as you can see, this is the default ZbraUI that you probably see right now. And I've changed the UI during the years of working with Zibrah to make it more appealing to me. So let's quickly change it to custom UI. This is the UI, and I will try to explain the brush and tools that I use a lot. I will tell you the location of these buttons and stuff like that, so you can find it more easily if you want to use the default Zhui. On the right side, I have the brushes that I use the most and some of them have hot keys like move is one, two is standard. Three is custom clay buildup. Shift three is default clay buildup, as you can see the difference. Four is dam standard and Shift four is custom brush. Five is default clay and six is string dynamic. All right, on top, we have the subdivision levels and group split split by mask and you can find it here, split and merge down. These are the patterns that I use a lot. And for example, if we have some groups like this, if I mask it and make it group and use group split, as you can see, make them individual subtols or if I'm using masking, I can split mask point. And yeah, that's the button you use for. And we don't need them, delete other right. Down here, we have materials. We have morph target, which you can find it here. We have morph brush. We have some buttons about masking, which you can find here. Auto group in polygroup, Auto group with UV, group by normals. You can find it in polygroups. We have Cris, which you can find it here. We have some topology here, close holes, and wild points, stuff like that. We have double and flip right here, double flip, which you can find, here. We have Extract, which you can find here. And yeah, I think that's it. The other thing that I want to talk about is my custom menu, which I use a lot. Here. I made a custom menu with this option, custom UI. You can make something like that. It's quite handy, you know, when you don't need to go through all the menus, you know, I assign some hot kits to it, you know, and ld eggs, and there you go. You have it. Load and save, you know, you can find it here. I have dynamesh, which is in geometry. Dynamesh. We have Zemsare deformation. This is emsare some of the deformations that I use a lot. Yeah, I have symmetry tab. And one mirror that I use a lot is here. I think it's up to master, yes, mirror. We have symmetry. It's here. We have option about decimation. Just here, decimate master. Yeah. We have these buttons for some basic primitive shape. And that's it. That's all the things that I use the most. You have my hot keys, you have my UI. And during the course, I will try to use the default menus as much as possible, but I just wanted to show you where you can find them and customize it if you want. So yeah, when we start working on the character, you're going to have a better understanding of these tools and have to use them. And yeah, that's it, so don't worry about it from. Everything I said so far about Zbrush, the UI tools and all that stuff, it doesn't really matter too much, so don't worry about it. The most important thing for you to focus on is learning how to sculpt, play with forms, and train your eyes. Once you understand the fundamentals of sculpting, it doesn't matter whether you're using Zbrush, Blender, nomad, or any sculpting software. The knowledge and skills you gain here will apply to all of them. So yeah, with all that said, we only use four or five brushes, and that's it. And yeah, I'm going to show you how I usually sculpt and work on forms and stuff like that. I'm going to divide this model a couple of times and sort sculpting a little bit. Alright, one of the things that I like to do when I sculpting is use brushes with low intensity. For example, when I use a move brush, let me quickly reset all the brushes. When I use move brush, the default setting is like this, you know, it has a lot of movement, you know, and changes. And I like to make it a little bit lower intensity, like around here. And this way, I have more control and it adds a little bit of gravity, at least it feels like. And I do that for all my brushes, you know, for example, if I use Dan standard, I'm not going to use it like this. Sometimes you need to do that with default intensity or higher intensity, but most of the time, I put it down like this and try to define the forms and trying to make the forms like this, you know. This I have more control over the shapes and forms and stuff like that. If I want to use clay buildup, lower down, I usually change it to something like this. And after that, I start sculpting along the form like this. As you can see, Yeah. Clay, Alpha, lower intensity. Like this. And if I want to make the surface a little bit smoother, I'm trying to use clabil again, but with lower intensity and trying to make the surface a little bit smoother and trying to avoid a smooth brush as much as possible. I'm not saying I'm not using it, but I'm trying to avoid. This way, it adds some texture to the scout. Adding and carving, you know, like this, maybe connect the preaches between them. If I smooth them, you know, as you can see, it destroyed all the forms and the information that we added, you know, and they don't want that, you know. That's why I'm trying to avoid it as much as possible. And if you want to use it, use it with low intensity like this to have more control over it. And it's all about adding and removing clay, like real life. Old and old and carving. It's much better. You can use a smooth for these places with low intensity. And then again, try to remove them with clay brush to make it to make it more natural looking. We can add a little bit of detail. This, and maybe divide it one more time and add form like this. And trying to blend them together a little bit better. We can use masking mask lasso. If you hold down Control and select the brush, you can use mask lasso and make this part, for example, folding over the other four. I hold down control and tap to make the mask a little bit smoother and then try to move it with move brush. Something like this. We can use a smooth for here to make it a little bit smoother and then start using clay brush to add a little bit of gravity to this part of the skin, for example. It's like, have some weight to it, you know. You can use a standard precious will for connecting the form and shapes like this. Smoothing and start adding. And, yeah, I just wanted to show you how I sculpt and work with these brushes. And yeah, that's about it. I think it's good enough. You're not going to make anything fancy or pretty. I just wanted to show you how these brushes or work. Alright, I think that's enough for now. You can go ahead and try out these brushes yourself, play around with them, and experiment with forms a little bit. And yeah, see you next one. 4. Asset Workflow: All right. In this episode, I'm going to walk you through my workflow for creating asset and Zerus. We'll be focusing on how to use masking, Z measure for clan topology, and other tools to build detailed models. What you're about to learn is the core technique we'll be applying to create all the assets throughout this course. So make sure to practice these steps a little bit, and you will find it easy to follow everything I'm going to build moving forward. And yeah, so for starter, I'm going to use tools and this model. Just for demonstration. And let's divided a couple of times. Now we have this subdivided mesh. And for example, if I want to add armor, I can do a couple of things. First, I'm going to turn up the symmetry. And for example, we have something in here, a metal part, for example, I'm going to mask this area. Or even more control and click to make the mask sharper, or you can go to masking, and if I blurred out, use sharpen mask or blur mask. Something like this. So yeah, for example, we have this one. Now I can go to extract and use this one. It doesn't matter the thickness. Now I have this mesh. I can do a couple of things. Either I'm going to use this one. You know, for example, I'm not sure about the overall shape and form. You know, I'm starting to tweak it and work on this part. Or I know what I want, and I'm going to control holding down Control Shift and click to isolate this part and let hidden. Then you can find delicidan here. As I mentioned this before, deletidan. And then I'm going to flip the normals in display properties and flip. Okay, Contra W to make one group. Now for the He, it's not good. I'm not going to do that, or we can smooth it out. I'm going to use polish by future, turn off this thing here and there we go. Now we have better and cleaner edge. Now I'm going to geometry, ZIM share and target low polyconF example, 1,000 probably turn off adaptive and Zim share. Still too much. Half. Let me fix the shape a little bit. I go to be sharper. Zim share. Okay. Again, Okay. This is not bad. Okay. This is good enough now. Now, one thing that I can do is either go to edge loop and use panel loops without polishing. This way, I have some bevils and thickness and stuff like that. I can change the bevel, I can change the shape of the Bivil and it's up to you. But most of the time during the course, I'm going to use dynamic subdivision and using thickness and turn off past sub d offset, go to 100. I want to be above the mesh and add some segment. Or I can disable the smooth subdivision and just add thickness. For example, this is maybe good enough. And then I'm going to apply it Dyna subdivision again without thickness and smooth subdivision. And before that, I'm going to change the polygroups for the area that I want to be sharp. So I have two ways. Either I'm going to select Lasso Control Shift and select Lasso and Holden Control Shift and click on the edge to double sided to just see the edges, and I can hold in Control Shift and Alt and to hide those parts, Control W, Control W, going to W again and going to W. This way, I have different polygroups for each part. Or I can go to Z modeler and on the polygon, I'm going to polygroupHlding down alt and click and drag and release the t again and hit the again, I can change the polygroup. Same here for this part, something like this. And then we done with the let make these 21 polygroup. Yeah, it's better. And then we're done with the polygroups I can use Chris by polygroup in Chris section, Chris polygroup and when I hit D or turn on dynamic subdivision, these corners are going to be sharp. And if it's too sharp, I can go lower, something like this. As long as this number is lower than smooth subdivision, it's going to be smoother and. So Yeah. Most of the things that I'm going to do is like this. For example, if I want to make this part shop, I can use the model as well on the edge, crease and click. There go. Now we have sharp edge like this. And after I'm done with the shape, I think, Okay, this is good, overall shape, it's great. We have a good blackout. I'm going to apply. Now I have subdivision. I have level one, level two. I can, for example, go to level one and change the overall shape or whatever I want and go to higher level to add some detail, for example. If this is a metal, I'm going to damage the edge a little bit, for example, like this or adding some scratches, something like this. You get the idea. This way, first of all, I have Klein mesh almost, and my Zebra is not going to be heavy after, you know, you add all the assets and all the things, you know, put together, you know, you maybe have 200 million polygons, you know, and it's going to be crash or hard to work with. It's going to slow your computer a lot. That's where you have a better and optimizer sin. And other than that, you have a cleaner mesh to work with. It's really easier to go in lower subdivision. Then you always work with dynamesh. For example, if this is dynamesh, I can really change the form a lot. It's not really good, but when we have level, it's really going to be easier. And even when we using dynamesh, for example, I want to do a big change, you know, in the shape, and the topology is going to be terrible. You know, for example, I want to do this or add some damage like this, you know, pull and something like this, you know, it doesn't really matter. Dynamesh again, For example, this is the mesh that I want. And for this one, I'm going to use Zoom Share again. 100, for example. But before that, I'm going to hold control and hit on Undo to save the do history and Ziomha the mesh. Now we have this mesh, and imagine this is a good topology and that's what you want it. I'm going to project, turn off color, control lead subdivide, project history, project it again, and there we go. Reason that happened is probably my mesh isn't good enough yet. We needed to use Zimhare again, you know. But you get the idea, it doesn't really matter. And if I want to fix that, I can again, delete this part completely dynamesh, something like this, maybe 2000 ZIM Share. There we go. Oh, you can go before that. O Control click, go forward and control Lee, project history, and there we go. Now if we have levels, we can change the overall shape and go higher and add in some detail. And stuff like that. And yeah, this is most of the things that I'm going to do. I'm going to make most of the assets like this, and, yeah, that's it. See you in the next one. 5. Basic Proportion: In this episode, we're going to block out the character. At this stage, we're not focusing on details, the overall shapes and proportions. The goal is to create a solid base that we can refine later. I'm going to use one of Zbrush paste measures to spit things up. You can find it in two. This one. I think this gives us a pretty good start. I'm going to let the hair. We don't need it. As you can see, it has lein topology and polygroup which makes it easier to work with. The key here is to work big to small, start with the main forms before thinking about muscles, details or anatomy. Right now I'm using the move brush with low intensity, as always, to adjust the overall solute. I want to make sure that torso arms and legs feel balance. So, yeah, our character is lot bigger. Make the shoulder a little bit bigger. And I'm going to make the trapezius muscle a little bit more pronounced. Maybe lower the arm a little bit by holding down Control and selecting mask so. By holding down and click on the object, you can change the position of the gizmo like this. So I'm asking the part that I want to rotate and while you hold down Control and click on object, you can make the mask smoother. I also like to use transpose tools to stretch or adjust the body part if something falls off. So now I'm going to lower the head a little bit. And I can use clay buildup to refine this part. Probably I should make him a little bit shorter. And don't worry about the looking of the character. It's a little bit ugly differs, but we're going to refine it as we progress. Going to make the hands a little bit bigger. One thing to remember, even at this early stage, I'm constantly rotating the model to check the forms from all angles. It's easy to make something look good from front, but the side and back are just as important. A I'm making the twit a little bit bigger, as you can see here. I'm going to use Damsondard with low intensity to define the shapes and landmarks. A We can use inflate brush to make the muscles a little bit bigger. Maybe define the forms and bony landmarks on the face a little bit more. A a I'm using sand brush. We can hold them Control and Shift and select this polygroup control and click for masking and control shift and click again to bring that part back. H. Once again, hold control and click. You can smooth the mask, which you can find it here play the mask like this and make it a little bit. I move it a little bit forward. Changing here is nose a little bit. We need more polygons to define more shapes. But at this stage, I don't need to do that. It's not necessary we just need to have basic shapes here, and that's good enough. Maybe whiter nose. Make the skull shape a little bit. From the top view, the head should have an egg like shape with the back being wider and the front tapering in like this. A It's going to be looking better, you know, when we divide it a couple of times and refine the shapes a little bit more and adding the beards and the horns. But for now, it's kind of okay. Good. A Maybe tilt the head a little bit forward like this. Right now, I'm not to worry about anatomy, focusing on the overall shapes and proportion to match the concepts. That's why I'm working on different parts of the body all at once. And after adding all the clothing and assets, we'll check the proportion again to refine them and get closer to the concept. And Check all the angles. Can I build up to adding a little bit of forms? Do you find the scholarship little bit? Maybe move the hips and legs a little bit backward. And make the legs a little bit more bigger. Using inflate push? A a Let me rotate the hands a little bit to make it a little bit more natural pose. You can use the polygroup too, the masking out. Like this. It's a little bit more relaxed now. Maybe no should be. Yes. I think it's a little bit wider, especially for the eyes. Always remember to save your fight in different versions. So if anything goes wrong, you have a backup to go back to. Oh I'm going to make the pectoralis muscle a little bit more pronounced and adding a little bit of weight to it can use mask to define form and shape a little bit. This. Maybe it's too short now. Let me change it. Standard brush. I use Shift F forcing the polygons and polygraphs and stuff like that. Shortcut is Shift F. All right, I think it's good enough now. We can continue working on it in the next episode. 6. Adding Horns & Hairs: Alright, let's continue with the blackout. I'm going to widen the shoulder a little bit. And from behind, make the lettuce and sorci a little bit more pronounced. Dia with clay build up and move this a little bit more. I'm still focusing on the ova shapes right now. Let's make the shoulders a little bit wider and refining the chest area. I'm using the sandal brush to make the leg shapes more pronounced. All right. Let's add the horns. I think it will help us to get a better visual and compare it with the concept. Starting with the basic box and scaling it to match the general shapes. By holding shift while rotating, we can snap the rotation to precise angles which help us fit alignment. H I think it's good enough for now. Maybe rotate it a little bit. Now to shape the horns, I will use the Gizmo customized menu and select bend curve. This lets me bend and twist the form until it follows the shape I want. Something like this. I had just a curve point to get a smoother flow that match the concept. Once I'm happy once I'm happy once I'm happy with the shape, I will Once I'm happy with the shape, I will use mirror, uh Okay like this, let's accept it. And consert D for subdivide. And probably I'm going to make it dyna mesh. Di lower I you can find it here. Dynamesh with a little bit higher resolution and smoothing this out. Something like this. Using Dennison there to add a little bit of forms. Term dynamic. Holding down control and drag, it's going to re dynamih it again. You can find a mirror here, Ziplugin subo master and mirror. I think it's better more topological. Maybe it should be a little bit smaller. Something like this. Divide the base mesh to have more polygons to work with. Let's add some hair. Holding down control and using mask. By holding down Control alt and click on the mesh, it makes the mask sharper like this. And holding down Control and click, make it smoother. Extract, that's good enough except at the inside. Contour shift, click, and it hidden, which you can find in modified topology, Lit hidden. Now using dynamish like this. Concept isn't very killer in this area, but we can figure it out as we go. You can use SnakeHook BS and H for shortcut. We use it like this. It doesn't really matter for now. I just want to make it a little bit more look like the concept. SnakeHook again. Maybe with symmetry on. You can press X to tackle symmetry on or off. Dynamic to regenerate the polygons. This at the beard. Okay, I'm going to use extract and accept it. And let's hide this by ol len Control Shift and click and drag on outside to invert the selection. And I want to make the mesh double sided, and you can find it in display properties. Okay, so let's make a dynamish And I'm going to use SnakeHook again. And with clay buildup, I'm trying to add some basic forms in an overall shape to the bear. All right, so let's work on the eyebrows and add a little bit anchor to it. Fixing the upper lip. Inflate the lips and fix the position. Fixing the cheek bones and the circuit. Gather some anatomy references, you know, for the body and the face and try to sculpt the muscles, you know, and landmarks from that from those references. Fixing the bears from the side. Back and buddy again. And fixing the overall shape of the body and a little bit proportion. And during the course, I'm going to change the proportion a lot. So it's just part of the process and it's totally okay to change it during the work. And. So, yeah, I think this is it for this episode, and I'm going to continue working on it on the next one. 7. Adding Basic Anatomy: All right. So let's continue refining the base mesh. We need to make him a little bit bigger in every aspect, and I'm starting with the head. I'm going to use Zip plugging in transpose Master, which you can find it here. I bring some of these tipos mesh and tipos Subtool in here to have better access and easier and faster access. So I'm going to make it tipos mesh. Now it's one object. I'm going to turn on symmetry, holding down Control shift and click to hide the bird and hair. Now I'm going to mask the head. I want to make the head a little bit bigger. By holding down Control and click on the object, make the mask a little bit smoother. Control shift drag, and now I have invert now I inverted the selection. Control and click, make the mask for the hair and bits. Now I'm going to leng control and invert the mask. Now I'm going to use transpose to make the head a little bit bigger. A I thinking the arms to have a better visual of the body. Make the legs bigger. Okay, the back a little bit leaning back. Using a sand Brush to define the shapes a little bit more. Maybe me get a little bit taller. Four. Et's get back to subtles. Subdivided and adding a little bit of shape and forms. At this stage, I'm not really worried about the anatomy because I'm going to change it a lot during the course and obviously we're not going to keep this one. We're going to refine it even more. And I just want to have something to work on, you know, to add the assets and clothes and all the things that character have, you know, and then we can work on the anatomy and fix everything. That's my way to approach. Sometimes artists start by sculpting a perfect anatomy and then start blackout and stuff like that. But it's easier for me. I get the blackout done as fast as possible. So yeah, at this stage, don't worry about anatomy. I'm using cabrsh with the sc Alpha and low intensity. We can use some anatome references for the legs, for example. No. We can use I have some T skinnisurimage from the website. We can use this. Okay, I think this is okay for now, and I will continue working on it on the next episode. H. 8. Refining the Overall Shape: Let's continue working on the overall shape of the character. I'm trying to check the character from all angles to make sure everything is quite good. Yeah. Fixing the anatomy of the arms. Pull the check mos a little bit out and the ears as well. A I'm just trying to copy as much as possible, from the concept, and overall shape. The eyes are a little bit wider. Adding the landmarks of the And I think it's good enough now and can continue refining it in the next episode and starting to add the acid and clothes and stuff like that to make sure it's closed the concept as much as possible. So y. 9. Forearm Leather & Metal: Alright. In this episode, I'm going to start blocking out the clots, armor, and other assets. At this stage, I'm not worrying about details. I just want to get the overall shapes in place to match the concept. And the goal is to lay down a solid foundation before moving on to details. So yeah, let's start it and we will explain my process as we go. Okay, so first, let me make the horns a little bit bigger. And split the mask glass so make the hands a little bit bigger. We'll fix the fingers and the overall anatomy later after we're done with the blackout. So yeah, let's jump to it. And I will mask this area. And let me see if there is a difference between left and right arm. So let's start with the left arm. Turn off the symmetry by using X shortcut. Clean up the mask a little bit. I we extract and accept it. I'm going to select the inside face. Select rectangle, double sided. Okay, good. And delete hidden and flip. You can find this here. This is double and flip, and modified topology, doles then. Yeah. So now I have this part. I'm going to Zoom share it. I'm going to use Zero Mishare to make a better topology. But before that, let's make it a little bit polished. No. Edge loop. Before we use group loops, I'm going to use CtraW to make it one group and group loops to make it a little bit better on the edge. And then I'm going to use Zoom share with the low poly count and turn off the adaptive. It can be a little bit less. I think that's good enough. And I'm going to use dynamic subdivision and add a little bit of thickness. And since it's a leather, I'm going to turn off post subdivision thickness to make the eggs a little bit softer. And I'm going to make the offset value to 100 to go above the hand, above the arm. And by the way if you hold and control on the tools. In Zbrush, it's going to tell you what this button do and stuff like that, like this. So yeah, I think it's good enough now. I'm going to add the armor plate tonight. I can use this mesh to do that by control shift D. I made a duplicate, or you can use this button. And I'm going to delete some parts like Lasso Like I think it's going to be here and maybe here or here. And I'm going to delete Hidden and Auto group, and I'm going to Control Shift and click on this group and delete hidden. I Maybe I can optimize it a little bit more by using Z Modler. Holding down alt and click on the edge, it would get rid of that edge. A Yeah, something like this. Yeah, let's add a thickness to it. Dynamic subdivision with no smoothing. My less. H. Something like that. I'm going to make a duplicate and hide this one to have a backup if we want to get back to this base machine and change it just in case. And I'm going to apply. And I'm going to Zmdeler inset and make all the group Yeah. I want to add this edge. Something like that, and I'm going to extrude this part. Maybe it should be a little bit more. And then next truth. By holding down a space you can access to this menu. And if you are on phase, it give you show you another menu, if you are on edge, another, and if you are vertex, another one. Now, if I use dynamic subdivision with a smooth, it's going to be something like this. Now I can add some age support like this, maybe. A Again, duplicate, height, and let's apply. I put this shortcut here dynamic subdivision apply. And now we have this. C scout a little bit. Changing the intensity of the move brush and focal shift. Adding these straps here. Okay. I think I can, I can use the Level one for that probably. So yeah, I'm going to make a duplicate or let me see. Yeah, make duplicate of this one and delete higher. Or let me see. Yeah, I think level two is better. The lower and delete higher. And then I'm going to counter shift and select Lasso here to choose like this. And something like this, maybe let me see. Something here. Something here probably and one in here. Can change it later. It doesn't matter. Control shift and track empty space and invert the selection and it hidden. Double side. It's good. Dynamic subdivision, and maybe not as much. And, yeah. So yeah, something like that. And I can go to other group and change them separately. Group splits which you can find in here. Oh, I'm sorry, here split and group split. Okay, now we have three individual straps. Going to roll down and click on the object. And make them a little bit thicker. Like this. Next one of an out. Change the position and rotation. We can optimize it further, but for now, it's okay. It doesn't matter. We just need to get the shapes done and make it ticker again. And add the pressure to the leather underneath. Create a standard brush. Y. You can subdivide it a little bit and adding a little bit of dital and pressure point like this. Smooth it out. That's good enough from now. I'm using Dam Sender for doing this. I can assign a color to it, too, you know. It could help. Like, this is kind of dark, brownish. For the serves a little bit darker, feel object, you can find the color and feel object here, feel object. And let's get back to our color. Maybe it should be a little bit like this kind of gray. Yeah, I think it's better. Yeah. Using standard brush again. In this area, we have some fair and stuff like that. We can edit later. But yeah, a good date, yeah. It's okay for now. That is a strap as well? Extract. Except and til hidden and slip. I'm using deformation to make it a little bit more relax. Like this. Edge loop, group loops. And let's use Im share 1,000, half Zm share again and again. And again, probably. I think it's enough dynamic ablusion, dynamic thickness, offset. M, I think it's good. I picked the color by hitting C on the object, and it picked the color from me. So feel object. And I think it's okay for now? Uh, let's select this one duplicate and make it smaller to delete and make it. Maybe a little more ltyden and use dyna Mish. Mm. Let's let the inner part, the letiden and dynamesh again. Yeah. That's better for now. Okay. Can you use a snake hook? Turn off RGB. To make an effect like this. Again, all of these are placeholder, and we going to refine them later. So it doesn't matter, really. Dyna mesh. Dana Michigan and it should be a little bit bigger. So when you sculpt brush and some artifact happen like this, you have to turn on the back face mask, so avoid this problem. And when you're on it, you know, as you can see, it's not going to work on the back side of the object. And you can find this backface mask and brush, auto masking and backface mask. Each brush, you have to enable it separately. And for the clay buildup, I turn it on. It's a good idea to have it in here, you know, somewhere around your UI, you're going to use it a lot. So yeah, I just wanted to show you backfaco. That's good enough for now. 10. Forearm Leather Pieces: All right. Let's continue with the blackouts. Changing the shape a little bit for this area. Mm. And I use Zero Mihare to optimize the scene as much as possible. I don't like to work with heavy sine. You know, it's really easier to work this way. And another reason is that with subdivisions, I can go down to lower levels and make big change to the form or overall shapes more easily. So that's the reason I'm using Zero Mihare even in this blocking out stage. So let's add the other acid on the right forearm. Turn off the symmetry and I make thickness zero and extract, except now we have this. I can use polish by future to make this area a little bit smoother. And if I turn off this icon, it's going to make bigger change. So yeah, I think it's good enough now. It's super clean and it's great. Now I can use Imre to make it a little bit cleaner topology wise, and I think it's good enough now. Dynamic subdivision, add a little bit of thickness, and offset of 100 to strut it out, not inside, you know, like this, this And I can again make a backup by Ctrtif D duplicate and turn it off and apply. Maybe it could be a little bit sticker dynamic. I think it has two layer, and I must make it a little bit smaller. Yeah, I can make it smaller a little bit. Something like this and use the backup mesh that I made again. Okay, the ltydan and auto group. **** in the top part, ltydan again. And we have this one. Make it a little bit thinner. And yeah, apply it. I don't need the top parts. Yeah, something like this. Adding a little bit of H here. Lower intensity probably. It's better. Look. I think the straps here. I'm using the lure subdivision of this mesh, let higher seleglao glutida and make it smaller. Dynamic subdivision. When this happened, you can use Chris Polygroup which you can find it here in Chris tap. Chris Polygroup if I am in dynamic subdivision, Chris Polygroup and it keep the edge, so it doesn't change a lot. Okay, let's apply it and increase all. Let's add some it support here and here. Yeah, this one is better. Or a little bit more. Yeah, I like it better. Adding a little bit of pressure of that straps here. Adding a little bit of damage. Is all or temporarily, we change it later. And I'm using Geo brush. I think it's good enough. That's a sign of color. Something like this. Let's add a fair contra shift to duplicate. Let's mirror it. Okay. I think it has some other layers of leather here which we can add. I can use the backup Cthift, turn it on and add a little bit of thickness. I think it two would be enough. It hidden? Yeah, something like that. The supply. Using a filet to make it a little bit ticker on the edge. And I'm going to let me see. Duplicated Control Shift D. That's a little bit of detail. 11. Blockout Leather Skirt: All right, so let's add the leather skirt. We can use mask, but we can use masking, but also we can use cylinder and using slice curve. And let's see. Something like this and mirror, mirror and weld. I just need this part. This part, Auto Group, and thidan. No, can you Zoom sure. H. Maybe delete some of these would be better. Something like this, make it smaller. Dynamic subdivision, adding a little bit of thickness. H. Make a duplicate for the other parts. Maybe I should delete this part. Okay, fixing the forms. Zm Zmdler stitch this together. Yeah, I think it's good enough. Dub the kids. We can Apply it. And let's add a cylinder. Let make it a little bit smaller. And a little bit thicker. Let's use Z modeler to remove some of these edges. We don't need all of them. Holding down and click. By holding down alt and moving it goes along normals and give you shape like this. I. Insert something like this. And by holding down Alt and release it, we can make a polygroup like this, release. And if we click again, we can change the polygroup change the color. Let's extrude it out. Ex route and polygroupP. Using mask and scale it down a little bit. Using select lasso to select these poly groups and CtraW to make it separate polygroup and then we can And then we can use Kris and Chris polygroup. Now if we use dynamic subdivision and maybe bi less Kris we have something. I can add some damage to it to make it a little bit better. But now, it's okay. Make a backup. So et's add another cylinder and we can use slice curve again. And if you tap alt once, you can make a curve out of it. And if you double tap alt, you can make sharp eights like this. But for now, I think I need something like this. D. Len Weld Michel, I think it's great. You backup. A Dynamic of desion Adding a little bit of thickness. I can do something like this. And after we apply it, we have more control to make it a little bit better. Pinch for this kind of thing, we can use dynamesh as well. And after we're done with that, we can use Zero measure to make a better topology and make it more optimized. But for now, it's okay. It's working. Duplicate turnof symmetry. Y. Make it a little bit flatter. A No, it's taco. Y duplicate and let's mirror it. We can use mirror like this, so we have to do that lower mirror, and then we can reconstruct the subdivision to get back our levels like this. Can use SnakeHook duplicates, delete lower mirror and constructs of deletion. I So, yeah, we can continue working on this and making the builds in the next episode. 12. Sculpting Leather Belt: All right. Let's continue with the blackout. First of all, I'm going to fix this area. I think it's too much. Lord intensity. Let's at the belt. Going to sub to take us at zero, extract and accept. Let's hide this do it hidden. Now we're going into deformation and turn off this option and polish by future to make this area a little bit cleaner. Make fun poly group by holding a Control W. All right. And now I'm going to use Polish Fisher again. And now we can use ZR Micha to make a cleaner mesh. HH. Now, we can go to dynamic Sun division and add a little bit of thickness. I'm going to make this underneath leather belt. And we can use some segments like this. I think it's kind of good enough, maybe a little bit thicker. Changing the color. And now, again, having a backup. And I can apply that. Again, duplicate. And yeah, let's use this I'm using S to change the brush size, and you can use space or you can use one of these things in top if you have the default UI. Again, using dynamic subdivision with less thickness. I believe it's not all over the place. So we can delete this by using select lasso select Lasso this one, delete hidden. Yeah, something like this. We can use this option. I want to move these two sub tools a little bit down. So I turn this on and hold control shift and select Hold control shift out and deselect this area that I don't want to move. Now I can move these two together, or I can add this part and add them together. I get the idea. A Let's bring this up a little bit. Let's fix as Areas. All right, so I think it should be one delta. So I'm going to make it a little bit more rounder. For now, I can use this one. To put in this place. It's just a placeholder. Later, we can change the design, but for now, it's good enough. Using mirror, which you can find in Z plugin, Subtool master and mirror. Hitting X to add symmetry, and, yeah, that's good. Let's apply this. Adding a little bit soft division and adding a little bit of detail. Now we can use Jew Brush with lazy mouse on You can find this in stroke, lazy mouse and Ts. If it's less, it's going to be like this. And if it's higher number, it's like this. A Before we adding this kind of thing, we can use Mr Target, too, for example, if I store more target, and now I start this or something happen like this, I can use morph Brush, RGB off, morph brush, and bring it back to what it was before. It's really useful tool to use it, but for now, we don't need it because we're at blocking out Saga, we're going to make a better mish for the high poly. So for now, it's okay. And it shouldn't be perfect either because it's we want to add a lot of damage, you know, and for now, it's more than good enough. Can add the pressure here? A You can use he's brush to add a little bit of damage too. I think some never falls, maybe. I think a little bit of cracks here and there. H. Yeah, something like this. It's looking good. Go to duplicate this part, Control Shift D, and delete lower and mirror. And let's bring back the subdivision. Okay, let's add the straps here. It's okay. Extract, except deformation. O. A Does the model stitch these two together? Yeah, I think it's good enough for now. Dynamic subdivision. H. I think it's right for now. Maybe not really sure about this part, but for now, let's duplicate it. I think probably I'm going to delete this part and this part. Delete other group and keep this one and delete the other one. And make it a little bit thinner probably. Not too much.'s a little bit. Using mask and rotation to change this part. I'm using Alt to move along the normals like this. So holding down Alt and drag. I think it's good enough for now, so yeah, good. 13. Adding Horns Bandage: I Alright, so let's continue with the blackout. Before that, let's change the proportion a little bit. I'm going to use tipos mesh. Turn of symmetry and make the waist a little bit narrower and shoulder a little bit wider. All right. Let's compare to what was before. And let's get back to Subtool. Using clay brrush with scalpa and low intensity. We're not going to see the lower part of the body and the legs because it's going to be under the pants, and we can remove it, but it's always good to at the basic anatomy and land marks. Let's add the rat anterior muscle. Define the apps a little bit more. Now, let's move to the forearm. This area is complex with numerous muscles responsive for wrist and hand movements. We use them sandard brush to carve in the separation between the muscles group, adding definition and detail. The terraceb on the back of the upper arm, extend the elbow, will build up its three heads, paying attention to its horseshoe shape, and notice how these muscles interact and overlap, creating a sense of depth. Always use references of anatomy and sculptures. And even you can use other artists characters, you know, that they have zebra. In that case, you can see the volumes and forms better, and you can use that on your character. We'll use the move brush to define the overall shape and then add the volume with clay buildup. The bits a located on the front of the upper arm are responsible for flexing the elbow. We'll use the move brush to define the overall shape and then add volume with clay buildup. H. Let's go over the horns, adding a little bit damage with your brush. And I'm going to use mask Glasso to add those bandages to the horns, turn off double and extract. To delete the face on the inside to get one sided mesh. Let's go to geometry, Zooms. Half another one. Yeah, I think that's kind of it's okay. Thickness with dynamic subdivision. All right. I think it's okay. I'm going to apply it. Another one with mass Glasso I'm going to turn off the symmetry because it's going to different from the other side. Again, delete the interfaces and use Zoom share to make it lower. I do the same thing with this mesh as well. This is good. Let's go for the other one. You can always skip this part because I'm going to do a lot of repetitive thing, you know. And if you get the idea, you can skip it or go on fast forward. And yeah, so let's fix the overall shape and flatten the niche a little bit more. And let's use standard brush to add some wrinkles. Let's assign a color to it and adding some details, read Dam Sundart or Geo Brush. Yeah, I think it's good enough for now. See you next one. But 14. Lower Garment Sculpting: Okay, let's go and add this piece here. I think maybe I can duplicate this. Fixing the shape. And I'm going to delete the lower merge down to make them one object. You can find the merge down here. And now I'm going to use dynamesh to make them one combined object. Using inflate to add a little bit of thickness. And I'm going to use the SnakeHootbush to extend and shape those details. A slate and then shaken. Less duplicated and mirror. Duplicate again and add another layer. Slack lasso lid hidden and dynamis Let's add this to the back part as well. So this is a business stage to experiment and figure out what works for the character and refine the overall silhutte. Yes Duplicate mirror y y I think this is looking good for now. We'll revisit it and refine it further as we go. Let's refine the anatomy a little bit more. Shoulders a little bit bigger. Yeah. Let's make the hands a little bit looking better. Defining the anatomy a little bit more, adding tendons and the bone placement. Using transpose master to fix the overall shape. All right. I think this is good enough now. And next episode, we'll be going to refine the anatomy more and start working on the shoulder armor. I 15. Chest Leather Armor: All right. Let's refine the anatomy, and I'm going to use transpose master. Let's make the arm a little bit stronger. Right now, it's not giving us that wipe. Can compare it before and after. I think it's a little bit better, so let's get back to. And don't forget to save your progress. Okay, let's add this part. It's not really obvious, but I think it's going to be something like this. Turn off the symmetry and try to mask, something like this. And probably we're going to hide this part or even more control shifts to reduce the selection and masking I can hide these parts. Connect these bus together. Maybe something like this. Let's extract it. Using polish by future to make the eights rounder and cleaner. CtWPolish again. It's clear enough. Okay, about a group, hide this one and delete it. And let's use Zim sure with low polycunt I duplicate and hide this one and lit itdin Maybe something like this for nights. Okay? Let's mature again. Lower I think it's good enough now. You can add a segment here. A Let's add that armor plate on the shoulder. I'm not really sure what is that, but I'm probably going to change it later, you know, adding some more reasonable shoulder pad or something like arm or whatever. But for now, I'm trying to stick to the concept. As you can see, all I'm doing so far, it's all same technique, you know, same path, you know, whatever I do, extract zero Micha or dynamesh, and adding thickness and stuff like that. There's nothing fancy here. You know, I'm just trying to figure out the shape and form an overall silhouette. I'm just trying to find out how to make the character good looking, make it more interesting. And yeah, it's all about the overall shape and silhouette and this stage. It's Okay. Let's use SnakeHook to make the illusion of that fur part. And dynamic. Probably we should add some armor here for doing this. But for now, I think we're good. So yeah, we'll continue on next lesson. 16. Blockout Trousers: Alright. So in this episode, we're going to work on the trousers in the Marvellous designer. I'm going to import the mesh into Marvelous designer and load up the default pants mesh that is in the marvels designer. Let's make the character a little bit darker color to see the fabric a little bit better. Increasing aesthetic friction helps prevent garment from sliding off the avatar when it's still, so I'm going to increase that. Okay, let's move the fabric pattern in front of the character and let's scale them to make it bigger. Hitting a space to simulate the fabric on the body. Let's make it even bigger simulate again. A to a Press C shortcut to edit the curvature. To ensure the trousers stay in place and don't slide down the waist, we're going to use pin. I think some point a a I'm not doing anything fancy, marvelous designer. You just need to have basic knowledge of how the softer work, and we just need basic blockout. You know, we can add the details later in Zebrah So I'm going to lower the particle distance to increase polygon density and create finer folds and wrinkles. Using pin akin to control the wrinkles and folds. Save the forms to find what you're looking for. So let's change the fabrics physical properties and use this reference to guide how each material creates wrinkles. Yeah, I think this one is work for us. And let's reduce the particle distance. Okay, so let's reduce the particle distance to seven and export the object and get back to Zbrush. 17. Blockout Footwear Leather: Alright, let's bring the pants to the Zbrush. Trousers. Dynamic sub div and a little bit of thickness. Okay. Let's strike at the shoes. T. We select outside and control shift and drag to invert it and let hidden and use Dynamis Aside the leg underneath. We don't need it. Let's fix the overall shape of the shoes with a move brush and smooth the details. We don't need them. Et's extract the bottom of the shoe to have separate object. Y. Adding some folds and wrinkles in the edge of the shoes and some memory folds here and there. Adding some memory faults to the shoes. Okay, so let's continue working on it and adding appendages in next stdio. And 18. Blockout Footwear Bandage: Let's continue working on the shoes. A maybe trying to make something like this. Fixing the overall forms and add some basic folds to it. Let's create some polygroups for inside and outside. H. Select the polygroup and delete the hidden and make a dynamic to seal the object and start adding the bandages. Okay, let's use lasso mask and add more bandages and extract them. Published by future to make the age softer. Use mich to optimize the polycount. Y y using topological to move each part separately, not together. Adding the pressure from the bandages to the leather underneath. And. Sunday cols. Okay, I think the overall shape is good and can continue working on the character in next episode. 19. Adding Straps Buckles: All right, so let's continue refining the overall shapes. Make this part a little bit pointier and bring them down. Maybe this should be a little bit lower. I Let's bring the belt a little bit lower and add some weight to it. A I'm going to duplicate the belt to use it as fur trim. We can use dynamis for this part because it's just a placeholder and we can either sculpt a new one or using haircuts later. But for now, it's more than good enough. So he'll build up and turn on back face mask and start doing something like this. Something like this. I think it's better now. Let's make this metal piece a little bit bigger a skillet. Adding some small details to the built area. Yeah, I think this one is much better. Okay, let's start fixing the straps on the chest. E Extrude unfold the straps. For the buckles, let's add a box. And since the topology is not good enough, I'm going to use initialize and QQ. Yeah, I think this one is better. All right, so let's ski it and make something like rectangular. Use Zmdler and inset. And just one click to repeat the last action, and let's bridge them together. Two pools there. O. Are we going to build the edge. And once again, one click to repeat the last action. Maybe a little bit thicker. Probably should add some age support here and there. No, I think it's good enough, so Let us scale it down, reposition the buckles into the right place. Okay, for this one, I'm going to delete the upper part and extrude the edge the other way. Okay. Let's fix the position of the buckles, make it a little bit wider. And I'm going to apply and start adding some damage to it because it was too perfect. So scratches. Yeah, I think this is good enough. We'll continue working on the character in the next episode. Two. 20. Concept Design Changes: All right, so let's add the necklace. Just add the ring tried, reposition and skillet. It doesn't have to be perfect. We'll later going to fix it in hi poly process, and it just placeholder. So, yeah, sometimes it's going to happen that you get a concept like this, especially when you working as a freelancer, especially in these days, you know, that people use AI a lot, and you get something like this, and a lot of areas it's not clear and clear what you should model and stuff like that. For example, this area or this area or in the middle of the head. When this kind of thing happened, the reason that I choose this concept is to do this, you know, I take a screenshot from Zebra from the front and back and start out paint on the model and trying to figure it out, you know, how to connect this area. What should we do about the shoulder armor or forearm or details for this area and stuff like that. I'm not really good at painting, but this is what I come up with, you know, if I turn it on and off. We add some details like this at the back, and we should add a little bit more detail in the treat, but for now, it's more than good enough. I changed this area. It was so bland and didn't have a character. So I changed this I change this part too. We're going to remove this probably. And I connect this area like this and change this area to be more interesting, you know, something like that, add some stitches to the leather and add a armor piece to the leg. I know it's terrible, but sometimes you have to do it, and it's okay. It's going to work out. So yeah. Alright, so let's hide this. And this one and this one. And let's fix this area. And let's go to transpose Master. Ziplugin Tiposmsh? Turn on symmetry and make the shoulder a little bit wider. Something like this a better We should work on the hands, too, right now. It's not good at all. After we are done with the assets, we can start working on the anatomy a little bit and working on the hi poly. 21. Forearm Metal Redesign: We can work on this area, too a little bit right now. It's too straight, you know, and we can move it a little bit backward. A maybe something like this. It would better. And let's see. Yeah, I think it's much better now. Tip too. Let's hide this. Six. A Let's do this one. Okay. Turn of back face mask. Yeah. H. A something like this. It's a disk. We don't need it. And let's work on this area. Maybe we can use that if I can find it. Yeah. Mm hmm. Yeah, let's make a duplicate. And let's start by the piece underneath. All right, so let's bring it to the center of the viewport because I want to have a symmetry model rotated and mirror unveiled. Maybe we should move it a little bit. Okay. Now it's better. Yeah, something like this. Turn off turn on symmetry and start working on it. It's super easier like this. Geometry, dano subdision and let's see. Maybe less. I think it might be better. That's too much. Yeah, I think it's better. So. Let's apply this the modler insets L group. Okay. It W. And let's extrude this part. Yeah, sounds like this. Add some edge loop. And here All right, so let's model the top metal parts. Fixing shape. O. Et's move the lower part to the right position to see if it fits or not. And yeah, I think it's good enough. Duplicate again and extrude. I'm asking this for and pull it out. Y. Yeah, let's use polyp. Holding down art and releasing the art. Okay. All right. Now. Let's move them together and put it on form. I think it's looking good and it's looked much better than what it was before. So yeah, we'll continue working on it on the next episode. 22. Blockout Shoulder Pad: Okay. So let's continue working on the character. A bit. And mirror and reconstruct subdivision like this. Adding a buckle to the forearm straps. And let's split mask points. We don't need thickness for this one. Remember to always save. Let's start by adding the shoulder pad. Okay. Eram Not sure why. Let even straginHal half. Fixing the overall shape and use eramsre again. Any thickness offset. It's complicated. Okay as I mentioned before, the process for everything I've done, or I'm doing is the same. Either we're going to start with basic primitive to make an acid or we mask some area, the shape that we want and extract it, clean it up with zero measure and add some thickness if it need, if it needed, and apply and start fixing the shape or adding the diesels and stuff like that. So still, not doing anything fancy. This is take a little bit of time. Just have to be a little bit patient and take your time and trying to make the overall shape as good as possible. And, yeah. Okay, I think it's good enough for now. That's much better than what we had before. And yeah, continue working on it in next episode. 23. Chest Leather Details: Alright, let's continue with the character. Let's go to Tipos Master. I want to change this area. Bring it a little bit lower. Alright, so control shift and click to heighten. Let's invert selection and mask and bring it down. All right. Little bit to the left. Yeah, this one's better. And this one maybe go a little bit outside. I have to flip the polygons for the shoulder pad. That's why they look weird. And yeah, you have to flip them in display properties. Bring the belt a little bit down too. And yeah, I think it's good enough. Let's get back to Subtools. It's a good thing. We didn't sculpt on the body while using transpose master. Otherwise, any adjustment we made would have been lost because the legs were hidden during the tipos mesh. Alright, as I mentioned, let's flip the polygons for the shoulder pad. And let's change the offset from negative 100 to 100 in dynamic subdiv. Okay, character is already using a lot of leather, so I'm going to stick with that material for the shoulder pad as well. A Let's apply this. I think it's okay. Let's fix the overlaps and start making the connection between the straps and chess leader. Yeah. Let's use an Alpha for a standard brush. Let's add subdivisions. Let's use Tube brush and add a little bit of edge to it. We could add the edge before applying dynamic subdivision, but I prefer to sculpt it manually. This lets me introduce some intentional randomness and create a more organic look. Another useful technique is to store a morph target, which you can find here. This allows you to use the morph brush to easily revert to the previous state if you change your mind. Right now, we're slowly adding the detail and high police stuff. I'm using the standard brush to create a natural wobble and pressure variation along the edge. You can add some stitches later here like this, you know, go around the model. I think that's going to work as well. You can always go lower subdivision and bigger forms, you know, something like this and go higher and add smaller detail. Something like this. We should later add a little bit of term to it. We can use this Alpha as well and make it spray and see so a little bit of detail with low intensity like this. We could use downloaded letter alphas, but for now, the default zebras Alphas are more than good enough. It's okay. We do colon this brush as well. Now we have this for detail and this for stuff like this, maybe. Nope. Yeah. And just go to standard brush, tset current, and yeah, now we have this default brush. Et's sort the morph target again. If you didn't like it, we can easily revert it to what it was before. A I think this is a little bit more detail and I really like it so yeah. Oh, there's a room that is safe. A? M. Yeah, I kind of like it, so let's see, back and forth. Yeah, much better subtle, but it adds a lot of details to it. Y y All right. I think it's okay for now, and we can move on to the next episode. Let's check the before and after. Yeah. It looks much better. 24. Chest Straps Primary Forms: All right. Let's continue with there. Okay, so. Alright, let's work on this strap. To make it look like these are two separate pieces joined together, we'll cut them here and add stitching details later. Let's hidden, isolate this one and CtraW to make a new polygroup let's group a split to make it two separate object. Now we should add some H support here to make the corner sharper. Something like this. And let's apply. Play this one. If we change our mind, you know, and want it back, you know, we can use our older save, you know, to bring it back, so it's all right. We can add a cylinder. We can add a ring to D for stitches effect. We can use a rope brush for that, you know, if you go to lightbox brush and pet testers brush, you have this inset rope. And we have stitches. Let me see that. Let me do this. And yeah, we can use this kind of stitches if we need it somewhere else. To make this easier, I'm using a free custom brush that you can grab it from the link in the project folder. Alright, let's go to Los subdivision and you select lasso to just keep these polygons. And let's go to stroke care functions and frame mesh. Now we can use drop brush and just one click. Oh, I forgot to dire. Yeah, one click and we have the rope. Okay, changing the size and click again. Okay, I think this is looking good. Let's hide one of them, and delt it done. Okay, now let's scale it and fix the position and start using move brush to get the shape that we're looking for. I Sounds like this. Hold control and make a duplicate. Auto Group control again. Y. A You can easily add a lot of detail like this to the character. And at the group again. All right, let's add this detail. Clone the brush. And let's make another one. I forgot to save that last time, so let's have another one. See sup. Yeah, that's good. And let's duplicate. I want to make the edge of the belt a little bit softer, you know, not this sharp, you know. It's going to look better, I guess. H. Okay, I think this is good enough now and we can continue refining it in the next episode. Okay. 25. Chest Straps Edge Details: Okay. Let's continue working on the straps. Just using simple standard brush to adding damage to the overall shape. Mostly using default brushes, you know, to damages and imperfection. I'm trying to add a little bit more detail, you know, to the part that has the creases, you know, and smooth out, you know, the other areas. We're going to wrap up most of the assets first and then we'll dive into the body and the face details. The reason I'm doing that is the assets tend to be more time consuming, and that's why I leave the body for now. A Okay, let's remove those segments. Maybe less segment on the thickness because I want it to be a little bit rounder on the edge. Okay, let's add another edge here and move it down. Yeah, this is much better. Okay, now we can apply and start sculpting. Okay, let's add a cube, and let's go to initialize. If we can find this. Yeah, initialize. And cube. All right. Now going to subdivide it a couple of times. Let's delete half of it. Alright, and delete hidden. Not Chris Pig. Let's go to Chris tab in geometry and Chris. And let's use this button on the straps. Okay, this is looking good so far, and we can continue working on it on the next episode. O. 26. Chest Straps Wrinkles: I think it's a little bit, tick right now. Let's go lower subdusion and make it a little bit thinner as much as possible. We don't always need to sculpt these fine details because tissing allows us to add them later, providing more flexibility to modify size and patterns in substance manter. Typically, we just add large wrinkles and cuts like you see here. However, for the sake of this high polycars I want to illustrate how to sculpt them directly in zero as well. You can use the Alpha Zebra read here too. You know, for example, maybe this one, can try it. You know, something like this. If you want to or straight this one. Not bad. This one was better. I usually use this one and it's more than good enough. Okay, this is good enough for now, and continue working on it on the next episode. 27. Shoulder Straps Details: All right. Let's continue on. These are straps. Adding a little bit of pressure here. To save time, you can speed up these detailing process videos as I'm using similar techniques and brushes repeatedly. So feel free to do that if you want to. Y I'm adding a little bit more wrinkles, where we have bigger folds, you know. Can do a little bit of damage to this part. Oh, apply. If we add a shiny material to it, you know? It's look much better. Let's apply this. Don't forget to save. And yeah, let's start with bigger shape. M. And start having a little bit of sit. It really depends on your reference, but I'm going for a rough cut up look on the letter because I think it works very well with this character. Always check your model with different materials, you know, and make sure details are good enough. For example, on this one, you can see a lot of detail on this. But on this one, you know, you can see more of it. So yeah, just keep that in mind. Maybe later we can add a little bit of a scar right here, for example, and cut through this part. I make it a little bit thinner. I think it's more likely to be like that. To exaggerate the details a little bit more. Y. Yeah, I think it's good enough for now. And we are continue working on the assets in the next video. 28. Arm Straps Basic Form: I Okay. Let's make the corner of the shoulder pad a little bit rounder. And since it's leather, it doesn't have to be perfect. I'm trying to align them a little bit better, because we're going to add some pins or buttons here to connect them together and add a little bit of resin to the connection. But Mm hmm. Yeah, this is much better. M. Let's make it a little bit thicker. Yeah. A remove some part of it. Let me see. Yeah, maybe something like that. And something like this. Et's do the same thing for this part. Yeah, I think something like this is great. We can apply it. Or let's make a copy just in case if you need it, apply. Let's fix it. Yeah, I think this phase will look better. This part? Yeah, it's not. Okay. Let's turn it around. Something like this would be much better. 29. Arm Straps Adding Details: All right, so let's continue with the detailing the assets. As usual, we start with the basic forms in lower subdivision. After this, we're going to organize these subtol little bit more to control on it. As always, I'm trying to exaggerate the amount of wrinkles in these kind of areas, you know, that have bigger faults. Like, here, I want to add a deeper cut. So I'm trying to find a good brush for that. Yeah, something like this. This brush is standard, brush, you know, with just this Alpha and more intensity. So there's nothing special about it. Well, let's add a rope here. Okay, let's duplicate it and let it's good enough. So split the mask and Let's delete this one. We have the higher yes. Duplicate. Let's do it for this part as well. All right. This is good. In the next episode, we start working on the shoulder pad details. 30. Shoulderpads Basic Forms: All right, so let's start with the shoulder pads. I can remise this up to again, you know, to have a better topology here. And for that, I'm going to Holland control and click on the last do, and then I'm going to Zmsare maybe 5,000. It's not good. Let's do it again. Last project by history. Yeah, I think this one is better. When you use project by history, it's going to read the data from this history. So you don't need to make to applicate in one them project all from the higher mesh, lower mesh. So this can quite use handy. Let's try something else. I think it's worked fine. A I'm trying to emphasize the detail of the letter a little bit more based on the Alpha that's the drag right now. I'm trying to connect these four shoulder pads together by buttons and stitches and stuff like that. Something like this a good idea. Okay, in the next video, I'm going to quickly organize the folders naming and after that, we continue working on the shoulder pads. So see you next one. 31. Subtool Management: All right. Before we continue any further, I like to organize the project a little bit more. So I'm going to make a folder for the body parts. Let's put the subtol that need to be in the body folders in the right place. We have to rename these as well. So just for now, I'm going to do the organization, and then we can rename them. Okay. I'm going to speed up this process because it's super boring probably, but you get the idea what I'm trying to do right now. And we have weapons as well. So after we model the weapon, we can create a weapon folder. So We have to rename the assets as well. You know, we going to first name the character to not lost the files later, you know, and to have easier access later when we export the subtols and objects. So put the name, whatever it is, and add the name, something like this. For this one, I'm going to insure horn wrap or one. Let's copy this. 02 three and four. And I'm going to do that for all the subtol so I'm going to speed up the process a little bit. 32. Shoulderpad Sculpting Details: Okay, let's continue with the shoulder pads. Okay, let's hide some of the folders. Now we have this organization. It's going to be much easier to work on the assets. So since we're going to use a lot of brushes, let's bring them here. Leather. Let's add wrinkles. Okay. Yeah. Okay. Let's start working on it. A I'm adding this here, you know, as well, because it looked like, for example, a sort coming through here and go down. Yeah, T should add a little bit more story, you know, to the character. I think I accidentally delete the subdivision, so let's bring it back with Reconstruct Subdiv. H. I think it's good enough now. Let's go for the next one. Let's put two buttons for this area. Like this. Maybe. Y. Maybe I should add two for this area as well. Yeah. It's better. Yeah, I think this is good now. 33. ShoulderPad Stitches: Alright, so let's continue with the details. But before that, I want to try to connect these straps, you know, to the shoulder pads to just make this illusion, you know, that these straps keep this shoulder pad on the body. And, yeah. A So I'm going to duplicate these straps right here. And let me see. I think it's good to be here fixing the position and the shape with more brush. I would make it align with that. Et's do it lower. This hit this part as well. Do it hidden and dias. And now let's before we do, let's save it. Okay, Control, click Zim share. 2000 maybe. Half. Yeah, I think it's good enough. Subdivide Project history. Yeah, take it from here. What's happened? Oh, it's mask. S. Yeah, I think it's looked much better. Okay, for this part, I like to add a little of stitches to this area, you know, something like this. I just want to try to if it look good or not. So let's add a ring. Control and drag. Let's change it a little bit. Control and drag again. A Yeah, I think it's look cool. Let's control, drag, copy. Oh the group let's change this one. Yeah, this is cool. You can use a brush for this kind of thing, you know, but I like it to be hand place, you know, because it's more random. You know what I'm saying? O. Cp this side. Just fixing the position of the stitches with move brush, and, yeah, it's good enough. All right, looking good, and I'll see you in the next episode. 34. ShoulderPad Wrinkles: Alright, let's finish the last part. I'm going to add a little bit of pressure where we have stitches. And we're going through a similar process to what we've done so far for the detailing. I think it's looking good so far. We can add a little bit of detail here and there, but I think we get the idea you can continue to fin it yourself, make it better. These buttons.'s merge these two. Shifty shift the copy for this side. Let's have some pressure. This is looking good so far. Added here as well. One to 50 and And last thing for this part, let's add details for the straps. Exaggerate the details a little bit more. Okay. All right, I think we are at a good position for the shoulder pads, and in the next episode, we're going to work on the four meta pieces. But 35. Metal Dents: Alright, so let's start with the forearm. Let's work on the metal part first, because we have done a lot of leather and it's good for change. I'm going to serve with this one. Before doing that, it's a little bit soft on the edges. I'm going to add a little bit more eight support right here near Maybe here. Let's see. Yeah, it's much better now. So yeah, apply, and let's test for the detail. It's not bad. Yeah, this one is better. 7 million. And before we start the detailing, we can go to more target and SOR. So if we did something in and didn't want it, we can always switch or make it less or something like that. At first, I'm always doing some damage like this because right now the model is too perfect and we don't want it. We don't want this to look too clean and perfect. Adding some damage and imperfection will make them feel more real and grounded. So try to avoid perfect model and perfect giant and stuff like that. Do you have anything better? Let me see. Lin. My bleen is not bad. Yeah, it's good. I let's fix this on. Okay. Okay. Imagine this is our first layer. You know, this is default one. We can go to layers and add a new layer, and switch it back, and start working on this one. Okay, let me sculpt a scratch here. And one of the real advantages of using layers is that we can easily modify the intensity or visibility of the effect at any point, like what you can see here. For this kind of stuff, you can always use layers and more target, and this is going to help you a lot to have better control of your details, not just metal, you know, everything, you know, for the leather part, basically everything that needs a lot of layering, you know, for example, if you want to work on the skin, we're going to use a lot of layers as well. So we have better control of each layer and each detail that we're going to add. So yeah, just keep that in mind. For better performance and to avoid large file size, once you completed your detailing and are confident with the outcome, and you're sure you want need to make changes, you should ba your layers to make the file size smaller and more manageable. If you wonder why you have four gigabyte of ZTO, you know, that's the reason. You have a lot of layers, you have a lot of morph, and that's going to impact your file size a lot. We're not going to see behind this top metal part, so we can ignore that and we don't need to focus on that area a lot. I'm not going to see this part either, but maybe we're going to work on the edges a little bit like this. A and we can use some trim brushes that Z brush has, you know, like trim smooth border or whatever it is. You should test it and see what is work for you. For example, trim smooth border. If we add Alpha, you know, we can do something like this, you know. And it's quite handy. Probably I will use it as well, but I just want to show you the possibilities. O for now, I'm going to stick to the trim dynamic. And since we have morph and layers, you know, we always if we screw up, we can always get back to where it was. So e I always check with different materials as well. That's one. I think it's before and after. Awesome. Okay, I'm going to add another layer, delete morph target, and store it again. We're going to surface noise. And for star, I'm going to use dents. A mix with basic noise. Turn it off. Yeah. We're going to use a couple of layers of these noises. One, for example, a big one, you know, we're going to can play with this as well. Yeah, this is good. We're going to apply it. And, no, we're not going to apply it. We're going to mask by nose because it's going to inflate the armor and we don't want that. We're going to mask by noise. And we can do a couple of things. You can use clay buildup or whatever. Mask it again. Or we can use inflate. Let me test it. Yeah, this one this bet. Let me turn it down. As you can see, we don't have inflation anymore, so now can use morph brush to da down a little bit for some areas that I don't want. Like this. And Yeah, it's looking great. We're going to add another layer, more target again, noise, and this time, we're going to make it a little bit smaller and stronger. Um, It's okay. It's great. Masking noise. A negative one. Awesome. Dans smaller. We can use morph again, you know, to dal it down some areas if we don't need We're going to see those areas. Yeah, maybe this one is too much. Yeah, well, that's good. There's another one, delayed store noise. We're going to use another plug in. Here it is. To Turbi lens. Let me check this one. This is cool, as well, you know? Let me set it. Maybe a little bit less strong at, something like this. Let me see. Maybe you can use it. Let's apply a mask by noise and inflate one. Yeah. Mm. Let's put it for three. It just there, you know, it's not it shouldn't be too pronounced. You know, it's great. Alright. Looking good. We're going to continue working on the metal part in the next episode. 36. Metal Damage: Let's add another layer. I'm going to use Perlin noise for this one. And let's store noise, edit, and Perlin noise. That is plate. Cheers a little bit. Let me see. You just need a subtle thing. You know, you don't need to go crazy. A It's not that masked by noise and inflated. Negative one. And it's thrown everything. Awesome. One. Yeah, it's not working. I'm not sure why. Okay, it's okay. Let me apply it. Make it a little bit more. Yes. And since we have the morph target, can apply it and fix these areas. Just there before I did set. Great. I think this issue caused by this turbulence, yeah, we should fix that before we add pearling, but that's okay. We fix it on pearling. Let's save it. As you can see, it's double 26-27, but yeah. Let's add another layer and adding more damage. And the last layer, I think, let's add some scratches. I had damage that goes all the way to this metal piece as well. This one. Maybe it's too much, but I think it's okay for now. Yeah. I'm okay with that. And the beauty of the layers is that you can always go back, you know, and refine something. All right, great. We're going to continue working on the character in the next episode. 37. Top Metal Damage: Okay, let's continue working on the metal piece. There's a problem here. Change the polygraph this area and crisPG again. Awesome. Now, everything is fixed. Apply and dynamic. I'm sorry. Apply and gin high, 8 million, store layer, and there we go, can start damaging the metal. I Currently, we just add small damages to the edge, and then at the end, we're going to add bigger damage to the edges. So currently, I just want to make the mesh less perfect. So yeah, that's the reason we are doing that. Okay, I think it's good enough for now. Let's go for the next one. Delay store noise and start with dents. Mix with basic noise, don't want color. Let's go a little bit more strang. You know, we can always change the layer, apply. Nope, maskin noise. Negative one. There you go. Yeah, we need to change this part. Mm. Put it down a little bit like this. Noise dt and let's make it smaller, more pronounced. Et's check for any artifact, you know, that's going to ruin the mesh. Like the areas right there. And let's see. It's great. And I forgot to do the morph target, so I'm going to turn this off, delete the store, and get back to it. And make it a little bit less. Too much. I Yeah, it's good. Let's add another one, even smaller like this. Masked by noise. Inflate negative 0.5. Yeah, it's too much. Turn it off, Storm mor target, turn it on. And yeah, this is too much. And we're going to Nope, too much. To? Yeah. This is much better. You know, add subtle little. I like it. And going to add the turbulence. H. Yeah, that's good. Let's change shape a little bit. Do not be this perfect. A a These changes are really subtle, but they make the mesh much more believable. Yeah, that's much better. Next one, add more damage with this brush. I kind of like it. You can always come back, you know, and fix it, but now I think it's good enough. You can use lt as well done lt and track to make it smoother. Before that I've been to store and This is too much. Let's bring it back. Yeah, it's much better. I think this is great. So yeah. This is a 38. Forearm Leather Big Forms: All right, so let's continue working on the forearm ladder. Et's make the leather edge wobbly and add some damage detail. Y. Adding some pressure points where we have the straps. Don't forget to zoom out every now and then to see if those details you're adding are actually showing up from distance or not. Because sometimes when you're working on tiny details up close, they look great, but when you zoom out, the model end up looking flat and without any real contrast. Adding more pressure point and lower subdivision. Let's increase the damage where we have bigger falls. Okay. Let's change the form a little bit with Mv Brush. And Okay, I think it's good enough. I'm continue working on the leather part in the next episode. A. 39. Forearm Straps Basic Forms: Before we continue working on the forearm, I want to quickly change the shoulder pads a little bit. A I'm trying to add some big forms, you know, to make it more interesting and not so flat, you know, from distance. Y. All right. It's good enough for the shoulder pad, and let's continue working on the forearm leader. Let's start with this part and divide it couple of time. I'm not going crazy with details like what we did for the other part. Ater we should add more exaggerated damage to the metal part so it reads better from a distance. Right now it's too subtle from this far. Okay, let's start working on the straps. Go to make a copy. Let's see. Yes That's good. I think this is maybe too big. Speckle, so's make it smaller. I think it's kind okay. Let's add segment. It's look much better. And one thing that we can do is let me try. I'm not sure if it We can add some holes to this area, so going to add more segment. Uh about here and here. I should fix this a as well so. It's used as furs. Before that, I think I'm going to use Inset polygroupal Inset, and let's do this one. Yeah, it's much better. I misplaced, but yeah, that's great. Inset. Okay. It's good. Let's add another one here. Yeah, I think it's much better. So G and So I can delete the mesh under the metal part. Maybe one more control shift X, and I think it's good enough. Delete, and let's get back to it. Yeah. Yeah, I think it's great. Before we apply, let's add some edge loop to this area as well. Okay. Just in case if we need it, we're going to do duplicate and Let's slit this and yeah, apply and let's make it better. Y y y y y Using edge polish to make the edge a little bit more flat. Yes yeah, I think I should pause this episode and continue working on it on the next one. 40. Forearm Straps Details: Alright, let's continue with the straps. Going to fix this a little bit. I think it's too thick right now, but I can fix it. Yeah, I think it's much better now. Okay. A little bit of pressure here and there, you know, because it's been used a lot, you know, something like that. It's going to have a lot of faults, especially in these areas that used a lot. Y. I'm not going to add a lot of details like what we did here. Like, this one is a heavy leather, and I want to make a contrast between these parts. But the overall workflow is the same as what we did so far. So it's just a matter of preferences and the reference that you're going to use. I think we need to add one more subdivision to have sharper detail. Okay, it's great. Let's duplicate it for the bottom one. And let's delete this one. And this one as well. Now, making it duplicate. Okay. Let's change the detail a little bit for this one. Yeah, I think it's good enough. One more thing I want to add is from shoulders. Yeah, this one. I want to add a button. So let's bring it out of there. Put it here. I can use this kind of rope here as well, but I think buttons works better for this part. Duplicate. Yeah, I think it's looking great so far. Next episode, we're going to work on the rest of the fore arm leather and assets. 41. Forearm Soft Leather Details: All right. Let's continue working on the farm leaders. And let's start with this one. Adding a little bit of pitch here. A Once again, we're not going to do a heavy letter like this, even lighter a little bit. H. You can look online to find a little brush or letter Alpha. But for most of the work, you know, this simple Alphas will do the job just fine. But for sure, you can find something with more quality, you know. For example, I found some Alphas online. You can find it in Project folder. And I'm going to Alpha import. This one. And let's drag it. Me and let's put it on drag. Yeah, something like this. But before that, let's at the mid values, you know, the Alpha, modify, and yeah, mid value and are afraid of fate to give this to the Alpha, and there you go. Something like this, maybe less. I can drag. And add this kind of effect. I want to use that Alpha mostly for the kilt area. In this area, I think it fits more. Yeah, I just wanted to show you that you can do that. Or at least what we can do here is to use it as really, really low Yeah, something like this, I think would be great to break the texture a little bit more. I yeah, this is great. The other Alpha that I will use, let me save this brush. Leather one, for example, can change it later. Import the other one. It's not really high quality, but you can use it to break the texture a little bit more. Not that much, obviously. For some areas, you know, like this. Something like this. Let's save this as well, leather too. Going to lower level to add more changes to the form. Y y y After we add the details for all the places, you know, we can go back and check if we can refine it or make it better or not. But for now, I think it's good enough. Let's go for the other part. And yeah, maybe we can add a little bit of detail here and there. For example, some stitches. We just add a simple ring. Right here and make it copy all the control and drag. Again, make it smaller, copy again, smaller. Go down. At a group. Hold in controlling click to make a mask. Something like this would be great, I think. Let's add a little bit of detail here as well. I think it's looked much better now. A Let's consider did. We need to fix the hands as soon as possible. It's really annoying me. But yeah, that's totally okay, since we focus on the assets because there's lots of assets and we didn't have time to work on the body. But we'll get there soon. Yeah, I think it's good enough. Okay, let's finish this part, and we don't need to do anything crazy about this. Just a simple I'm not sure if it should be a rope or anything else, but a a maybe we can add some stitches here and there. Not sure, but maybe we can try. But for now, uh, let's do a duplicate and little lower and higher. We need this and Tilt hidden. Dynamis. And inflate. Awesome. Dynash again. Smooth it out. A add a little bit of pressure and u and maybe can use noise. Alpha. Let's trade this one. That's ut going to Louis subdivision and Arab Let's try again with UV. Yeah, I think it's looking great. Probably we need to add some more detail. So but before that, let me reposition this one. All right, this is good. I'm going to wrap up the forum leather in the next episode. 42. Forearm Leather Stitches: All right. So let's add a little bit of detail and stitches to this area because I really like it right now, so Again, start with the ring primitive. Maybe like this. Make it a little bit. Hold on control and drag. Something like this I think great. Here's group. And let's copy this again mask. Hold in control and drag. Things look great. So let's add some edge to this part like this. Using them standard?'s a little bit of pressure of these stitches. Yeah, I think it's look great now. There's only one more thing I like to add. For example, right here, we can probably add something like this. Probably. I'm not sure. But yeah, let's try it. I'm going to use disc brush to test if it's good enough duplicate the little lure, and let's track. Nope, can. Maybe this is good. Split mass point, and let's delete this one. I don't need it. And for this one, I'm going to use store more target and add a layer. And let's add this line right here. Yeah. By holding down Shift, you can do straight line. Well, let's check if it's good. Yeah, I think it's a little bit detail. It's not great, you know, because we should do something like this. You know, Tums use Tumsh to make this happen. But since we didn't have plan to do that, it's okay. We make it a little bit messy and it's going to get the job done. Doesn't have to be perfect. Have this pressure point. Yeah, I think it's looking great now. 43. Back Leather Skirt Detail: All right. So in this episode, we're going to work on the kill area this area, and after that, we're going to work on the belt. We're going to change a lot of things here, probably. I Let's go with this one. Go to cut this. It doesn't matter the topology and stuff like that right now because I'm going to separate it, so going to cut from here, for example. Making mask hunter W to make a polygroup and then group split. We need to change the numbers later. Dynamesh. Let's merge it down all the group, and let's change the shape a little bit. A I want to make them a little bit more take care. I think it's okay. It's group split. And yeah, there we go. Zim share. Let's go through and click to save the History. Project history. Next one. Save the history. 2000 and click. We're going to stitch these areas together. I like this. Let's copy. Okay. Just fixed position with more topological. La. Okay. Thanks fine. A All right. This is good, and we're going to continue working on the letters in the next episode. 44. Sculpting Leather Folds: Okay. Let's continue working on it. We're just trying to get a good silhouette from each shape. It's not bad, so let's go higher and add a little bit of basic wrinkles. I think it's okay for now again later get back, you know, and make it better. Let's make it thicker. I'm going to make this one polygroup. Click this part. Yeah, I think it's good. Grooksplt. Okay. I'm not sure if it's animal skin or leather, you know, but I think I go with the leather. I think it's more fun. Probably. Maybe it adds some of these animal skin, for example, like this one or this one. This two, for example, we can use it as animal skin, but I think if we go with leather for this part, it could be more fun. And yeah, go whatever you like, you know, Let's 2000 I think it's right. Let's do another Zoom share. A little bit of subdivision. I let's start adding the dital. I like this too. Somewhere. I'm just trying to see if it fits or not. A Okay. 45. Right Side Leather Skirt: All right. Let's continue with the other one. Again, make it a little bit thicker. Working on the shapes a little bit. Okay, let's use micher again. Yeah, I think it's much better. Subdivide and start adding the tiles. Let me try to make rap Surface noise. One more subdivide and then apply. I just wanted to show you can do this kind of thing either. The line was here, I know was for the UV, probably. But since you don't see it, it doesn't really matter, so it's okay. Et's do the same thing for this part as well. I'm going to make a UV and going to this one, noise, edit, copy, and here, noise edit and paste. I think this one is better, but can use the one that we drag and use it as half. Yeah, that's great. Maybe we can use it for here as well. Again, so plug in wrap, and noise pase Okay. Let's put it in a layer. Masked by noise, and negative one. It's not bad. We can make it a bit less. Awesome. 46. Front Right Leather Skirt: All right. Let's continue working on the leather parts. Again, we are working on the overall shape and selute a little bit. I'm just trying to check the models from all angles to make sure it's in good shape, you know, silo advice, and it's interesting. And then we can start working on the details. I'm going to slash push. Adding a little bit of wrinkles to this kind of area. A Noise, copy. Let's paste it here. I think it's too small, maybe. Much greater. Subdivision and masked by noise, inflate and negative one. Let's exaggerate the detail. That's okay. I'm going to connect these two pieces together just like what we did for the bag. First of all, I'm going to make it a little bit thicker as always. I have to record this in real time. But the technique, you know, and the scope and everything that I'm doing, it's same. You know, you don't need to watch it in real time. I just don't want you to get bored. Let's delete this part. Delete Dynamesh. And inflate it again. Okay. Let's hide this 06 and 11. Let's merge down. A group, and let's start organizing them together. Okay. And let's dynamis Chem three but. If I don't want to merge these two together when I dynamesh, I have to turn on groups and then use dynamis again. For that, let's delete this part. DynamisO group, and let's dynamis again not working. Sometimes it happened, you know, you just need to dynamish again. H. Okay. Other group, group split. And yeah, let's start working on them. What I'm trying to do at first, like what we did before is to find a good silhouette right nice to flat. I just want to make it look better and more interesting. A Let's do it. Let's dynamish again. Let's mis again and see what we get. Almost good. Cept this part again. Yeah, it's much better. I think some digger forms. Okay, so far so good, I have to end the video right now. It's going to be too long, and I will continue working on it in the next episode. 47. Leather Stitches & Tension: Okay, let's continue finishing this part. You have to work on this later, you know, because right now it's not looking good at all. So yeah, for now, let me turn it off. Okay. Here's on a slashcm but. Using your soft brush. Uh, now let's add this. Co shifty. And let's bring it here. Let's add the pressure. We're gonna see that but just in case, you know, Let's add the surface noise. I'm not sure what happening. Copy did paste. Let's do the UVs again. Yeah, not sure why that happened. But yeah, no problem. I Maybe I should add layer, and then negative two, maybe. Yeah, that's too much. Yeah, it's better. Let's emphasize the die a little bit more. A a let's go for this one. The plug in up again. Noise, paste. Okay. Negative one. Maybe negative two, better and make it h or Yeah. Adding some detail from distance to make sure everything looking good. Yeah, looking good. Of 48. Front Left Leather Skirt: All right. Let's continue working on it. I'm going to separate this part. Blit and dynamesh. Uh let me see. Maybe I'm going to combine these two together. Delete this one as well. Something like this. 179. Mars down. Okay. Inflate So y I'm just trying to make an interesting shape. Using slash BRH I made a polygroup you know, so I can easier access to each part. I need some damage like that it's Going down, plug in and unwrap. Let's see the results. O physical. A Amazing w Brush and standard to carve in and make the pattern a little bit more puffier for some areas. Okay. That's cool. 49. Left Leather Skirt Details: Okay, let's go working on the one big piece right here. It's cool to have it here. Something like this, maybe working on the shape. Inflate remove it. Not this one, either. There you go. Inflate, let's work on the shape a little bit. A Yes, you Zim share. It's much better. Changing the shape again a little bit. I want to see the silhouette I want, you know. A 3,000. Yeah, I think it's much better. R. Noise, paste and Okay. Too small. This is from the UV. Let's try to make the UV again. It doesn't change anything. Negative 1.5. How did they did it? Yeah, yeah, yeah. I'm sorry. Contro Z and negative 1.1. Again, tube brush or dance cinder or whatever you like. And using standard brush to make it puffier. I'm going to see this area, but just in case. I'm not really sure but this one maybe you should delete it and bring this one down a little bit. I think this way is much better. Maybe we can borrow some of these stitches. Do it hidden. Just adding a few more slashes, to the leather to make it more interesting. Maybe we can add some stitches here as well. Let's see. All right. I think it's looking good. Done most of it. Yeah, small stuff. 50. Leather Skirt Accessory : Right. Let's continue working on these letters, and hopefully we can finish it. Soon. Level one is too low, so let's go two deleted. Again, first we work on the overall shape and silhouette, and then we go into Zirimsure and adding the details. 2000 it's Alright I guess. This is from the asked by noise. Negative 1.5. Negative one. One size. There you go. It's much better. Again, working on the more interesting silhouette.'s out ing I want something like this. Maybe pull it out a little bit. Geometry, dynamic subdivision and maybe more. Let's see. Yeah. That's looking great, I think. Maybe it could be a little bit smaller. Is smaller as well. For more detail, I'm going to add a cylinder and making it small. Y No, it's not good. Yeah, I think it's not that bad. A the group. Let's make this one smaller. I'm going to add a little bit of detail here and there, for example, let me see. Level one, terrible. Level two. Three. Yeah. Let's delete the other then go higher. Let's add some small fabrics to it, just as a detail. Extract and's not working? I think we have a bug here. I'm not sure. Yeah, I'm not sure why that happened. That fixed. Okay, let's lit this again and do it one more time. Five, extract and accept, and let's undo. I'm not sure why that happening, but that's okay. Okay, I'm going to select the inside phase. Okay, it's great. Let's delete Hidden and Craw and flip. I think it's great. Now, let's go to polish by Fisher. Zimih low pelican and half. Yeah, this is awesome. Dynamic subdivision at thickness. Yeah, I think it's good. Yeah, I can apply it. I keep this mask right here to do this. You know, I want to add a little bit of pressure here and there. I Let's add subdivision inflate the edges. You're not going to see that, but just in case. Inflate. And let's start adding these bs. Using clay build up to flatten this area a little bit. This is cool. Let's add noise, paste. Before that, we go into level one. Let's delete the lure and unwrap this one. Noise, edit, paste, maybe a little bigger and less strength. Okay. L'sq noise. Negative one. Yeah, I think it's good. We don't need as much detail as the other part. Just let's emphasize some of the details. 51. Leather Skirt Bandages: Okay. For this one, going to unwrap and going higher, let's add a little bit of detail. This is not leather. This is going to be some bandages. I'm not really push the pen too much. Using Dan standard. Using standard brush to add a little bit of wrinkles. A Something like this and we're going to noise. Let's see. Noise plug in. Nope, not this one. Oh, we've Yeah, something like this, it's gonna work, you know. Or you can use Alpha, you know, fabric Alpha or whatever you like. But for our purpose, I think it's more than good enough. Let me appl this. Zero smooth. Yeah, I think let's work. Now we can work on it a little bit more. With move brush, moving some parts. We're not going to see this, you know, from distance, we should going up close this far, you know, to notice the details, but you know, from this distance, it's looking better when you add this kind of detail with move Brush. Adding a little bit of to wear here and there. Adding this cut underneath as well. I Yeah, I think it's looking good. All right, so let's finish these remaining parts, and after that, we have two big pieces to finish. D. A a that's rat. A a It's okay. Next one. Let me add the color to these details. I think it's going to look better this way. And let's copy this contro shift D and bring it here. I want to use it in here as well. In flight lower subdivision to change it a little bit. Let's do duplicate again. Et's dole it lower out the group. Delete this one D hidden reconstruct subdivision. Y Let's merge it down. Okay. Just fix the shape. Let's change the detail a little bit. I Okay. Let's do the wrapping at the surface noise. Masked by noise and negative 1.5. Y. Okay. Looking good. One more pistico? Let's delete this part and delete hidden dynamish and delete this part as well. Zuma share, 2000 and go. Adding a little bit of pressure from the belt. A Add some basic wrinkles. Slash Yeah, I think it's good enough for now. 52. Left Fabric Detailing: Alright, let's continue with the last two pieces. I'm not going to do a leather material. Probably, we're going to do something like fabrics. And before we start working on it, let's fix the shape and silhouette a little bit. And then we're starting working on the details. It's a little lower. Don't need that. A Let's make a pain on. I think this is good enough for now. Let's use IM share 2000 and let's see what it gives us. Yeah, maybe more. I'm not sure why is that happening, but let's try again. Nope, let's not work again. Yeah, it's better. Okay. Let's see slash. Let's flatten this area a little bit. Add a little bit wrinkles in this area. Maybe something like this. Great. A at surface noise before that. Level one, unwrap. Noise. I downloaded some free fabric Alpha, and you can use them in the project folder. Okay, to avoid that line in the middle of the model, we should fix the US first. Okay, let's duplicate it Da tire and naval protection. A Let's. Yeah, I think it's much better. Flatten, copy us. Past Ui. There you go. It's much better. And we can delete this lower version. It's at it. Next one, let's try. A et's go to displacement brush and use Alpha. Straight this one. Using standard brush with high intensity, you know, to create this kind of effect. Holding down, you know, carving and I don't like this part so much, so's smooth it out a little bit. Do something like this. Yeah. This way it's better. Displacement It's layer. 53. Right Fabric Refining: Alright, one thing that I changed off camera was this part. It's not a lot, you know, just a little bit of change. I just wanted to show you what I did. Another thing that we should change probably is to let's duplicate it and going into lower higher. Let's they all ziplugin, flatten. I want to change the rotation of the UV to be something like this. And unflatten copies and paste on this one. And let's hide this new layer noise. Yeah. I wanted to be more horizontal, you know, than what we had before. This is much better. Apply. Maybe less. Awesome. Let's delete this one. And this one. Another thing that I like to add is to go to another layer and add a little bit of damage like this. Once again, you don't really have to add this kind of detail, these micro details, you know, to the high poly because you always can do it in texture process. But the reason that I'm doing that right now is first, we are working on high poly and maybe someone wanted to do something for print and stuff like that. So in print, you should have a high poly like this. Et's remove it. So off target. Yeah, I think it's much better now. Let's change the overall shape a little bit. I think it's looking great. Okay, so let's delete more target, and we'll later probably take all of these layers to reduce the file size. Okay, let's continue working on the other side. What we can do for this can duplicate it. Delete lower and use mirror, reconstruct the subdivision. I'm not sure if layers still working or not, but yeah, it's not working at all. So let's take the layer. I'm going to subdivision. I I need to fix numbers later, so now, it's kind of okay, but we don't want to be exactly the same. So let's change it a bit. H. You're going to add all the details later but for now, I think it's good enough. You can use smooth, stronger. You can find it here in brush, smooth and the smolt stronger. A can use some of the stitches here? A Yeah, we need to make the use again. Okay. Duplicate, D tire satin. Copy and paste. Yeah, much better. Let's slit this one. A Okay. Let's start adding the Te saw. Storm of target, apply. Great. And apply. And let's start working on the details. I think this is good enough now, and we always can later come back and make it better. But I think it's okay. We just need to add some of this like that. The only thing that I add off camera was this terismware, you know, and that was it, you know, since we did it, you just duplicate it and just move it to this place, and that's it. We're good to go. 54. Belt Leather Stitches: All right. In this episode, we're going to work on the belt. And for Sarter I'm going to at this part right here. So D lure The lids. Higher as well. Go to Z modeler. Poly group. Let me see. Okay. Maybe here. Yeah, I think it's good. Let's extrude it. Polygroup let's move this part. Maybe this is too much. Inset polygroup and no standard. Oh, okay, let's make it polygroup first, but then something like this. Extrude. Yeah. I think it's good enough. Let's apply it, fix these areas. Maybe it turn off the cemetery. For the detail, maybe we can use this one, maybe. Let me make this a little bit. Thinner. Yeah. And let's try. Build, duplicate, did it lower and higher, and let's start bigger. Later I can come back and make them smaller a little bit, for example, if I put it at ten and click, it's going to be smaller. And I think this one is better. So let's click and fix the position. Holland control and I'm sorry. Hold and control and duplicate. Six position. Before that, let me put it in the middle. Yeah. Something like that. O. Okay. Coto shift and click to separate it, let it hidden, and now get back to the main shift. So let's work on details create a new layer just in case if we change our mind, add another layer and start working on the pressure point. Okay. Add Noise, let me see if we have something here. Copy. Level one, and let's unwrap. Noise, paste. Ncd 1.5. That's too much. Yeah. Good thing we have the layers. Half. Yeah, I think it's good. Working on the details. I think it's okay for now later can make it a little better. 55. Belt Leather Detailing: All right, let's continue working on the belt. Turn off the details and work on this one. D. Yeah. Okay. Another thing that we should do is to put them in the position and maybe make them like this. Holding down old and drag to move it along normals. Yeah, I think it's looked much better. Let's fix the position for this part. Let's turn of the symmetry. We already add a lot of good details to the belt, and we don't have a lot of thing to do for this part. A emphasize details a little bit. 25. Okay. Adding a little bit more pressure to these parts. Maybe something like this. A At the noise, edit, copy, turn off the noise, and let's go down to level one on wrap. Let's see. How it's look. Okay. Maybe we can use different Alpha for a I think this is good enough now. Next episode, we're going to work on the metal part and then we work on the body. But 56. Belt Metal: All right. Let's continue working on the metal part. Start with this big one. Apply. Let's choose different material. Let's check for the scratches. Yeah, I think it's quite good. And let me try again. Yeah, it's great. Let's damage it, turn off the symmetry. And let's start flattening the edges a little bit. It shouldn't be perfect at all, so try to add some story the damages, like what we did so far, you know, I don't afraid of changing the form a lot. Doesn't really matter. You can always turn off the layer, you know, and go back or use a sor Mr target. You always can fix a Let's add another layer, noise noise plug in. A That's noise. O negative. It's not good. Let's do that again. Okay, we can use Morph Target. It's apply. Negative one. Yeah, there we go. You don't need this much. Let's add another layer, and sorry. Another noise. Change the size. A masked by noise. This is too much. Let's make it less. And next layer noise and turbulence. I just want to give it a hammery fill. Let's try it. Maybe more. Apply. Seven, maybe. Okay, it's not bad. Next one, Colras. Let's start adding more damage. You can change the shape a little bit to not be a perfect circle. Term smooth border. Let's see before and after. Oh using clay build up to add some dents like this. But the policy. Let me see. Yeah. This is about the policy, but it doesn't really matter. The topology doesn't really matter at this point, you know, because this is the hi poly and we're going to topology and just using the hi poly for the detail, you know, just project the detail on the normal. Yeah, so don't worry about it. Y. I I think this is pretty good for now, although it's a little bit blnd doesn't have a lot of things going on on this model, but maybe you can add some bandage or something to keep it together. You know, I'm not sure I'm just saying, you know, for example, something like this. Maybe I'm just giving you a suggestion. But since we don't have a lot of time to do that, I just leave it. So it's okay for now. Let's see layers. I want to add dance a little bit. I not this much. Half. So let's bake the layer since we don't need it. It's okay. Fill the object so that doesn't annoys us anymore. Yeah. Let's do the same thing for this smaller part. We don't need a lot of detail for this. Apply too much. Yeah, that's good. And is it mirror? Yeah. Let's damage it. Noise. Just small scratches and good to go. Again, make it not perfect at all. Maybe we can bake it all and slash to this one to just keep things a little bit more interesting. Sounds like this would be great. And yeah. 57. ShoulderPad Refinement: All right. Before we continue working on the character and body, I want to add this little texture to the shoulder pad as well. So I'm going to make a UVI and let's see if it's good or not. Edit paste. This is, I think from, UV. Maybe I can go to the lowest or yeah, let's delete the lure unwrap again and see if it's changed. Yeah, it's not good. So let's go to Louis subdivision and Olin Control Shift and click click again, maybe, here, Control W, and here, Control W again, and Zip plugin and R by polygroups. This way, I think it's going to be good. Yeah, great. I just let's put it in layer and masked by noise. Negative 1.5, probably. Awesome, but we can, that's a lot. Let's put it half. Yeah, I think it's look much better and later, we can use this layer to work on it. Again, level one, we don't need it Level two, contro shift select, Condo shift select and contro Shift X. To grow the selection, contra W and C W for this part. And let's wrap. Noise, paste. Awesome. Masked by noise, inflation, negative 1.5. And let's put it in half. This doesn't have an polygroup? Yeah, probably I did. So what should I do? Contour shifts, again, again, Contra W, contro W. I think it's good enough for what we want to do. Let's go higher, noise paste. Okay. Yeah, this is great. Mask by noise. And if it needed to be more, we can always get back here and make it more. Maybe seven. Here we go. Adding out in a good place, and we can start working on the body and the face, and after that, we're going to finish up the boots and pants and some small details. And, of course, we're going to add the sort. Let's add that texture to this part as well. Smaller, deeper, and Okay. Yeah, I think this is good. Layer, masked by noise, negative 1.5. Awesome. Much better. 58. Highpoly écorché Reference: So for Nato I reference, you can either get yourself an Kosha model, which is really useful to have, or you can check out websites like Nato sculptures and also Sketchpap has some great kosher models if you search for it. And lastly, having a physical one is definitely a plus. You can use this atom for sculpture reference for free if you want. And it's really, really great koshis. And I found some of the koshis in Skichfab and you can use them too if you want to. And yeah, let's get back to our character. 59. Fixing the Fingers: Alright. This is the result so far, but one of the things that I don't like it is this part. We need to add some details to it. I'm not sure why something like these bandages. And we should add some bandages to these straps, as well to make it more appealing, probably, but not now. Let's start working on the body. And the first thing I want to fix is his hand. You know, it's really annoying. I don't really like it, so let's start working on it. I into a low subdivision. First, I'm going to fix the shape. And let's hide the other things. Okay. I'm gonna make it a little bit more relaxed. First, I want to give him a relax pose, you know, and then we're going to work on the anatomy and making the hands look better. Currently, it's not look good at all. And the best reference for this is looking at your hand and try to replicate it. Yeah, it looks better. Let's put that thumb down a little bit. What I'm trying to do here is to make the overall shape okay. Then we start maybe changing the proportion a little bit, make the fingers flatter or thicker. A One of the things that you should remember is the hands is not that round as we think. You know, it's more rectangular. Control Shift X to draw polygons. Play the fingers a little bit more. Yeah, I think I should continue working on it in the next episode, but so far, it's looked much better than what it was before. 60. Refining the Hands: Alright, let's continue working on the ends. And yeah, so it's fixing the silhouette a little bit. Mass hysteria and bend it a little bit. Hands should have some angles like here. I shouldn't be something like this, you know, straight and boxy shape. So keep that in mind. Okay, more happy with the hands now except this one. I'm establishing the overall curvature and volume of the pump. And adding some secondary wrinkles and folds to give it more realism. And I'm constantly checking the silhouette and overall shape of the hand and the palm. So keep that in mind. Always check the model from all angles. Refining the knuckles a little bit. Fixing the overall shape of the hand. Adding some skin folds here and there. Okay, I think it's looking great so far. Let's see the armor. Yeah. From sight is perfect. Let's make it even more. I Okay, I think it's good. We can continue working on the rest of the body, and then we're going to look at the hands again and adding some more data. But so far, I think it's looking great. Yeah. 61. Refining the Arm: Alright, let's continue working on the character and make it a little bit better. So yeah. Adding the at here and there. Not going to see that, but just want to make it right, you know, as much as possible. This is going to be under the forearm armor. Okay. Let's work on the dit a little bit. Adding skin wrinkles and stuff like that. Before we do that, we can, use layers. Let's go higher once more. At a layer. Let's get back at the diesels again. I Currently, I'm just using a standard brush. I really wanted to make it a leathery skin, you know, like what we did for the leather part. I think it suits this character so much, so. Let's turn off the symmetry for the middle part. Unter shift is salting with clay build up to add a little bit more texture to it. For the skin part, I always try to use references like real life references, you know, to have better understanding of the skin. And, yeah, I just wanted to show you my reference sport. Let's define the brake radialis muscle a little bit more. This will make the forearm look stronger and more defined on this side. See how much of that going see. That's part. Okay. Defining Boni Lan mark a little bit more like clavico? Can check the reference sheets that I provide for you and use that to work on the anatomy. I'm currently working on the arm, so I'm going to use some references from that. This is the brachialis, All right. This is great so far. Are you going to continue on to the next episode. 62. Refining the Forearm & Torso: Okay. I'm just checking the character with the clothes and assets to see if it's look good or not. So far, I think, looking great. So let's continue. Mixing tress major. So make it trapezius a little bit more pronounced. At this stage, it's all about studying my reference image and trying to capture the correct shape and anatomical details in the sculpt. Going to fix the anatomy as much as possible before we start in the detailing process. Yeah, this is so much cooler. I think skin. You can see it through a little bit. Y y adding the Alpha to the clay brush to add a little bit of texture to the character. Yeah, we continue working on it on the next lesson. 63. Skin Breakups: I'm going to use these brushes, you can download it for free. I provide the link for you. And let's start with this at a little bit. Skin fold here and there. Y y y y y y y y y y Okay. Is not that. Let's see it's on. We'll let in a little and pull it out. Us. Oh. Let's play it for it out. Your character is getting into shape slowly. A We're going to add veins, as well as soon as we're done with the overall shape. And yeah, let's work on the face a little bit. I think so far it's good. O 64. Teeth Refinement: Okay, let's continue working on the character. Maybe I relax this part a little bit more. I took the material to make it a little bit shiny, just this two parameter, and that was it. They didn't do anything special. So yeah, let's start working on the face. Et's copy this into parts. But I just want to check the anatomy as well. I'm not going to see a lot of this stuff, but it's good to add them. The I Something like this. Okay, let's pull these two out. Okay. Before doing that, let's select this mask and smith mask. Let's pull it out a little bit. To a Yeah, maybe we can delete this too. Delete hidden. Oh, it has layers. Let me see. Hmm. Okay, let's spake the layer. It doesn't matter. Delete hidden. And let's make these two. A little bit bigger. These 21 group, these two, let's keep it that way. And mask. Let's make this bigger. Lower the upper lip of a bit. I probably make the math a little wider. Adding the pressure point around the horns, like this. A Refining the eye shape and the cheek bone structure. Much better so far. Let's continue working on it in the next episode. Oh 65. Face Secondary Form: Alright, so one of the things that we need to do is to make this a little bit outward, you know, like this. Now, let's go down and pull this out a little bit. Et's push this out as well. Backface call off, and that's all it out. Okay, great. Let's carve this in. Something like this. Okay. Much better, I think. Make this a little bit sharper. Geometry and one more subdivide. For now. I forgot to turn on the symmetry, so let's do it again. A It's much better now. Y let's work on the ears. Let's fix the shape. We're not gonna see underneath, you know, but it's always good to at least make it better, you know. It doesn't have to make it perfect because I'm not going to see. What I'm thinking is we have to go somewhere between a human and a cow, you know, somewhere in between them. It's not fully human. It's not fully miniature. So I think that should be good, you know, Yeah, this is looking good. Let's continue on next lesson. 66. Body Overall Polish: I want to make them a little bit. Better, you know. I just want to blend the muscles together a little bit better. So that's why I'm doing this, making a connection between H plane or whatever you want to call it. Bring the torso. I'm not going to see it, but maybe we should bring it down a little bit. Something like this. That gap was a little bit too much, so I changed a little bit. I think it's look much better now. Let's make this a little bit rounder. Yeah, I think it's much better now. 67. FingerPose & Secondary form: All right. Let's continue working on the body a little bit more. But before that, let me fix this part to be a little bit more matched with the upper straps. So yeah, nice better. Now, let's work on the hands a little bit more, fixing the position of it a little bit. Next one. And last finger. A Something like this is look much better. Maybe I move this port a little bit more. Okay. Forearm, shoulders. I don't need them. Okay, now let's work on the knuckles. I'm going to bring them up a little bit. One of the hardest part for sculpting is definitely the hand, and that's why I'm spending a lot of time in it because if it doesn't look right, you know, if you compare it with what we had before, you know, as you can see, it's terrible. It was terrible at this. That's why I spending a lot of time to making it better. I didn't look much better. Let's look at what it was before before and after. Yeah, this is much better. Okay, we're going to work on it later. When we're done with the assets, I just wanted to make everything look good as much as possible. And yeah, later we can get back to it. But. 68. Additional Model Refinement: Okay. Let's find the arms a little bit. A Let's just focus on the arms. Should push this down a This is a time consuming process, so take your time, you know, and try to enjoy it. I really enjoy this kind of thing, you know, and trying to make the silhouette a little bit better. Y. A trying to make some imperfection in the skin and the body to make it look more realistic. Make some connection between the muscles. Yes. I think this is looking great almost. Add a little bit of detail here and there. I want to keep these brush strokes, you know. I think it's look much better this way. Again, I know we're not gonna see these parts, but it's really good to have the anatomy correct as much as possible. A I'm checking my hands to see how's the silhouette. We can make it dark and check it maybe something like this. C I think it's good enough. And now we can move on to the remaining stuff, working on them, and at the end, we get back here, fixing the final shapes and silhouette and probably anatomy if there was something wrong. And after that, we adding the details, and we're done with the body. So for now, everything it's cool. See you next. 69. Sword Blade Shape: Alright, let's start working on the sort, and I'm going to initialize and make a cube the two X resolution. Symmetry on X and Z, and start working on it. So let's make it bigger, thicker and thinner. Something like this, probably. And ZmderOh, sorry. Z modular Sirt Mmm. I think this should be enough? Okay. Let's move this inside. Holding down shift and move. A term of symmetry, term of perspective and masking this area. And around here. I think that's cool. And let's mask this area. And let's see. Yeah, that's okay. No control and use space to move the masking part and fold this down a little bit. Something like this would be great. Even more. Great. So I'll shift and move it a little bit closer to make it look sharper. And, um you can polygroupHld down Alt and click. Double click Alt and make the group Chris PG. Let's see what this look like. Dynam subdivision, and more. Okay. It's okay. It's cool. We should change the polygon here or we can add crease manually, again, much better here too. Yeah, much better. Up a little bit, make this a little bit more level. I'm not sure it's not working. Uh Okay. Stitch. No, not stitch. Um slice mesh. Yeah, something like that would be nice. I'm not sure why. Ten of symmetry. Yeah, it's working. And now I can add glop here. Great. So add an edge loop here. Move it inside a little bit. Another one here. Something like this. I want to add a biv as well. Yeah, it's much nicer. Trees It's not bad. All these parts inside a little bit. We can delete this and we can Let's cool. Another segment. This out a little. A That crease. Yeah, kind of better. That segment here. To it's grit. Double. Okay. Chris, Chris. Great. Let's change the polygrapher here. Again, Chris, and here. Much better. And the last one, probably. And of course, this one. Select lasso, Control W, and Control Shift, this select this part, and Control W again, Cris Chris, and there you go. We have the basic shape of the sort. Let's save it. Okay. When we use polygroup and rises, it's really much easier for us to change the shape and edit it and edit the forms, you know. And that's why for a starter, I usually use this thing and it's really helped me out. So I forgot about this part. Chris, Chris, there you go.'s clean. Okay, let's add the upper part. Just keep it for now. Let's add a cylinder. AMN, move infinity. Make it something like this. Probably it's a good idea. Maybe less. Maybe smaller. We should check it on the character as well, but for now, it's good enough, I think, at least. Okay. Let's add Clinder again. Okay, this is okay. Poly group. Let's pile polygrp. Let's do this for the. O. Yeah, something like that. I'm looking at this part. You know, it looks like it's going down a little bit. So I'm trying to mimic that. Maybe a little bigger. Don't need this much, so delete it. You got the top part. 70. Sword Handle Modeling: Okay, for the handle part, I'm going to make it a little bit thicker. I think going for this one is better than this one. So making it thicker. Adding some loops. Yeah, it's good. Maybe something like this, maybe smaller could help. Make this smooth shading bigger than Chris level number to get this beverly effect. That's duplicated. Let's delete it. Let's duplicate this one and make it the let hidden, remove the edges that we don't need. Or we need, I don't need this. Preach. Yeah. Preach preach. I let's fill points and see if it's change. No, it's not. Yeah, there's definitely an issue. Let's delete this polygon. Yeah, it's great. This one as well. Yeah, I think now it's correct. Natural why two polygons stuck together, but Okay, polygroup I like this and this one, y. And Chris Okay, it's much better. Making it, bigger and pull it like this. Okay, cool. Let me try something else. We can bevel this. Maybe more. Okay, never mind. Let me see. Let's extrude that inside. I'm sorry extrude it inside. I think this is quite good. You can add one more really small. T are here or, let's lit it. Duplicate let's extrude. Till it hidden and let's extrude this. Chris, maybe four. Yeah, this is much better. We need a bigger handle. Going to pull this up. Maybe we change the scale when we put it side by character, but for now, I think it's look okay. You know, it's not that bad. E. Maybe we can sharp this as well. You know, let's pull this in a little bit. I just want to see how it's look. Let's do that for this part as well. And Holy group. Okay. Chris for this part as well. Holy group Poly group. Yeah, I think this one is better, maybe. Let's save it. You can always increase it, you know, and use something else, but for now, I think it's more than good enough. Now, let's duplicate this part. Can you use something like this. But yeah, just saying we can do that, as well. It's up to you. Probably we'll check that when we get back to the character. So for now, I think it's good enough. I think it's too mechanical, sir. Let's put Z plugin and rasp subtle master copy folder, and get back to our model and Ziplugin and paste folder. S transpose. A I think the size is better now maybe. Yeah, I think it's good. So yeah. Let's hide this and next episode, we're going to work on the details and yeah. 71. Sword Leather Wrap: I Alright, let's continue working on the diesel for the sword. So for Carter, I'm going to add some leather straps like this. And for that, I can duplicate it and, something like that would be great. Do it hidden. And then I can use H loop, panel loops, bevel. Thickness. I think this is good. Yeah, I think it's fine. So I can Contra W and drag make this fun. Something like this. I think if I duplicate it would be the idea. I like this, maybe. I'd be great. Yeah. Okay. And let's merge them in one group. Yeah, that's great. Let's add the detail. Okay, maybe let's select this part mask and It's nice, much better. I. Yeah, it's great. Let's plate it. Play this one. Let's make this 21 mesh. Okay, it was wrong, so This one. Oh, get this too. Mares down. Yeah, much better fly. Apply and apply. Okay. That's a little more detail. Let me see before we apply. Let me add some segments here. Make it more quad. Everything's great. Now, play. Okay, good. Y Make it one group. I go for this part. I'll go for this part, then yeah. That's great. A Extra it out a little bit. Maybe even more. Yeah, this is good. Now you can add a layer and start working on the details. Turn off X symmetry. Et me ask about. Or let's use polish. I You can make it sharp as much as you like, you know, but I like it to be something like this. Not that sharp. It's more rustier, you know, than regular sort. You know, it's really sharp. Sal modify and let's make it shinier. I Okay. Next layer, and let's add some damage. Turn off symmetry. Make this edge a little bit sharper and this edge. From this distance, I think it's more than good enough. But you can always make this on the polymodal, and you have an easier time to work on the forms. But for what we want, I think it's great. Surface noise. Dense I don this much. Ply once again bigger. Mmm. Too much? Masked by noise. Negative one. Yeah, this is good. Let's use the turbulence or purlin. I think it's good enough. A This layer, let's add. Me scratches. Yeah, I think it's good enough for now, so Yeah. Let's go to basing ma trial. Yeah, I think this is good. 72. Sword Adding Scratches: Okay, let's continue working on the next part duplicate subdividing. And I'm not gonna use layers anymore. I don't want to make the file heavy. So I think the reason we can't use Trim dynamic is we need to go back and make fun. And now, yeah. Then there is a mesh behind this under this, so that's why it wasn't worked perfectly. Let's add some noise. Negative 1.3. Much better. Perlin noise. Good. Turbulence. A this one. Doesn't need a lot of detail. Not going to see it a lot, but just add a little bit of detail would be fine. Okay. It's good. Let's go for this one. Okay, that's good enough. Maybe a little bit more hammer. Now, it's much better and it's more interesting. Okay, let's start with this leather part, a subdivision, other group. Let's start working on the individual. You can take your time, you know, and working on it like what we did for the killed part, you know, can make the unique and much better than what I'm doing right now. But since we did this a lot, I'm not going to waste a lot of time on it, so you know the technique and have you approach what you want. So a little bit pressure here and there help to make it look much better. Two I think it's good enough, no. Y. This is great. I think we want it to sort. And 73. Sword Case Modeling: I So I just want to make this sort a little bit smaller, but before that, let me bake the layers and make it a little bit like this, maybe. Let me see. Yeah, I think this works better. Yeah, I think this one is better. I have to make it smaller. Yeah, it's totally fine. We can turn on the symmetry on as as well, go to lower subsion I don't want to be before that, we can add a layer to make sure that's the shape we want. I just don't want to be so straight because it's not that good, you know. So I think it's much better. Yeah. Let's bake it. And yeah, we can continue. Alright, let's make a chase for this part as well. So I'm going to duplicate this, going to the subdivision, making it bigger and thicker. A Something like this, going to delete the hire and apply. H. Yeah. Something like this is great. Let's add some damages. I'm going to turn off the symmetry to avoid being repetitive. A Just a few scratches, you know, it would be more than good enough. And yeah, let's add some leather parts, you know. Like this. O. Okay, this is good. I'm going to keep the inside. Double and it hidden and flip it. Now I can use polish way future and Zim share. 2000 maybe. Not bad, but not the best, yeah, it's okay. Okay. Let's add a thickness with dynamic subdivision. I think something like this would be great, but let's polish it again. Uh polish the edge. Yeah, no, I think it's much better. Before we apply that, I want to make a duplicate from this one to make it a little bit more interesting them control, and I just want to see how it's fit Yeah, something like this, I think. Looks good. Let's fix this. And yeah, I think it's good enough. And let's apply it and start working on the details. Sub divate once more, and I think the leather detail, like what we did so far for all the parts. A Okay. Yeah, that's good. If you damage and rip, you know, to these parts. Next one. Y Something like this we can add little like this. And we can try to let me see if we can copy this surface noise that we had, copy. Let's get back to it. Write this one. Just wanted to see if it's look good or not. Let's do a mrap. But before that, I want to let's see. Select the outside and control shift X to grow and auto group and get back here. It's okay. Now we can go to UV master and use RA bi polygroup. So now if you try to at the surface noise, let me see frame apply. Yeah, I think it's not bad. Maybe it can be a smaller stronger apply. Yeah, I think this is good. A little bit more damage. I think it's a little bit boring now, but I at some scratches, maybe. And yeah, I think it's good enough for now. I want to try to see if I fix the case, for example, duplicate, go to low subduusion lot higher and Maybe keep this. Maybe keep this word as well. Okay, delete it. I just want to experiment, you know, to see how it's look with a little bit of extrusion. Extrude poly A polygroups, yeah. Something like that. Increase It's not that good. You know, I'm going to group that's his, his. Yeah. Mm let's see. Bridge. Yeah, you know what? Let's select the inside. Yeah, delete hidden. Let's hide this. Delete. Now, let's keep that. And let's extrude this part. Extrude all polygon and the Cris polygroup Poly Group, P group and you Poly group here as well. Chris, let's see. Oh, one more. We're not gonna see the inside, but let's do that just in case. Okay. I think it's look much better except that I accidentally deleted those part that I like. But no problem. Let's duplicate it and go back until we had them. Select delete hidden, and now we have both. Sometimes it happened, you know. And yeah, we can apply and we can start adding some detail. Yeah, there's something wrong with it. And the reason is, let's be back. Before we apply it. Yeah, we should flip. Now it's okay. Apply Sometimes these kind of things happen, you know, you should know how to fix it, you know. Sometimes it's an easy problem, you know, and you just forgot to turn off the double side, you know, and you go further, you know, and work on the model, and you suddenly see the brushes not working correctly, and, you know, that's super annoying. So yeah, It's okay. I think this is good enough for now. And a lot of the things that they can do is to merge down these two because they have same subdivision level. And yeah, I think it's look good. This is the case and we can turn it off. There's no case, and this is the leather. 74. Sword Leather Hangers: Alright, I merge these parts together and this part. So we have less subtols. We don't need a lot of that. We don't need to be separated, and we have the case. And yeah, we can now find placement for the sort. Alright. For the position of the sword, I did merge folder, and I get this model. I delete the higher level because we don't need it. And I try to put it here to see how it's look or put it here that I choose to put it here. I think it's look much better if you put it on the back. So yeah, that's where I'm going to keep it. So I turn on the sort and this part, yeah. And I'm going to put this right here. Maybe I should make it smaller as well, but for now, it's okay. Yeah, something like this. Wo great. Yeah, let's let this. I don't need them anymore. Look this one, as well. But we'll keep that just in case if we need another position. Okay, for the connection to the built, I'm going to And a plane, probably. Cube or whatever. I don't care. Just want to keep this part lid hidden. Less thickness. Yeah, something like this probably. Let's make a copy. This one is better. Something like this, probably. Going to do this for this part as well. Extrude. Out I think this is good enough. 75. Sword Leather Details: Alright, let's continue working on the working on these bands. You know, we can uh let me see, do we have? Nope. Torso. Yeah. Let's duplicate this one. Pull it out. And we can pull it in here. Yes, something like that would be awesome. Put it in here as well. Before we continue, I'd like to fix this overlaps a little bit better. Y y I think this is good. I can probably apply it, but fixing the thickness. Okay, I can apply this. I mean, higher and higher and start working on the actual details. So I think the He did so like what we did for the other parts that had letters. I think bigger wrinkles, you know, so we can see from distance as well. And probably I'm going to add some details as well. A like for example, for this area, I'm going to duplicate the late higher higher lower. Keep this and keep this one. Del hidden And yeah, something like this, probably. But less. Probably we should let these. I don't need them. And make them a little bit more thicker. Yeah, something like this. Awesome. So Let's apply this and subduion little bit of detail. Yeah, I think it's good enough for now. Oh 76. Leg Bandage Basic Forms: Alright, so let's continue working on the character and working on the pants. So since we bring this mesh from MarvelLS, I think we can use, yeah, Auto groove with UV. And one of the things that we can do is holding control and click to save the story. And I'm going to Zoom share keep groups, and probably 5,000 would be good enough. Oh, yeah, turn off the symmetry and try again. It's not that bad, you know, but it's not that good either. Let me see on the model. Yeah, maybe it can go higher. Ten K, for example. Maybe you can go five, but it turn adaptive. Let's try Project history. Duplicate. And let's get back to this one. Let's turn off everything. And apply this one, apply. And yeah, now we have to project again. There we go. And yeah, this is terrible, probably. Since this is the inner space, we can select it and mask. And now we can smooth it out easily and push it in like this. Okay. Let's go for this one. Mask. For the sun. Okay. Let's see a comparison. Yeah, this is good enough. I can't lit this and keep the one that has better topology kind of unless smoothed out. Or before you smooth out the details add a subdivision and then smooth it out. Okay. We can work on the wrinkles a little bit more, try to refine it. Something like this great. One of the things that I like to do is add some straps, you know, here and there. I think you can do it here. Probably something like this or even a little bit thicker. Maybe it look good. Yeah, something like what I did here. I'm going to extract y. Okay. And before I do that, I'm going to polish per fissure. Okay, great. One group, polish per fissure again. Now I can use Zim sure half half. Awesome. And now I can work on it, bring it down a little, a little bit of thickness. Yeah, let's keep it at zero because I'm going to add some pressure to the pants. Something like this probably would be great. And maybe a little bit thinner and bring it down. Maybe something like this. And, okay, let's cont. Go up. Let's let me see. Ang cold and a I was trying to make the mesh project and the model. But yeah, let's try to zi measure it again. Same. Okay. That's good enough. Let's get the get a backup from the trousers, and let's work on the pressure a little bit. Yeah y y y y Okay. Mm. Maybe I should. Make them a little bit smaller. Yeah, something like this to add a little bit more pressure to the clots, so I think it's look good and we can add some details to it. I see it. It's cold, yeah. I like it more now, you know, it's cooler. H Probably should make them a little bit. It Okay. Ns look much better. 77. Leg Bandage Details: All right. Let's continue working on the fabrics. I'm going to turn off the coat and fax in the cereal. Something like this. And I'm going to apply this. Oh Let's apply and start working on it. One of the things that we should do before we continue, I'm going to higher subdivision and let's go to the lowest Control Shift X and Control W. And let's see. Yeah. C W. Let's select this one and C W again. Let's do this one as well. Cro Shift S. I Let's like this, this, Pence W, and this one. Conor Shift S, Console W, and. Yeah. Now we have something like this, which is great. Awesome. So that means a big edge. Let's turn off everything else, focus on this area. This is fabric. We're not gonna use leather or stuff like that. This is just fabric. Yeah, something like this. Let's go for the other one. C at those pages. Mm, yeah, not this. Let's push this in. Push this in as well. Much further. A Okay. I think this is looking good, maybe. Let's exaggerate this part a little bit more. Maybe something like this. Let's go for the last one. Okay, this part right here. Yep. Okay, let's keep it and save this. Let me see if we can do some sparks like this. But before that, I'm going to surm off target. Oh yeah, I think it's good. E. I want to make sure if it's look good, you know. Yeah, I think it's looked great. We continue. Smooth out some areas. I think it's look much better if we smooth it out. Okay. Let's add some this area as well. Okay. I think this is good enough. We can go to Morph Target and reverse some of these back, you know, if it's too much, we don't need that much of Yeah, I think it's I think it's much better now. It's not too repetitive. I make it less in these areas. Yeah, it's much better. Now we can add some add subdivision and going to use Alpha. Maybe this one. Let me apply this. Yeah, we can go one more, you know. But before that, we got to level one or level two. Did allure and unwrap by Polygroup. Noise by UV Yeah, so So I'm going to make a duplicate of this one, delete higher, and I'm going to flatten the UV. And let's make them straight. Hold on control and click on the UV to make them mask. I and it'll be flatten, and I'm going to Ziplugin copy S and here pasts. And we can delete this one. Now, let's see. Edit. Let's try some other Yeah, this one is good, I think. Okay. Negative 1.5. I think it's looking good, but before that, I want to put it in layer, negative 1.5. ****. Add a new layer in starts. Learning details. Maybe I should. Yeah, something like this. Adding some vertical lines with standard brush with high intensity. Yeah, I think it's looking great. That sac like that. Alright. I like it. I think I can end the episode right here, and in the next episode, we're going to work on the trousers. 78. Trousers Details: Okay, I'm going to lower subdivision and the plug in and unwrap by Polygroup. And I'm going to noise adding plastic wrinkles, UV is that a Okay. I'm going to subdivide it once, one more. But before that, let's go to level one, make it duplicate a little higher and let's flatten and let's straighten the UVs. Okay, so I'm going to un flatten, copy, and paste. Yeah, this is much better. Let's delete the other. It's not bad. Going to add a new layer and apply. Or maybe masked by noise, negative 1.5. This is good. You can easily fix this area smooth it out. We're not gonna see it, but just in case. Yeah, something like this. Polygrop. W to add another layer and use this one. Okay. And maybe apply. Yeah, I think this look quite good. I can later make this lower or higher. The other thing that we need to do is add some seams here. So let's try that. I'm going to use an Alpha. This one. Pick, and I'm going to add a new layer. Let me see. Okay. Go to stroke, roll. Yeah, now it's much better and start adding this detail. Et's go for the next one. Yeah, it's looking great. This one here, we're not going to see it, but it's sure good to have it there. Maybe for this phone, I'm using this one. Something like this. And let's go to displacement. Import Alpha, and let's use this one and this one Drag. I just want to see if we can use it or not. This one is not good enough. I think it's good enough for now. I It's a little bit make more sense. Yeah, let's kick it dead way. 79. Boots Bandage Basic Forms: All right. Before we start working on the boot parts, and I'm going to go to the transpose master. I want to make the silete look a little bit bitter. So yeah, turn on symmetry and start working on it. I can change it later. But for now. Okay, I'm going to push back a little bit this part to make this. Not much, you know, yeah. Something like this would be great. Yeah, if you compare them together, you can see. You see, this one is much better now. So maybe a little bit more. I Yeah, I think this is a lot better. You know, I can change the shoes a little bit. I think it's much better now. So let's go back to Subtools. Okay. Look much better. Okay. Let's make this a little bit thicker. Something like this and bring it out of the shoe. Okay. I'm going to Zim share maybe two keep groups and Awesome. Yeah, this is really good. I can Maybe do that and add segment here. Yeah, this is great, actually. Let me use sure on this one, as well. It's not great, you know, but let's get the job done. So Saldusan going to start working on the working on this first, you know, and then we can work on the leather part. So Probably we need to change the symmetry a little bit, but for now, I think it's more than good enough. Dynamic subdivision three. And yeah, let's apply. Let's start working on it. So I'm going to copy these settings. And before we continue, We need to unwrap it again, but for now, I think it's good enough. Just cue. Just a quick look. Let's see. Yeah, it's not perfect, but it's okay for now. So let's go working on it. We can store more target like what we did before. And then start working on these changes just in case if it's fast too much or we want to change it or whatever reason we have. Nine. Can I add this later as well. There are some scripts, you know, in micro that you can buy from some artists, you know, that do this kind of thing easily for you, just do the masking, you know, for example, like this and hit the button and start do this ripping part and stuff like that. It's really handy and easy if you want to spend some money. It's really helpful to use that kind of tools. So yeah, I just wanted to tell you there is a lot of things like that, and you can easily use it. But for our purpose, I think it's more than good enough what we are doing. So yeah. Okay, I think this is good enough for this video, and we're going to continue working on it on the next one. 80. Boots Bandage Details: All right. Let's continue working on the bandages. So I'm going to work on this part. Okay. This is good. Let's fix this part. Okay. Let's come. Es. Let's at the damages here and there. Okay. I think it's a good shape and position. Now we can Okay. Y let's pull it out to avoid intersections. Okay, I think it's right. Then we can work on the US we're going to level one, and I'm going to Select the middle polygons, Control Shift S, Control Shift S again, Control W, and inverts Control W again. And now we can go to Ziplugin and unwrap. Et's make it duplicate. The higher and flatten, the pink one is the purple one is the inside. Yeah. Okay. It's kind of look right. Since it was straight, you know, let's try to see how it's look. Yeah, I think it's alright. We don't need to change anything. Let's delete this one. Let's fix the name. And they just I think it should be a little bit smaller. Yeah. Great. Let me see apply. Yeah, we need more. Negative 1.5. A a Okay. I think this is good. I can create new layer. And let me the group. Looks the grouping. Contour shifts leg, ContLW No, it's fine. Yeah. Let's start working on it. Adding the details. Okay. Great. Adding some edges like this is going to help to sell it more, you know? Without. Yes. A should smooth out this part. Yeah, that's great. Okay. Next one. I think there was. A a a Okay. I think this is right, so we can move on to the next one. Yeah, I think it's okay. Let's turn it on off. Okay, I think it's looked good, and in the next episode, we're going to work on the leather parts for the shoes. 81. Boots Leather Sculpting: Alright, let's continue working on the boots and leathers, and you can either go with fabric material or you can do something like leather. And for this, I like to do leather thing. So let's start with that. One of the things that we should do after fixing the leather underneath, you should go and break the symmetry, add something for the armor, this perfect example or this part. I'm not sure, but should break the symmetry a little bit. Add a little bit of pressure here and there. Okay. Currently, I'm just trying to add the pressure over the bandage has gone. And since we have thickness, I'm going to turn on back fiscal. Something like this. Again, adding the pressure using a standard brush. Maybe we should add one subdivision. Using clay buildup. This is too sharp. Maybe a little bit more intensity. Again. Holding down and carve in Okay, let me turn on colt and copy the surface noise. I'm not sure if it's a UV or not, so let's go to UV unwrap and polygrap obviously. Noise paste. Let's see. Can we see it? Yeah, unfortunately, we can see it. Going to bring slash slash two Okay, this one is not okay, so move topological and push it back. Okay. I think it's better. Let's get back to leather parts. You show brush. Okay. Let's add the surface noise. Okay. Y. I'm going to delete the inside of the boot. W, and we're going to higher subdivision and let's delete lower delete hidden and reconstruct the subdivision. Okay, it's not working. So I can hold control and select. And I'm going to Zero measure two K probably, and let's see what it gives us. It's awesome. Go to divide project history, and again Okay, it's much better. Those subdivision don't have polygroup so unwrap. Let's see the results. Yeah. Masked by noise. I want to make a layer and negative 1.5. My a negative two. I think it's great. Let's move this out a little bit down. I think it looked good, so maybe emphasize this a little bit. Okay, that's great. I'm going to bake it and can't work. But 82. Boots Assets: All right. To add a little bit of detail to this part, I'm going to add a ring three D. And let's delete some of these. Before that, I'm sorry. Turn asymmetry on X and Z. Now, let's um Dt sum of this. Okay. Counsel W. Let's crease dynamic sdusion. Let's look. Okay, it's looked great. Now we can turn off symmetry, make it smaller, and bring it here. Something like this. Go to ShiftW make a copy and place it here. Okay. Going to shift again to make another copy. Put it right here. M. This is cool. I merge down these parts together to be one mesh. We don't need a lot of Yeah. Subtle. So for this one, I'm going to probably add chain. For that, I'm going to use this sphere. With Q, we can make a new joint, you know, and with W, we can move it. With Q, we can add another joint and as an E for scaling, you know, something like that. Yeah, that's it. So I'm going to scale this one. Let's start from here. If when we drag, shift is going to be the same as what we had before. So can scale it down, t Q can put it here, hit Q, pull it up. Add a little bit more joints to make it. Smoother. Yeah. H. You hold down Alt and click, you can remove the joint. Yeah, I think it's good enough now let's Let's trade out to see if it's look okay or not. So basically, I'm going to stroke curve helper, copy this sphere chain and create curve. Let's hide this sphere, and now we have And can you use chain Brush. Click. Okay. Me it bigger, click Yeah. Something like this. And lick. Let's select this part and do it hidden. Now we have something like this. H. I'm not sure if it's okay or not, you know, but I just wanted to show you, you can't do this stuff as well. But probably I'm not gonna use it, so does this for Okay. Yeah. For this part, I'm going to add a sphere. Make it small smaller. It doesn't matter. We're not going to use it at all. And I'm going to use chain brush and drag and hold down shift to make a curve, and I can make it bigger or a little bit smaller like this. Again, drag One more time. Okay. You can change the chains as well. For example, this one. I can drag again. Maybe a little bit smaller. Maybe something like this. A a group. Let's lit some of these. This one as well. Don't need it. Let's move it on the surface. You can't use something like this. You know, I just wanted to show you another way to do that. I'm not going to use it, so let's delete this as well. Yeah. Okay, let's go over shoes and fix or shape. Okay. Adding to pressure. H. M. Sounding like this. 83. Shoes Adding Details: Let's continue working on the shoes. Was I need to fixed overall shape. I. We have to, uh, change the proportion for silhouette, actually, for this part, later, but for now, I think it's okay. So et's got level one. A group. And let's go to Zip plug in wrap a poly group and go. Let's copy this and paste here to see how it's look. I don't need a lot energy. I just want a little bit of texture, maybe less. Okay, once again, changing. Negative 1.5 yeah. Adding a layer to have control on it. Okay. Maybe half. It is much better. I Maybe a huge not off. I think this was Okay, I think this is good enough. Yeah. Now we can use that custom rotate that we made with those Alpha. Ther we can do something like this. Oh, that's right. Or we can hold control and drag to clear the mask and drag again. Yeah, I think this one is better. Just like this. Something like this would be awesome, I think. Yeah, I think it's great. Yeah, things looking good. And A. Yeah. That's good enough. Let's do duplicate and let it. I think if we place one of this here would be better. Yeah, that's cool. Let's keep it. Yeah, this is awesome. Oh, Marsh down. There we go. Yeah, things look great. 84. Refining Posture: Alright, so let's change a posture and salute of the overall character. And I'm going to tipos Master. Okay, turn symmetry, and let's hide this one. Okay. And backward a little bit. It's much better. Okay. I think it's okay? Let me check the horns a little bit. Probably we should get something like this a little bit more open. Maybe something like this. Okay, let's shake it out. Yeah, hors are much better. Posture is better. Position of the feet. Okay. Et's rotate the hand a little bit. Okay. Oh Probably we should make the fingers a little bit thicker. But for now, I think it's okay. I'm checking if there's anything else that I need to change. Okay, let's get back to it and we can later make it better, of course. So now, it's okay. Okay, the only thing that probably I accidentally. This one. Yeah, it was just that one. What is this? Oh, okay. That one is okay. Okay, everything is sounds good. Everything's look right. And I'm going to check it with the last version. Yeah, as you can see, this is the last version. This is new one. Silhouette is much better. Can you change the silhouette as well? Old one, a new one. Yeah, I like it more now. Just let's fix this one. I think it's really need to be like this. Maybe a little bit thicker. Yeah, it's much better. Let's Go Shift S. Okay, mask, get back here and splur it. And now fix this gap here. Okay, it's good enough for now. And the next episode, probably, I'm going to work on the horns, and we kind of almost done with the cater. Seeing the one. 85. Horns Base Shape: Alright, so let's continue working on the character, and I will start working on the horns. So I'm going to dynamis them. Okay. And going to keep the history by holding down Control and select. And then I'm going to Zmsare 2008. It's great. I'm going to project Okay. This is good enough. And let's smooth everything to get rid of those thing and start adding the detail. Just checking the concept as well. So Dan sender to make the edge a little bit sharper. He's intern dynamic as well. We have to break the symmetry as well, but now I'm going to stick to it to do the overall detailing. Maybe a little bit lazy mouse to m. Maybe I can do duplicate of this brush and change this to this one. Okay, maybe less Stroll crow a little bit better. Okay. Now we can break the symmetry and adding some specific details. I get some references for the horns, you know, and I can use a bunch of them to inspire or copy them, you know. So a they are too close to each other, you know, I'm going to in this area, at least, going to break the symmetry as soon as possible. I'm just trying to make this less flat, you know, add some bump to it. Let's make the UI. Uh I'm going to try some alphas. This might work. It's not that bad. Let's try this one. Nope. No. Make it UV. This one is not that bad. I can use it maybe less. Yeah. Yeah, we can store off targets apply. Mask by noise. Maybe before we apply. Let's subdivide once more. Mr target, mask by noise. Negative one, maybe. Let's put it in a layer. Okay. This is good. I'm going to make this a little bit more randomise to not be that straight. No. Et's turn off the symmetry and smooth this area or use morph. A I remember we can always add these kind of details, small one, you know, in the texture and phase. But as I mentioned before, I'm doing this because I want to have a high poly. Maybe someone wants to use it for tee pruning and stuff like that. So that's why you should add these details as well. The good thing about texturing phase is you can change everything and fly, you know, you don't like it. We don't like these lines, you know, you can easily change it. And that's the benefit of that kind of thing. So From soft. Okay, I think this is good for this episode, and we're going to work on it on the next one. 86. Horns Adding Details: All right, so let's continue working on the horizon and finalize it. I'm going to lower subdivision. To add some egg under et me breaks a little bit bitter I'm trying to make them a little bit less unify. I think it's better now. Maybe merge these parts together as well. I think the world is much bigger. All right. Okay, let's work on the the fabrics here. I'm going to boots, and let's copy the noise. I want to do some kind of effect like this. So making hui. Let's go to noise. Taste. Let's see. Maybe let me duplicate this got level one and make it flatten. Okay. Sort of do that. Let's make this to one group and wrap it again. Yeah, it's much better. Make them horizontal. Papers and paste here. Delete this one. Let's see. Yeah, this is much better. Maybe not that intense. Yeah. This is good. Okay, the layer and as we noise, let me see if it's better or not. Maybe a little bit bigger. Yeah, I think this is much better. Now, let's add the details here and there. Okay. I think this has looked good. Let me copy this as well and take it. Okay. Let's go for the other one. Again, let's have us. Duplicate, gliire and flatten. Flatten, copy and paste. I can delete Level one, and let's see. The noise. Yeah, this is great. Yeah. I'm going to adding the overall shape, and then I'm going to work on them separately to not be, you know, so similar. Okay, I think this is good enough. Let me merge these two together. And going to level one. Dt lower a group and wrap. Duplicate tier flatten. Hold control and click. Okay. Let's smooth it out a little bit. Okay. Let's add some subdivision. Noise paste. Okay. Is is good. Okay. I think this is good enough. And let's bring back character and see how it's look on. Awesome. Everything is look great. But 87. Beard Details: Alright, so let's start working on the hair. I'll start by working on the beards. So Okay. First, let's work on the silhouette a little bit. We can use snake hook. I Let's just focus on this area. Okay. I wanted to make it more blend, you know, to the face and a using standard brush with a high intensity. Just to find the overall shape. Symmetry. Playing with the forms. Again, we're not going to use it because this is for game, and we should work with haircuts. So again, this is just a demonstration of sculpting the hair and such. So yeah. Use extraction. Too much obviously. Except And then with this, we can add some details like this. I just an idea, you know, you can just sculpt over do you think doesn't really matter. H this way you have better control on the mesh and the details and flyaways and stuff like that. So to shift, make a copy and place it here. I'm trying to the lending gets in. Anding bigger forms. Back to the base mesh. Probably I need to dynamesh it again. Fix azarea. We can control and click on est history and go to Zoom share, turning off symmetry and making it a better looking mesh. It's all right. Then to divide. Pressure history. Yeah, this is good. And then, if we don't need that. Now we can start adding the diesels. Let's marsh down these flyaways. Okay. All right. I think that's good enough for now. 88. Hair Basic Forms: Okay, let's work on the hair a little bit. Let me fix that knowing. Alright. So before we start working on the hair, I want to quickly fix this area. It was bugging me. Let's fix that. And Those were two straight lines, you know, and I want to avoid that. So yeah, something like this for the better. And yeah, that's for candy hair. I'm going to turn off the symmetry and working on the overall shape and form. Don't back face mask. Okay. Let's delete this part. It's really annoying, so I'm going to delete it. The latidon dynam and other group, there are some mesh in the air, so I'm going to select and the latidon again. So yeah. Much better. So again, I'm going to start on bigger forms, you know, and we're going down to the smallest one. Okay, since it has a lot of texture, I'm going to turn off the alpha for the clay buildup. Yeah, now much better. And I probably should work on the bids a little bit more, but for now, it's more than good enough. So I'm going to serve with bigger shape. You should think about how the flow is going. You know, the upper part should be thicker and when you're going down, it should be thinner. Remember that? So couples clumps together. Thank you. Let's us bring back the buddy. Uh I'm not really sure how we should do the overall shape for the end of the hair, you know. But for now, I'm trying to just go with the flow, you know, and see what's happened. I'm constantly changing the brush size, you know, and trying to control the pressure of my pen. Et's pull this in a little bit and work it snake hook. Bigger to smaller. With dams donne are going to add some strands, as well. Not too much. Never rush this stage, you know, It's really need to take a time and just relax and enjoy the sculpt, you know, it takes some time to get in shape and get what you want, exactly. Uh huh. 89. Hair Establishing Flow: All right. Let's continue working on the hair. Okay. Making us. It's let's make it rounder overall. Okay, much better. All right, I think it's good enough for now, and we'll be working on it on the next episode. 90. Hair Adding Secondary Shapes: It has a better blending between two measures. Let's get back to that. I'm trying to make some contrast between each clumps of the hair, and again, big forms and go for smaller and it I Okay probably not going to see it, but let me not gonna see it. Huh. All right, so I'm going to take a screen from this phone with shifts. Let's continue on next exit. 91. Hair Details: So I'm going to save the history by and control and click on last undo and going to geometry, Zoom share, and let's use Zoom share to make a cleaner mesh because the overall shape is there, and I'm okay with that. Last from now, we can always get back to Dynamesh or whatever we want to use Zoom share again. So Okay. That's good. Project. Project history. I'm just checking too if we need more projection or not. No, we don't need that, so let's continue. Uh, this one is not good. I think it's put it on the model on the shoulder pad. It's prettier. Okay. I think this is good. We'll continue working on it on the next episode. 92. Necklace Initial Modeling: All right. Let's refine the beard a little bit more. I think we're good. Hm All right, so let's continue working on the cater. I almost I'm done with the hair, and I think it's good, the horn is good. So I'm going to work on these accessories here. So first of all, I'm going to fix the position. We're not going to see it, but it's good to put it in a good position. So the pull it down. That's okay. And this one pull it down too. And now I'm going to solo Since this mesh is deform a lot, you know, this part is thicker and this part is thinner, for example, I'm going to Z modeler. I'm using Chris edge loop, and choose, for example, let me see. Okay. The top one here is maybe this one, increase the whole area, increase the edge loop. And then I'm going to stroke function, turn off border polygroups and just crease edge and frame by mesh. This will give me the guide, and now I can use curve tube and click on it, and there you go. Now I can make it smaller, click again. This is thick, smaller brush, maybe smaller. Three. Not bad. Maybe four is good. Yeah, this is great. And neither can move it, change it or whatever I like to do, but we don't need that. This is great. I'm going to select this one and let hidden. Maybe change the position a little bit. I'm going to do that for the other necklace, as well. The modeler. Click on some edge. Stroke, framesh shortcut, I think it's seven. Yeah, you can use seven as well. Be care, and you can use whatever you want. You can use tube. Let me see. I'm not sure what is the difference for. Okay. Be care tube. Yeah, I don't know. Care surface. Not sure. Can use like this. Okay. Cave curves. And again, the lit the hidden and let's fix the position. I think this is thicker than the other ones. So let's get back maybe three. Yeah, this one is better. Tell it hidden. There we go. That's great. Fixing the intersection for this part as well. Then check with the hair. I. Fixing the position. Geometry, more subdivision. Okay. You can always go to Mayo and reduce this as well, but I think it's okay. Okay, so let's add some detail to it. So for adding detail, I'm going to duplicate and start creating polygroups like this. It doesn't need to be same. Yeah. Okay. We're not going to see that, so let's ignore it. I'm going to delete this one and just keep this here, going to Zi moodler and extrude it out. Let me see. Hmm. Or I can go to dynamic subdivision at thickness, postpone at segment. Yeah, I think this one is better. Can pull it out, let bit in maybe 80. Less thickness. You can use something like this. Maybe thicker and maybe rounder is better. Moving it a little bit just to make it not so perfect. Yeah. Something like this would be great. You can do whatever you want. But I think I like this one. Maybe I can try to Let's apply it. I don't care, really. Let's apply it. And before we apply that, I'm going to make it less two. Okay. And let's apply it without smoothing and now just add the smoothness. Okay. Let's change these polygroups and can add stuff like that. If you want. Maybe for this one as well. Yeah, this is good. Now we can apply it and start adding some damage to it, Lectrin dynamic. So you're not so perfect after all. Let me bring that standard, standard special. Adding some damages, maybe one more polygroupO more dyna one more divide. Maybe going to surface noise frame noise plugin. Y Yeah, maybe something like that, it's a good idea. Do whatever you want to do it doesn't really matter. I can make it duplicate again and use these two. Uh maybe this one as well. Okay. Let's hidden. And let's add dynamic subdivision. Apply. Okay. Something like this is great and we can do the same for the other one. I'm going to make this to one. Let's go for the other one. 93. Necklace & Accessory: For this I'm going to use Z modeler and going to polygroup Chard Island. And now I can click like this. And next one Alt again, Alt or for this one, I'm going to do this. Let me put this on to nothing. So Let me see how much of that you can see it. Okay. I think this is enough. For this part, you won't see until it here. But Okay. This is good. Two. I'm going to select this one, other group, and select this one again, let hidden and select this one, one group. And now let's group split. Okay. Dynamic subdivision, thickness. Maybe one segment. Nothing. Like this. Next one, dynamic subdivision, takings. Overall is too thick. This is good. So the group, let's delete this one. Smooth it out a little bit. Do the same for this case. Great. Now we can add some detail like what they did for the other one. It's looking good. And I should go to the tipos machine to fix that. The other thing that you can do is add, for example, cylinder, and let's small it smaller and make it smooth. I just want to make a thi, make a teeth, something like this. Something like this. Right. Put it right here, for example. Yeah. Can make this a little bit smaller. Like this. Okay. Let's work on this one. I'm going to save the undo and I'm going to ZIM share one K maybe. Okay, that's terrible. Once again, smooth it out. Save this one again. Okay. It's much better. Project, project is three. Okay, this is good enough. You can add something like this, you know, if you want to. And yeah, the other thing that you can add is, for example, I'm going to duplicate the body, go low before that, let's bake the layer, go down. Yeah, this is good. At higher, and I'm going to the Muddlerhris and Chris this part. Go to stroke frame the mesh, and I can ker tube. And yeah, I can select this and do it hidden. And you can do whatever we did for that to add some details to this area as well. That's up to you. But remember, if you do that, get back on the body and add a little bit of pressure here, you know, something like this to sell the idea that there is a pressure of that. So right now, I'm not going to do that. I just give you an idea to do it if you want. So yeah, let's delete it. And yeah, we're Okay, let's fix these necklaces that they gone into each other. Okay. Dolls out. Pull in a little bit, maybe. Okay. I think this is good. Yeah. I think this is good. Let's get back to it. Next step, we're going to work on the body and kind of finalizing the overall shape. 94. Body Form Refinement: Alright, so I'm going to start working on the skin and finalizing it, adding the details that it need. But I'm just checking the overall shape to make sure everything is okay. So maybe I need to add a little bit of breaks here and there. Pins. Okay I'm looking at the references of real bodies and trying to replicate that. Definitely never going to see it, but just in case if you change your mind and wanted to do a naked one, you know, for example, I'm not using a lot of smoothing for this stage because it gives the skin some breakup, you know, and I really like to have some of them. I'm trying, for example, if I want to smooth this area, I'm going to add some brushes to it, you know, to make it look smoother. And, maybe. Let's go to basic material, making it a little bit more specular. Yeah. Maybe something like this. This process, like I mentioned before for hair, this process takes some time. You know, it is what it is, you know, you can't go around it, you know, I really like to do it by hand. You know, there is some sites like textar XYZ. You can buy the maps, you know, and you just paint it over and you're done. You don't you don't need to go over every thing and do everything by hand, but I really like this process. It's really calm, you know, it's really you don't need to think a lot. You just want to enjoy the process. So yeah. Changing the light a little bit, too. I have a better understanding of the shapes. Can compare to the previous one, this one is much better. Yeah. A a Okay. I think this is good enough, and we can always improve it if you have time, you know. But there's a point you should say, Okay, this is it. It's okay. And you should let it go. And that's fine because always you have room to improve everything and if you think like perfectionist, you know, you never get anything done. I learned that in a hard way, so just sin if you like that, just learn to let it go sometimes because there is no end when it comes to perfection and refining something, you know, and stuff like that. So just sin. Okay, for the Let me work on the hands a little bit more. Make them more pronounced. You should add finger nails as well. Yeah I was shaking if symmetry is on or not. So it's a pain in the *** if he forgot to turn it on. Okay. Okay. I think this is good enough, and we can always get back, you know, and fix it, but for now, I think it's okay. And in the next episode, you're going to add another layer and start adding more details, you know, skim pores and stuff like that. So yeah. See you next one. 95. Muscle Definition: Alright, so let's continue working on it and fix this part, it's a little bit too much. You know, I'm going to Maybe this part a little bit. I think it's much better compared to what it was before. M. Okay. I think this is more natural. Mm. This is good. On. I think shape is much better now. Mm. I should fix this as well. But okay for now. This This was what we work on in the blackout phase, and we did this and this, and this is the end of it. And I think now it's look much better. And I think at this position, we can bake all to get rid of the layers and make the foil a little bit lighter. And I'm going to add the shoulder armor. I want to add some pressure to this area. So maybe pull it out a little bit and add new layer and start pushing it in. It doesn't have to be a lot, but. Yeah. Yeah, I think this look much better. Now we can fix the nails. And after that, we are going to work on the details and probably I'm going to Just make size for the nails, you know, later. And then I'm going to add nails separately. So this is just a placeholder. This is not good at all, so it's added. Okay, I think this is good for this episode. And the next one, I'm going to at the fingernails and fixing the hands a little bit. And then we can add the details. 96. Adding Nails: Okay, so let's continue on the hands. I'm going to let me hide the other things to make this scene lighter. You two. Okay. Now we can Yeah, I can actually use it. I'm going to duplicate the body, bake all and let's do it lower and higher. Let's keep the fingers. Do it hidden. And Like a polygraph. Okay. And this one. Let's get rid of this. These and this. We don't need that probably. Yeah, this is better. Now, let's go higher. Not that much. Now, we can add the thickness. H Yeah, I think this is good. Okay. Much better. Let's fixed position. I think the top part a little bit rounder. We are here, can I add some details as well. I need more resolution, but I think that's the best I can get at this point. Okay. Let's go. Work on the others. I'm going to delete those other two. I can replicate this one. Duplicate this one to use it for other places. So I've sticking to this one. Set Me pending. It can be more, but, this is kind of cool. Something like this is great. We can have damages later. For now, just sticking to the overall shape and form. This is looking. Okay, cool. A on control and track to make duplicate. M. I'm not sure why that happened, but never mind, I'm going to turn off symmetry. I select them and let hidden. Later, I'm going to make the mirror. Okay. Okay. H m. Okay. This is good. Okay. And the last one. Make it a smaller m Fingers are too flat, we need to fix it. I think this is good. And Okay, let's make a mirror for the nails, turn on symmetry. Okay, and continue working on the body adding details and working on the nails and finish the old model and prepare the model for posing and render. 97. Skin Details Base Noise: All right. So in this episode, we're going to add the details to the character, to the body. First of all, I'm going to name this form and add a new layer. And the first pass that I like to add to the character is going to surface noise, me and let's add pearl noise. I don't mask. Maybe don't color. Let's make them separately. So okay, this is too much. I just want to see the scale. Yeah, this is too much and a little bit bigger. Okay. It less small. Okay. This is good. Let's apply it. And for that inflation, I can turn it off into little tree, storm off. Again, go into little tree again and switch and go back up. Now, I think the inflation is fixed. Yeah, we still have it, but let me do that again. But this time, let's make it smaller. And mask by noise. And negative 1.5. Okay, too much. Negative 1.2. Okay. That's another one or tens and again mask by noise. I'm not going to add too much, but for example, a negative 0.1, Yeah, that's too much. Maybe half. Negative 0.05. Yeah, this is better. Now, if we see it, yeah, we can see. The result. Okay. Noise. Add new layer. And maybe this one drag really low. I can break the skin even more. To not be so unified everywhere. C to smooth some areas. One of the best ways to add details to the character, especially the skin is in this stage, you know, you can use texture XYZ for the details. And those are scanned version of the skin, you know, and really high quality. And most of the people industry using that. But since it's expensive, you know, and maybe you need to learn how to add them manually, and yeah, have to take your time, you know, and enjoying the process. Okay. I'm going to Alphas and brush Clone. And let's use this one. Spray. Let me see. Okay. Is this up. Turn off the cemetery for this part. Et's clone this precious well, and use some directional like this one. M. Okay. I think I did some Okay, let's put this in another layer micro diesels. So I'm going to turn off this layer and storm off target. Et's duplicate it. And, okay, let's bring back whatever it was before for this area. Okay, that's good. And this one micro and I'm going to do the opposite this one. Okay. Et's clone this brush and here's another. Uh, let me try this one. Okay. Okay, direction is good. We can use that leather as well for the ice. And to add a little bit more. Okay Okay. I'll continue working on the next episode. So see next one. 98. Skin Details Adding Pores: Okay, so let's continue working on the details and adding them. I'm going to hide these layers and going to level one. Let me make a duplicate the higher. And I want to see if you have UVs or not. UV map. Okay, you need that. Okay. So Either we can use unwrap and based on polygroup If it have one, let me see unwrap. Since this mesh has UVs and it's quite good, we can go to Maya blender or whatever software that you use and unfold the UVs. Let me see. Okay. Okay, let me see. Noise Edit, Alpha. Yeah, this is not good. So yeah, let's delete this one. Go to level one. I'm not sure why we lost all the polygroups, but Yeah, probably somewhere in the process, I accidentally hit CtraW run everything. But yeah, it's okay. Never mind. We can go to Po group and make UV groups. Yeah, something like that. That's good. I'm going to export this and go to Maya and unfold the UV. And turn on trigger. Okay. So now we can unfold. We're gonna shift and right click and unfold all the UVs. And let's fix the position. Natural waste. It's like that. Turn on symmetry. Cut. Let's cut this part as well. Okay. Do this better? You don't need legs, you know, but let's keep it here for now. Okay. Transform texal density, make them the same. Okay. A We don't need licks, so let's make them smaller, put it away. It's back and Okay, let's get this and Okay. I think this is good enough, so Let's get back to rush. Yeah, let's import I'm going to Auto group DoV make them one group to have easier access. Okay. Now let's go higher and test if it's good or not, noise, edit at the Alpha. Yeah, this is much better than what we had before. Either we can use it this way for all places and use more to get back wherever we don't need it. Or we can use it as a brush. For example, skip this and turn off the noise and turn on this one. Okay. Add new layer. Clone the brush. Alpha Import and use this one. I'm sorry. Not glossiness. Height, maybe. Surface. Yeah. And we can use it this way to add wherever we need or we can use drag. Yeah, something like this. And for this, I'm going to turn off the macro and secondary. Turn on, let's go up noise, skin, turn on. Before that, I'm going to storm off target using noise, let's see. Maybe this is too big. I can four I think this is good. Let's apply and sit. Yeah, this is good. I'm going to use more target to remove areas that we don't need. 25. M Yeah, this is much better. But less this area maybe bring back some of this. Okay. So we can remove some of these as well. But for now, it's okay. Turn on the layers. Let's use another Alpha clone. Alpha surface. This is good and can continue working on it on the next episode. 99. Skin Details Wrinkles: Alright, so let's continue working on the details. Go to macro. Turn of color. And Okay. This is much better. Let's go to secondary. And the standard let me use this Alpha. Y y y y Okay. Much better. Let's continue on extra details. Okay. Let's clone this brush and use another Alpha. Mm. I just want to see how it's look. It's usable? We can use this one for this part, although I know I'm not gonna see it, but No, it's not good. Yeah, maybe we can use it for here. It's not bad. The surface. Yeah. 100. Skin Details Torso: Okay, I'm going to use Alpha for and pars. You know, I load them already and adding some of them here and there. Let's use this offer. Adding some more wrinkles, you know, to the overall body and especially the face to make the skin look more old. Et's enhance the details and wrinkles a little bit more. Okay. Let's let's some of these Maybe same to. Add new layer and break the symmetry a little bit. For example, F one up a little bit. Yeah, this is much better. So I'm going to add new layer and start adding the veins. So I'm going to lower subdivision and start adding the veins. Maybe I'm going to hire before we add the veins, let's turn off these layers noise. Before that, let's storm off target. Okay. I think this is good enough. And let's turn on the layers. Yeah, this is much better. Continue working on next. 101. Skin Details Scars: Alright, so let's add some scars to the body. So probably let me add a new layer and call it scars. And I bring some free brushes, you know, that we can use to add those scars. I leave the you can find this in the project file, and I put the link there. It's total free. We can use them. And for this, let me turn off the details. Yeah, I think I will do that without the noise. M. Okay. So maybe let me turn on this. We're on the layer. Yeah. We have this phone. I look great. It's good, too. I think I'll go with the first phone, but let me show you which one? Yeah. Yeah, but with the first one. Okay, let's storm off target and No, I don't like this one. Okay. His stomach. Et's turn off the symmetry. And okay. Let's add one here. Maybe not this straight. Straighten Yeah. This is much better. This brochure great. Okay. Let's add some back. We're not going to see that, so let's go up for I didn't use that. It's going to Z. I just want to try to. A little bit, it's fun. No more than that. Yeah, something like this is probably cool. Uh, Maybe I had some on his face. Something like that. Maybe a big one here. It's up to you completely if you want to do this or not. No, it's ruined. So let's go back. Try again. No, I don't like it much. Yeah. It's much better. M. Add some scars here and there, you know it's going to make the character more unique, you know. Yeah, I think this is good. Okay, let's turn off the macro. Yeah, let's turn a macro and work on the Let turn off noise as well and work on the over shape of this part. I it I I think this is a Yeah, it's much better, in my opinion. Okay. Let's work on the back as well. Uh I just want to break the screen a little bit more. Okay, I think it's okay for this episode, and we're going to working on it on the next one. 102. Hand Tertiary Details: Okay, let's continue working on the details. I'm going to change one thing. Uh, add a little bit skin breakup, you know, and bump to play with the highlights a little bit. I think this is much better. Let's see the difference. Yeah, I like it more. Probably later, we need to add damage to this leather bend a little bit more, you know, currently, it's not good enough. Maybe we should do something like this to this leather as well. And add more damage, obviously. But now, I'm going to focus on the hands. So I'm going to macro Oh, no, let me turn off macro. What it turn on turn off noise. Okay, should the term. Turning of veins and scars. And let's go to secondary and start working on the hands. Let's reset the brush. Okay. Using skin folds. We should add them in the micro. Details? No, I'm going to add the bigger one. You can take a picture from your hand and making Alpha for you and use it instead of doing everything by hand. Oh, it's whatever work for you. You know, it's fine. Try to not doing a strat line like this, as much as possible. Try to make the brush a little bit wobbly. Not make a straight line. You know, it's more realistic. And we continue working on it on the next 103. Hand Micro Details: All right, Let's continue working on your hands. Make a clone of this brush, and Alpha port. Let's straight this one. Et's go too. Micro. U. That's one. Y. I think this one was better. Yeah. Maybe less intensity. Okay, this one is better. Okay let's hide now skin. Okay. Let's add some more details to the palm of your hands. Hey, I think this is good so far. And we'll continue working on this the next episode. No. 104. Hand Nails Details: Okay, so let's continue working on it. I'm going to add a little bit more detail to this area. I want to make sure that we can see it from distance. Okay. With a standard brush, I'm trying to make the forms less flat. Uh huh. Okay, I think hands are okay, and good enough. I think you get the idea. I have to add details, you know, and micro details. And yeah, I think this is This is it. Okay, cool. So now let's work on the nails. I'm going to apply it at subdivision. And okay, 3 million. You think it's good enough? Sorry to flatten it. A it o Okay. Make it a little bit flatter. Mm. Mm Mm. M. Okay. I think this is good. Let's check the model. And sort, I think everything's look good. Can add a little bit more detail here and there. Alright, I think everything is fine for now. And the next episode, we're going to work on the remaining parts and refining and hopefully we end this series and start working on the pose. 105. Polypaint (Coloring): Alright, so in this episode, you're going to refine anything it's remain. You know, for example, we didn't work on the teeth. So we're going to work on that and fix it. But before that, let me a little bit exaggerate the details around the eye. And after this, we're going to work on the pose. And going for the render. Okay. That's good enough. And o. Then we add one more layer and call it poly paint. Well the paint. And let's give it a base like this. I think it's okay. 100%. Let's make the color. Since we are in layers, we can't do the polypin without any layer. It's not recording it, and we can use fiel layer as much as I remember. So we have to do it manually and leave a brush stroke, you know, to save the polypn. So I'm going to add a base, and now I'm going to work on the Make the lips a little bit darker. It means calls pretty Let's add a texture. Yeah, something like this. Great. Okay, I think this is good. Maybe maybe this is a little bit too much. Let's tone it down a little bit. Good flat color. Okay. 106. Final Adjustments: Alright, so let's add the Let's refine the objects, you know, whatever is remained for now, I'm going to hide this that I don't want. Bum. Let's keep it. This fun, I'm going to It's really it's not okay from distance. Okay, it's better. This one is really simple as well. Let's a more damage to it. H. Let's add some pressure to this one. I'm going to add new layer to check. If we don't like it, you know, can go back. Storm off, uh Okay, let's see the difference. Yeah, I think this one is better, so let's bake it. Let's add more details. Okay. I think this is much better. And this one is too perfect so as say thing like that, so let's add some more damage to it. Emphasize the details a little bit more. Mm. Adding a little bit imperfection to the oral shape. Okay, this is much better. Let's go for the other one. I think this is not good enough yet. Let's copy this noise. Copy it here. O. Going to where is that? Oh, yeah. Noise, paste, and it doesn't have UV. Okay. Into low subdivision. Maybe not that low. Yeah, I think this one is better. The little lower. Let's let me see. Okay. ControW and plug in polygroup. Let's go. Try again, paste. Okay. It's different. Alpha. Let's ignore that. And, yeah, we should add it. Layer and storm off target. Let's apply. Nos by noise. Negative one. Okay. Yeah, this one is better. Let's emphasize details a little bit more. Okay, this is much better. Let's back the layer. Yeah, it. This one. A I just wanted to add a heavier damage to it. And this one Mm. Okay, I think this is good if we switch back. Yeah, this one is much better. Maybe a little bit more damage to the top. Yeah. Switch. Much better. This one. Yeah, that's great. Okay. Let's check the other parts, Belt, fabric, sword. Okay. I think everything is good and we can start working on the pole. The only thing that remain is the teeth. So I'm going to turn off the symmetry, pull this up a little bit, and apply and start adding Okay. 107. Posing The Body: All right. So in this episode, we're going to work on the pose for the character and prepare the mesh for the rendering process and finalizing the course. So this is what we have so far, and yeah, so I'm going to tipose the mesh, transform So now we are in T pose. I want to work on the default pose, you know, like the concept. We don't need to do anything fancy. So symmetry is off. And I'm going to first work on the hands. Rotate the body a little bit. A Okay. Okay. This is good. Let's not the mask. Let's rotate it a little bit. Let's rotate the head. Wear mask. Tilt to head a little bit. Maybe a little more. Okay. Blur the mask and maybe we can tilt it side. Okay. I think I did something wrong with the tees. So probably when we back from transpose master, it's not gonna work on the tease part, but it's okay. I just forgot that. No worries. Okay, so let's work on the arms. There. And let's Let's right around here. Let's bend the hands. Hands should bend from here, you know, this line right here, not from this part. You know, I never bend the fingers from here. Always bend it from this angle. So Okay. Maybe probably I should maybe make it longer, but now, I think it's okay. Let's put it right here for now. And We need to fix the hands later in hi poly. M, Okay, I think that's good for now, and we continue working on the pose in the next episode. 108. Posing The Arms: Okay. Let's continue working on the arms and hands. Mm. Asking all the assets for the forearm. And blur the mask and invert it. And let's rotate it a little Let's bend the fingers. I think this is probably good. The fish is not good enough. Probably I'm going to work on it when we get out of this tea pose. Not for now. I think it's good enough. I'm going to make a polygroup for each fingers, and in the next episode, we're going to make the other hand fist too. 109. Posing The Fist: Okay. Let's continue working on the fingers and making the feast for the other hand. I'm going to mask the polygroup and bend the finger. Don't worry too much about the fingers for now. Once we're done with the tipos, I will go back and refine the hand adding folds and wrinkles based on the ni pose. Okay. Let's open the legs a little bit more making him more grounded, you know. And I think now it's better. Now he has some weight, you know. And yeah, I think it's better. A 110. Refining Teeth & Hands: Okay, I think this is good enough. You can always make a better pose, you know, but I just wanted to show you how I do it. We still need to work on the hands probably and some other areas. But overall, I think everything is okay. A Okay. Let's back to Subtools Okay. For the Ts, I'm going to select this one and append it here. Okay, insert this one. It hidden. I just want to make sure the position is right, and then I'm going to move this to wherever it is. Okay, let's delete this one. We don't need it. And yeah. We need to work on the hands. And after that, we are ready to export it for render. Okay, I'm going to turn off all these layers. Maybe not the secondary one. And wins scars. I'm going to pose. Well let's start working on the Right now, the is actually terrible, so we need to fix it. Let me hide everything that we don't need. Okay. Let's keep the form, and yeah that's it. Let's add a new layer and call it Prose fix before. We do that, so Okay. Okay, symmetries off. Alright, I think I should end the video right now. And in the next episode, we're going to finalizing the hands and the overall shape. And yeah, we're done with this section. 111. Finalising The Pose: Okay. Let's finish the hands and pose. Let's put it here. Okay. I know this part may be a little bit hard or time consuming, but always remember whatever character you're working on it's always better to see it in pose, you know, save another version like me. I did save pose 92 version pose. And I do whatever I want in this version. Since the character is done, I'm doing one for presentation, and it's really much better for selling the character to the audience, had some feelings with Remember, do that. It's always a good idea. And I think we still need to push this upward. Okay, I think it's much better. Let's see the difference. Okay. Yeah, this is much better. Except that we need to maybe pull this down a little bit. Yeah, I think it's great. And I think, yeah, symmetry was on and I run everything. So I'm going to make duplicate for the nails and higher delete lower, and I'm going to keep this part delt hidden and construct Yeah, maybe this is good enough for the right hand, left hand, I mean. And for this one, I have to go back until I didn't screw up everything. Yeah, after posing. So yeah. Okay. Delete it then and keep this phone reconstruct. Okay. Great. Now, let's get back sort. These handles look quite good. I don't need to do a lot of think about it. Oh, maybe except this part. Okay. I think everything is quite good for now. In the next section, we start decimating the character and exporting the texture and start the lighting and rendering in MarmsaTolbk. So see you in the next one. 112. Decimation: Alright, so I'm happy with the polls and everything is, seems to be okay. So I'm going to make everything at all high to make sure everything is at high subdivision. And I'm going to apply anything that has, uh Dynamic subdivision, like, for example, this. Let's apply that. Apply this one. What else? Okay, doesn't need that because it's going to 4 million if I add that. Okay, this is a problem. No, it's okay. I'm sorry. And what else? This one. Yeah, let's apply that. This one. Dyn subdivision. Okay, we don't need that. It's too much. I don't need that for them as well. Okay, I'm going to apply this as well. Apply, apply. This one? Let's apply that. This is okay. And yeah, I think it's okay. I'm going to hide the body. Yeah, hide the body. Oh, let's hide the ice as well. And the reason that I'm hiding the body is I'm going to use that because we have a good topology, and it didn't ruin it. I'm going to use it as a base mesh. You know, level probably exporting Level one or Level two and baking the normals, and I will assign the normal map into in the marmset or blender, whatever software that you want to render. But the other parts, we can since we have good not good, you know, since we have topology and we have levels, we can use level one, but still too much and it's probably heavy. So I'm going to decimate them. Yeah, I forgot to apply this, this one, as well. And, yeah. So let's go to nails and and using decimate, Zip plugin, decimation master, and I'm going to use polypaint nothing. Oh, yeah. This one has polypint. Let me hide this one as well because I want to keep the poly pane. And let's keep vies just in case if you need it. And I'm going to preprocess all and then desimate all. Since it takes too much time, you know, I'm going to pause the video and get back to you and it's done. Alright. So I did the decimation, you know, some of them are 5%, 3%, 10%, 15, you know. I just want to make it lower. It was around 45 million after I decimated by 20%. And then I go down each subtol separately and did it manually, decimate current. You know, for example, 5%, some of them are okay. And them, for example, 20% should be okay. And the other thing that I want to do right now is it's really heavy, you know, as you can see, it's lagging. So I'm going to turn off these layers, these folders. And I'm going to for example, for starter, I'm going to export the torso armor, and I'm going to Z plug in and where is it? Fix exporter. I'm going to select the visible FX 2020 or whatever you want. It doesn't matter, and then hit export. Let's give it a name OBJ, for example, decimate and torso armor. Let's export that. Again, it's going to take some time, so I'm going to do this off camera, but I'm going to do that for each folder separately, and then I'm going to get back to you for what I'm going to do with the body and the horns. 113. Exporting Textures: Alright, so I export each folder separately, and I imported in Marms toolbke just simple dragon drop. And now I have everything except the body and the horns. So every fol is separately in one efix file. It's really better for managing. And now I'm going to for example, work on the horns for starter. Since we have UVs, I'm going to, for example, level three, probably. I can export four as well, you know. We can do that, totally. But before that, I'm going to popaint and let's open up texture. Yeah. And let's new from polypaint All right, so let's clone the texture. I think I should flip V before I export, but let me try that. So Okay, PNG, for example, let's test it. I'm going to export Level four. And I'm going to put this in I'll beat them up. Okay. I think this is good. So now let's go to normal map for normal map, whatever you choose for subdivision is your level is your lowest subdivision. It's going to bake on this level. For example, if I want to bake it on level one, it's going to bake it on level one. So right now I want to pick it on level four, so create normal map. And now clone, flip V export and And let's assign this normal map. Not sure if it's okay. Oh I think this is correct. Yeah. Okay. Yeah, this is correct. So let's do the same thing for the body as well. I'm going to select the body. First, I'm going to new texture from polypant. And I'm not sure why that happened. Okay. Let's get back. Oh. This is not good. Okay. Before we going to the body, I made a mistake. Let's go to the UV and let's make it four K. That's what was wrong. So let's turn it off and from polypint again. Again, column texture. Flippy export and this one. Let's do the same for the normal map, going to turn it off. Take sure. Let melt everything. Create normal map. Clone flip, export. Let's save it onto this. O Okay, I think this is okay. And Yeah, now it's four K. Let's over the body again. The reason that I'm not sure why is that happening. So I'm going to merge all the layers. Uh, split, merge down, merge down, merge down. And yeah, four k texture. And new from polypint. And if we turn off colo rise, yeah, everything is fine. Clone texture, Filipe, export, mish body. Okay. This is okay. Awesome. And let's go with level. Yeah, level three is good. I'm going to export this one. Body. And let's go and create the normal map. Four k, clone, texture, flip V, and export underline NN. Okay. Now, let's bring the body. That Export it. You don't need all these materials, you know, but, not sure how deleted. Let me delete everything if I can. Okay. Okay, new material, cool it. Warns. Let's create new one, cooled body. Let's assign it. And this is the Albedo, and this is the normal map. Yeah. Looking great. 114. Marmoset Setup: Okay, unfortunately, Marmst crashed. I'm not sure why, but let's assign this default material to other let's shake it out. For example, if I make it red. Okay. Yeah, yeah, this is great. Let's make it a little bit rougher and a little bit darker. Something like this. Okay, let's save it before we crash again. And okay. No, I'm not. All right. Let's go for the eyeballs. Bye. Is that a sign. All right, so before we zoom in on the materials, I'm going to make a turntable, and let's name it. Let's put all of this into turntable. Okay, great. The other thing that I need to do is change the camera to, for example, 50 millimeter. I think it's good. Let's add the shadow catcher and raster Brit. All right. Now we're getting somewhere. Let's COVID a trace. Yeah, I'm not sure why is that happening, but apparently, this will fix it. Okay. It's kind of cool, but it shouldn't be there. I'm not really sure what is happening. Probably it's for the normals. Okay. Uh, this one. Anything else? Yeah, anything else? That's fine. Let's save it again. And let's close them. Oh Okay. This is good. Now, let me work on the eyes a little bit. I'm going to hide the body and the horns, and let's make it shiny as much as possible. In transmission, we can use refraction. We don't need anything like that. Refraction is good. Let's go to eyeball and we can make it subsurface. I'm not sure if it's, it's not visible, so let's not do it. Let's bring back the horns and the body. Let's save it and start working on lighting. 115. Basic Lighting: Alright, so we import everything that we needed, and you can maybe you should say this is good enough, you know, and presenting it, maybe this is still do lighting, whatever you want to do. It's fine. Uh, let me try some other things. Yeah, this is cool. But let's turn off the sky for a second. But before that, let me position like this may be turning off and let's add a light. Okay. This is not bad. Let's make the diameter a little bigger to make the shadows softer. You know, for example, if you look at this, you know, this is so hard and make the shadow softer. Practically, it's going to make the light source bigger. Okay. Let's add a light from the back. Maybe reddish. Uh, this is too much. Let me have a **** to see how it's look. Mm Okay, Fog is not that good. It's not that bad either. You can turn on Sky, as well, you know, test different scenarios, you know, You can use color. What do you like? You want to keep it at black? Just check what lighting scenario is working for you. This is not bad. No, it's not god. This one. A And let me see if any. Okay. Let's go back to the studio scenario. Okay. Alright, Marmos crash again. Sorry about that. This is a heavy scene, you know, because we have a lot of object, and we should have been a little bit more careful about it, but no worries for now. So I'm going to turn off this guy. I want to add one more light sample here. This phone is going to be cold. M. Let's make this one white and go with Kelvin. That's too much. Yeah, you don't need you don't need that. Let's go to other one. Maybe a little bit bluish as well. You can try blue as well, but I really like the orangish one. Yeah, this is really cool. I can turn on this guy, I can turn on this phone and this phone. Maybe a little less. A Okay. The noising is annoying a little bit. Let me turn it off. This is much better. Okay. Uh, I mean, camera. Let me show the safe frame. Okay. 2.842 0.8. I think is good. Before that, I'm going to buddy. Let's subsurface scattering. Give me a little let, check the subsurface. Okay. This is kind of cool. Yeah. 116. Camera Setting & Material: Maybe we can add a new material, you know, or let's duplicate this one, call it darker. Make it a little bit darker and assign it to this a little bit. I don't want to make a lot of differences. Now, I'm going to change color to make sure I assign it to I'll Oh, I'm sorry. Okay. I think last one this is Okay. I think this is cool. Let's fix the color, maybe a little bit darker. Maybe a little more. Yeah. This is good. Let's add a metal material. I just want to try it out to see if it's look good or not. Alright, I get some textures, you know, you can assign it for roughness to see how its look. Please don't crash. Oh, it didn't one. Yeah. Okay. Let's add diffuse. Add the roughness, metalness. Mm. Okay, texture. Let's put it on triplanar. Yeah. This look cool. Maybe I can assign it to this one as well. Yeah, textures too. Dark, I guess. Okay, I'm not a fan of this part. Let's bring back the default terial at least for these things, you know, since we don't have textures, you know, it's really bit not cool. Yeah, it's not suit the model. You can always go with one light. You know, you don't need to go crazy about it. For example, if I duplicate this one and make it brighter. This is not a bad shot, lighting, in my opinion. Can take some shot like this. You can add this one, you know, just it's turn on sticky. You know, just this fun is cool. You need to add another one. This fun is cool, or you can go with red, whatever you like. But I think they keep it simple. Not really sure about it, but so far it's good. And let's go to Body. Make it a little bit darker, maybe. And Atrix linear renor testing to see how it's look high contrast. Yeah, maybe high contrast is cool. Yeah, I think I go with ACS. It's much more reliable. And this is too reddish. Maybe like this. And the other thing that is too dark is the custom. I need to make them a little bit lighter. So after savings done default. Yeah. Make it a little bit lighter and the stark value. Yeah, I think it's much better. Maybe just a little bit. Bloom and a little bit vignette and a little bit of grain, maybe if you like. Let's see what else? Distortion. And A little bit chromatic abortion. Not too much, you know, don't go crazy about it. You know, this is terrible. Don't do that. Just a little bit. Yeah. And a little bit of barrow. I don't think we need flair, but flair, so don't need that eyeballs. Okay. Let's duplicate. Yeah, no, it's not good. Okay, we can continue working on it on the next episode. 117. Cinematic Lighting: Alright, so I did another lighting. You know, I was testing out. So this is our lighting. You know, we can use this one instead of blue, whatever you like. And I was adding another lighting scenario. So if I zoom in, turn the light on, I just add this one an omnien light close to his face and copy the background from this one here as well. And another one fill light on the other side of his head. And the other thing that I did is I make I create a box in Moya and export it out, and I bring it here, and I just assign a This picture to the Albedo map and missive, as you can see, this is a missive, and you can play with the lighting. And it add a little bit of cinematic, you know, to it. So something like this probably good Since I add the anamorphic lens, you know, it's going to make the book a little bit wider. And it's add a little bit more cinematic feeling to the whole scene. And you can use like that. Maybe a little bit no. Yeah, I think this is good. I can make the shadows harder. Can turn off this. You know, you can do whatever you want. And So let's rent a couple of shots out. Okay, so let's create a camera for close up. I'm going to, um, duplicate this camera and let's zoom in. Turn on the background. R. Okay. Let me duplicate this folder. I want to work on the blue light. Okay. Let's go to this other tab main camera. Let's make this a little bit brighter. I usually kill the skylight first to control the mood, then start with a strong rim light to carve the silhouette, and a 45 degree kilt sets the tune and soft felt balance out the shadows. That's the usually the case I'm doing for most of the characters that I'm working on. And but after that, you know, after you're done with this kind of lighting, this is basic lighting, in my opinion, but you can do a lot of things with it. But after that, you can go do whatever you want, you know, try different things, different color, different lighting scenarios, and you can just take a shot from a movie or game or whatever you like and try to replicate that. And yeah, that's what I'm doing right now, too. I think maybe this one is better. Okay. Let's use this light to put it around here maybe. Duplicate and let's change the color to I'm just experimenting with this, you know, to see does it look good or not. No. This one is not bad. Maybe less bring it to this side, and I think this one is better. Okay. You can use this high contrast as well, or we can work on it in Photoshop. But, let's keep it for this one. I think this one is good. Let's check the other one. Yeah, let's ignore this high contrast or maybe not that much. Okay. So this lighting scenario one. This is number two. **** doesn't matter. I don't know. Okay. **** didn't do anything with this one. Yeah, can do that. Yeah, it's cool. Let's save it. And this, I think it is too much, maybe too sve. Yeah, I think this is a little bit better. And Okay, let's render this one out. I think it's blurry and it's maybe for the focus that me. Yeah, it's out of focus.'s put that here and 2.8 turnoff is not good. Maybe can focus on the eyes or Okay. Lens is 85. Can go back up a little bit. Zoom in. I think 85 was better. Two. Okay. Let's render it again. Yeah, this one is much better, but let us turn off the No turn off. Let's make it a little bit less. Okay. Maybe four. Okay, let's put it 2.8 and put the trigger here. And that one is good. Let's go with this render. This one is good, too, for example, if I add more curve, you know, like this, it's going to be more interesting. But for a purpose, since we have this Yeah, we can use this one as well. And let's turn this on and make this one duplicate it. Make this 14 and turn this off. Yeah, let's turn this out. Alright, so we have this one. Let me. This one, this one, and this one. I think this is good for close up. 118. Rendering & Presentation: I Alright, so this is the last episode of the course. So I'm going to refine the lighting a little bit more and bring it back to add a little bit shadow and form here. And Both of them are great. This one is cool, too. Yeah, I'll go with this darker one. I'm going to render this out. And for the render, we can go here and put a destination here. So I'm going to this place, render and God name. And okay, GPudinizing, high quality. Everything is good. We can add passes if you want. I don't think I'm going to need it. Maybe seclusion. I'm just going to try it out to see which one can we use depth. Maybe. And let's see the wireframe. I think it's too dense. Yeah. We don't need to do that. Let's run to the south. Okay. Render image. And let's delete this camera at new main camera. Let's delete that main. Let's render this out. Okay. Let's go for the other one. Let's render this one. Okay. And okay, let's turn off the bit inclusion because it's going to be same for all the renders for this shot, at least. And let's Okay, turn off three. And I like this one, too. We need to feel like here, probably. Maybe I can use one of these. Yeah, this one, let's duplicate and put it here. Turn it off. Yeah. Change it to omni. And let's make it a lot less brighter. And Yeah, it's good. Let's render this one, too. Now we have this render. I think this is good for a close up cinematic. And now let's go and do a full body shot. So I'm going to main camera. This is not bad. Let's hide the background. I can turn off fog. Okay? Tree, not good. It's not fit here. And this one without fog is good. But before that, let me try something else. It's duplicated. And et's put it here. This one is back. We're going to have these two together. L in close up a one. And since these two it's similar, let's Okay, and three. Okay, good. And for the render, I'm going to or the full body, I'm going to use this. Mm. I can go either for cold light or warm light. I'm going to get warm. And yeah, I can do render. But before that, I'm going to turn off the focus. And yeah, I think this is good. For the full body, I'm going to change the camera lens to wider one, for example, Yeah, 25 is a lot, maybe. It's not that bad, you know, you can go with 50. Yeah, this one is better than, uh, Yeah, this one is better than 85 millimeter. So I'm going to render this one, and I'm going to turn on the sky as well. It's good good looking, maybe a little bit less Yeah, this is good. And I'm going to render this. I'm going to use this one to add some background to it. Like, not this guy blurred and went. I think bits is good. Just a little bit Yeah. I made it less a little bit too with this. So Yeah, something like this would be great. Turn it off. Blue is good. Red is better. And, I want to make it more. Maybe I'll never top. Yeah, I think this one is great, and let's render it out. Alright, so I did duplicate of the background and changing it to have some of these look like particles in the air. And let's pick a good angle. Yeah, I think this is good as well. P. Number two, grade of Okay. This is a good shed as well. You know, the lighting blue and warm. Yeah. But let's go with this one. Let's duplicate it and see if we can find another angle. Yeah. I forgot to change the. Yeah. This was something like this. Okay, let's skip this duplicate main camera two. 119. Compositing: Okay, so I'm going to copy this ebendclusion, and paste it here, multiply and maybe 25% or more. Okay. This is good enough. Let's combine them. Control JT copy and camera raw filter. Okay, terrible. Maybe add a little bit of contrast reducing the shadow. Add a little bit of texture and clarity. Okay. This is much better. It's okay. This is good. I'm going to this phone, let me Control E. Control J and Control Alt F to do that again. I think it's work here as well. And this one Okay, this is not bad. Let's copy this, multiply 25%. And let's see if it's working here too. It's not bad. But I like this one. Let's go to this one. And yeah. I think this is good. We can add some filter to it as well, for example, can use some of the filters here. This one is good. Style vintage. Maybe 75%. Yeah, I like this one is good. Let me try on this one. Work as well. Okay. Let me crop the image. But here everything is good. And these don't need any cropping. So yeah, I'm going to save them, and this is it. 120. Sword Refinement: Alright, so this is going to be the last episode of the course. And one thing that I forgot to fix, I saw it during the render, and I forgot to fix it. I'm really sorry about that. But this sort right here, it's too kind of perfect. You know, it's so straight and it doesn't have a lot of damage, and we can see it from this distance. Especially, if you share it on Instagram, you're not going to see it a lot. You're not going to see it at all, and it's going to look like a flat pencil or whatever. So I'm going to quickly fix it, and let's add layer. We need to do that in the tipos or a pose. But for the sake of the tutorial, I'm going to do this on this sort, you know, because it's really faster and easier. So yeah, I'm going to add some damages like this with sanded brush. M. A Make the damage a lot bigger. Lasso bring it out a little bit and bring this Yeah, and it look much better from distance. You know, if we turn it on and off, as you can see, it's much more visible and better. So let me add more. It's a really normal thing, you know, you go back and forth a lot when you're rendering the character, even in this stage, you know, even that we can that we don't have locally yet. If you want to have a good render, even for this stage, you know, you need to do this. Sometimes you have to go back, you know, when you render things, you know, saw something that it's not visible in render or it's not good enough, you have to go back in the Z broach and fix it, and, you know, you do all of this again. And yeah, you get the idea. I'm just saying, you know, don't afraid of doing something a couple of times. You know, it's part of the job. I know it's annoying. Right now, so annoyed, but that's part of the job. It's really nothing that you can do about it or there's no shortcut, you have to do this. Okay, it's much better. All right, so let's do the same for the cover of the sword. It's really have nothing at all, so let's emphasize that. Bigger two let's bring this. Something like this, you know, I just want to break it as much as possible. Since this is two object on each other, you know, it's acting weird. But it's total fine, you know, we want that want that kind of damage. So it's totally cool. Okay, I think this is good enough, and maybe let's push this in, push this one out. Yeah. Let me see it from distance. I think it's much better, you know. And, okay, let's export the sort. I'm going to let me show you before and after. I'm going to bake it all and sub too. Let's hide everything except the sort part. And Changing the silet a little bit. Okay. Okay, I think this is good enough. Let's work on this as well. It was too flat. Let me give it more damage. Not that much. And Okay. Maybe it's too much, you know, but it's better than what it was before, you know, so I'm okay with that. So I'm going to plug in FX exporter visible and export it in so yeah, let's export and oh, I'm sorry. Before that, I'm going to decimated the two, this one. I think all of them, yeah, I should decimate all of them, and then get back to you. Alright, I exported from zebras and automatically marms that replace it. And yeah, everything is much better now, except that I have to do it like this. Let's select this one. My, uh, Okay. I think everything is cool. Let me hide the body. Yeah, everything is fine. And yeah, that's it. I render it out again and fix it in Photoshop, and that's it. Alright, so let's check it out, check it out again. You know, you can make this a little bit brighter in Photoshop, all of them, not just that one. This is good, and this is our new render. This sort is much better now. Maybe I go too much, you know, with the sort, but it's totally okay. I just wanted to show you how to you should, you know, exaggerate the detail, you know, and work on the silhouette to have this kind of cool effect. And yeah, these are our renders, and this is the shot. Yeah. And you can do another thing, you know, for the Zebra, you have to render for Zebra. For example, you can bring the character here. One of the things that I do mostly is position the character right here. I'm going to zoom out the Canvas and then I'm going to export the document wherever I want. And then in all the direction, I'm going to do that. And then, like what they did for the Marmoset scene, we can do that for Zbrush as well. And we have the sculpted version in Zbrush as well. So yeah, and hope you enjoy it and hope you learn something from it. And thank you. Thanks for watching. Have a great day. 121. Conclusion: Hey, everyone. Huge congrats on finishing the course. I hope you found it valuable and feel inspired to create some incredible art, keep practicing, stay passionate, and keep improving every day. If you want to keep growing, check out our other courses that go deeper into anatomy, hard surface sculpting and texturing. And thanks again for being here. Keep sculpting, share your work, and I hope to see you in another course.