Zbrush to 3d Printing: Bring Your 3d Models to Life

1. Introduction: [MUSIC] Hey guys. Are you interested in 3D printing but don't know where to start? Would you like to create dimension characters, collectibles, and prototypes? If that is the case, then I welcome you to the Nexttut's ZBrush to 3D printing course. My name is Abraham Leal, I have 11 years of experience in the industry, and throughout this course, I will be sharing all of my tips, tricks, and techniques to get you to create amazing characters and get them ready for 3D printing. [MUSIC] In this course, we will be covering all the necessary information so that you can create the scope and eventually 3D print your own statue. We'll be covering everything from the very creation of the body, of the character, correct proportions, anatomy, props, hair, every single part of this coating process, and then also, all of the preparation that you need to make sure that you get the best possible print. In this course, we will cover character design and that means sculpting, posting, props and accessories, supporting STLs, 3D printing, and cleaning. This course is divided into six chapters. Throughout this chapter, I will show you all the necessary steps so that you too can create your own character and get it ready for 3D printing. We will be covering how to do the anatomy, the body, all of the hair, props, armor, the pose, the base, and we will also prepare all of the files, that digital file so that you can get them ready for your 3D printer. After that, I will also show you my process for 3D printing, our statutes and I'll show you how to remove supports, how to clean up your statues, all of your prints and get them ready for the final presentation. This course is assigned for intermediate-level students who want to get into 3D printing. We're going to be covering a lot of character creation, anatomy props, and all of the different things that we need, and we all going to be showing every single step. Even if you're a beginner, give it a shot and you might find some really, really cool tricks and tips along the way. If you want to learn all of these amazing techniques and create your own statutes for 3D printing, then join me in this course and become a great 3D artist. 2. Statues Scales: Hey guys, welcome back to the next part of our series. Today we're going to be talking about proportions and statues of scales. We're going to be talking about how to properly prepare everything so that we're ready to go. In the world, in the sculpting world, I'm talking about traditional sculpting, we have something called real scale of course, so we look for real scale statue. This is a statue that measures exactly the same as one would measure. Of course, it's not always the same, for instance, like stylized characters like this link right here might not be exactly to the proportions of a human being but it's generally understood that it's going to be like they're the real skill of the character. So this will be considered, even though it's not proportional to a human, it will be considered a real scale character. Then we have something called half scale, which are gigantic statues, which are half the size of the character if he was actually there. These are usually the most epic ones. They're really expensive as well. If we wanted to 3D print one of these, it will be a lot of money of course, but they look pretty cool. The way you get at the measurement is literally by dividing the amount of measurements that someone has. We're going to talk about proportions in just a second. Then of course we have the one-fourth scale, which is probably the most common scale for collectible statues that you're going to find. These are still really big. As you can see, this one is 21 inches tall which is about 60 centimeters. It's quite big. It's quite a big statue. I know that this has a very strong vase. Then the one that we're going to be working with is the one-eight. This is the scale that we're going to be working with the one-eight scale, which is usually about 15 centimeters high. The reason why we're picking this one is due to the printing volume of the 3D printer that I have right now, and due to the amount of resin that we want to spend. Of course, as we mentioned, if we want to, we could print a half-scale one but they will be quite a bit of money for all of the resin that we're going to be using. This is another example. This will be the half-scale, and as you can see, these are more like one-eighth scale. What's the scale? What's the proportions? How are we going to be measuring that? Well, in traditional art, we have something called proportions and there's this drawing that has been going around for a very long time, this one, which is called the ideal female proportion chart. Now, you guys must understand that even though this is considered to be the canonical proportions for a character, this does not mean that it's the only proportion that we can have access. Nowadays, we are trying to be way more inclusive in every aspect of the productions. Let me just delete this. There we go. Control B, Control T. There we go. So you can have characters of all different kinds of proportions and sizes. There's this game that I really like. Some of you guys might be familiar with it's called Borderlands 2. In Borderlands 2, there's a lot of female characters and the cool thing about them is they're all very different. For instance, we have this little girl called Tiny Tina, and then there's this very big girl called Ellie. They are all very fascinating characters. The development that they get throughout the game is really cool. I'm always super excited to see a lot of different representations of body types in the productions. However, we must understand that this has been the ideal proportion that all of the media has portrayed and it's important that we understand that that's what people usually buy. Even though we can do other things, this is what people expect to see when they're seeing an idealistic proportion for a female character. As you can see on this image right here, we actually don't have, we do have a measurement it says five feet, eight inches. That's supposed to be the standard size for a female character. But I want you guys to ignore that and just focus on the proportions of the character itself. The way we divide characters is we take the head as a measurement, and we use this measurement to modify or measure all the different parts of that character. I know most of you, if you've already taken a drawing class or something, all of these concepts aren't going to be very familiar. But for those of you that are completely new to the process, the body can be divided into eight sections. Foreheads are going to be on the opposite side and foreheads are going to be on the lower side of the body, and the middle point is going to be the crutch right here. Not the genitals, it's the crotch because in a male character, of course, the genitals are a little bit lower than the crutch. If we take again the head, the first head, or the second head, this one has it the other way around from eight. I like to think about it the other way around. So my first head, that's my unit of measurement, the second head is going to be right here at the pectoral muscles. In the case of a female character, the bust will fall a little bit lower than on a male character, therefore, the nipples, which in the male character are our indicator of what the second measurement ends are going to be lower in a female character. The third one is going to be right here at the nipple. Then the fourth one, as we mentioned, that's the crutch. The fifth one is a little bit difficult to find because there's not like as an exact point. But if you go for the sixth one which is at the bottom of the knees, and then you just divide those into two then you're going to get the fifth one, same for the last one, the eighth one. We're going to go all the way down to the heels and then we're going to go halfway through. Some people would like to say that that's where the main body of the gastrocnemius, the muscles here on the back of the lower leg end. That's fine, I heard it's a little bit difficult to find sometimes. Now, this is something interesting that it's really curious but for female characters, I would say on 80% of cases, female characters are going to be wearing some sort and the heels are these things, of course. The thing that they make is they make the figure look a little bit more slender. The legs look longer, the butts gets pushed up a little bit, the muscles contract a little bit because it's a different poster that they need to have, and traditionally, this has been taught as a stylization thing that we can do for females. If you remember from the concept that I showed you from Kabbalah, she's actually barefoot. However, even though she's barefoot, I am going to be monitoring her feet with a little bit of an angle right here because it just makes for a little bit of a more stylized, if you want to call it sexy figure. That's what we're going to be doing and what we're going to be translating from this thing is we're going to be grabbing all of the proportions and the measurements to make sure that our character fits this exact same proportions. Now, my character is a little bit more stylized. I wouldn't see she's realistic in the way she looks under the sign. She's a little bit more cartoonish. I like to think about characters from other games, such as League of Legends. So for instance, there's a character on League of Legends called Ahri and they did a statue of her not so long ago. We're going to be going for a little bit more like this. You can even say, I actually told my friend, that's folks to take her into this designed process and you can see that the legs are slightly longer than you might see the arm are slightly longer, the face is a little bit more anime-ish and these things, these proportions, they play really well with the what's the word? With small figures. When you have a small figure, realistic proportions can get a little bit difficult to work with. When we work with this proportion, which is a little bit ordinally with quite a bit more stylized, that makes it a little bit easier to understand. Now even though it looks stylized, if we bring her over here, let me just there we go. If we bring this image over here and we try to match her to the proportions, you're going to see that she's not that far off. The only thing that changes a little bit is that the torso is a little bit smaller. You can see here that the nipples are a little bit higher and the legs of course are a lot longer. So that's the Barbie proportion that we're going to be using for our character. Again, this is an unrealistic proportion, but it's very appealing. So people tend to gravitate towards the sign, because it's a little bit more stylized and it tends to look a little bit more pretty. Realism sometimes looks a little bit boring that's why artists, we take artistic liberties to push things into different directions. Now that we have this out of the way, let's go very quickly into ZBrush, and let's start working on the base mesh. Now there's a lot of ways to do this. I've had some people do the blocking inside of Maya or inside of Blender. I've had some people start with just a basic sphere. I'm going to show you a technique that I really like to use, especially for people that are just starting and that don't want to feel lost when they're working with their proportions and that is ZSpheres. ZSpheres are a way in which we can use an armature here inside of ZBrush. If you've used ZBrush before then you know that the ZSpheres are really handy way to construct something. So I'm going to click here, hit T, and before we move any further, let me turn on my little icon right there. Perfect. So now you're going to see the keystrokes down here and this is going to be my base, a sphere. This is like the abdomen. So I'm going to press X to make sure that we have symmetry turned on, and I'm going to draw one sphere on the top and one sphere on the bottom. Right now I'm using my mouse. When I'm working with ZSpheres, I actually like to use my mouse and I like to bring my draw size all the way down until it's right here. This is going to be my chest, this is going to be my abdomen, and this is going to be my hips. I'm going to scale the hips up and the chest up a little bit as well. I'm going to go to the side view and the first thing I want to do is I want to make this thing a little bit more curved. Because as you can see here, when we see the chest right here, the chest is not. What's the word? Let's go to the brush. There we go. The chest is not completely straight. It's usually like an X shape right here, and then it's straight on the abdomen, and then we have another X shape pushing forward. This has to do a little bit with gesture drawing, where you want to add a little bit of movement and life to your character. By adding or creating this bean shape for our character, we're going to be in a very good position like this. Then we're going to draw two little spheres here, which are going to be the shoulders. There we go. I'm going to click outside. I'm going to draw one here, which is going to be the neck. One more, which is going to be the head. I'm going to push the head up. The head doesn't have to be perfect. Some people like to add the ears and the eyes and stuff. I don't think it's necessary. Something like this is just fine. I'm going to draw and press "Shift" to make sure that the sphere is the same length as this one., and then with W, I'm going to push it down like this all the way over here. Then I'm going to e scale it just a little bit to make it a little bit thinner, like that. We're going to add two more over here, which are going to be the hips, and then with Shift and click we're going to draw one more sphere, and we're going to bring this all the way down until we create the legs like this. We're going to press "E" to scale them down as well because they become thinner as they go towards the bottom. There we go. Now, how do we know whether our proportions are good or not? Well, it's a little bit difficult because we don't have any reference. The thing that we can do, and I like using this method, is I'm going to center my image right here. By the way, I think I forgot to mention this on the last video. This software is called Krita. It's a free software. It's like Photoshop so if you want to download it to this stuff you're welcome to. You can also do this with PureRef. We're going to have this guy right here. Now over here, I can use this see-through option to, well, see the proportions of my character. I'm probably going to have to zoom out a little bit more. There we go. Probably like there. There we go. Now what I'm going to do is I'm going to try and match the proportions of my character right here. As you can see, my hips, I'm going to press "W" are not that far off. My knees are going to be right there. Let's bring them in. My heels are going to be about there. My arms, if I use W, I can bring my arms right here. I can put my bones right there. I'm going to press "R", which is rotate. I'm going to rotate the arms out now that we have the proper proportion. I'm going to use E to scale this down and that's it. Now as you can see, this is looking quite nice. As you can see, we're missing the hands and we're missing the feet. Don't worry about those. We're going to add those later. I don't like adding them on my ZSphere section because I do think that it makes it a little bit slower and that it's not as perfect. I'm going to bring this back all the way to zero, and that's it. I know this is a really close proportion. It might not be the perfect proportion, but it's really close to what I'm looking for. Now, I am going to add a couple more spheres and a couple of more changes before we convert this into workable geometry. I'm going to press "Q" and I'm going to add one sphere right there, and one sphere right here. On the upper one, I'm going to make it a little bit thicker and I'm going to push it forward with W. Then with this one, I'm again going to make it a little bit thicker and push it backwards because the leg tends to have this S shape to it. I'm also going to push this thing a little bit back. The arms, I'm actually going to push this thing forward and this one I'm going to keep it like that. There we go. The chest seems to be a little bit puffed out, so I'm going to move it down a little bit. We're going to be doing a lot of changes later on, don't worry. But this is the general shape that we want to have for our character. Is just a basic proportionate shape. Now, again, we're going to be modifying a lot of stuff. This is just the beginning. Now, one very big problem that we're going to have here, or one question you guys might have as well, in the reference, we had this post character. We're doing a statue, should we work with the character on a pose? Should we pose it from this point and just start sculpting all the anatomy, or should we do a traditional V pose or T pose? You guys know that the V pose is this traditional pose that we use in the 3D world, where the arms are at out about 45 degree angles. It's all a matter of preference, of course, but I would suggest you guys do the character in V pose or in A pose. Sometimes it's known as an A pose because you create this letter A shape. Now, the reason why I suggest doing the full character in A pose first, is because if later on you want to use a different or have a different pose or you want to use it for a game or for a cinematic, you're going to be able to rig it and move it and use it. I just find it a little bit more , what would be that word? Useful to have the preparation for anything that you might need. If you go straight to the pose, yes, you can move faster, you're going to be able to create the character faster because you're going to go directly to what you need. But then once you have it, it's going to be very difficult to bring it back to V pose or a T pose and use it for anything else. From a production standpoint, I do think that having our character in V pose before posing is going to be a lot more useful. Now once we pose, once we bring our character to a pose like this one, this is exactly the process that we're going to be doing. There you go. We're going to start with a V pose. We're going to sculpt most of the anatomy and once we're ready, we're going to pose it. Yes, we're going to adjust things. Yes, we're going to change certain muscles. Yes, we're going to modify certain artifacts and stuff. But the closest we get with the V pose to the final character, the easier it's going to be. That's why on the reference that I showed you guys, I want to make sure that you guys had a very clear view of how the character looks on a traditional. Close to a V pose. Here the only thing that's not a V pose is the arm that's up, and then later on, yes, we're going to move everything so that it's on the proper shape. That's it. Now, this one right here, this is a ZSphere. I suggest you save this ZSphere as a ZTool over here. We're going to go here to ZTool, we're going to go to our 3D printing folder. Everything that's ZTool is going to be on the ZTool folder. I'm going to call this Gavala_Zsphere and we're going to save this. If at any point I need to do another female character, this is where we're going to start. Now, before we make this into workable geometry and we stop this video to continue with the rest of the things, I do want to push the legs a little bit further out because as you can see, if we do this or if we keep it like this, yes she's going to look really pretty, but the problem is that's going to be really difficult to work here on the inside of the legs. I'm going to press my letter "R". I'm going to click the hips. I'm just going to rotate them out like this, more into like this A pose. It doesn't look as stylized, it doesn't look as feminine, I would say because the legs are no longer going to this nice point. But it's going to be a lot easier to work with all of the basic shapes that we're going to be working with. Now the last thing that we need to do is I'm going to say Adaptive Skin. We're going to say make Adaptive Skin. This will convert whatever we have right here into a skin like actual geometry polygons that we're going to be able to utilize. You can see that this is already DynaMesh and it's looking quite nice. This is what we're going to be using. The final thing that we're going to do is just save this again and I'm going to call this a Gavala_Start. If you guys want to skip the ZSphere thing, which I don't recommend, it's always a good skill to have, you can just jump straight into this Gavala_Start option. That's it, guys. This is it for this first part. In the next one, we're going to start working on the basic shapes of our character and we're going to start building up the anatomy. Hang on tight and I'll see you back on the next one. Bye. 3. Female Primary Forms: Hey, guys. Welcome back to the next part of the first series. Today we're going to continue with the primary forms of our character. If we take a dive into the female primary forms, one of the things that I want you to see is the following. Let me bring this image right here. There we go. One of the secrets about sculpture is that we need to find a way to simplify all of the shapes that we have in the human character and translate those into forms and figures that we're going to be sculpting inside of ZBrush. As you can see, the female shape has this hourglass shape or figure where we have a top heavy element, of course, because of the bust and then a bottom heavy elements as well, thanks to the hips. Then we have this area right here. You don't really have to worry about all of the different muscles and muscle groups and stuff. The most important thing that we need to find here are the three main shapes. The three main shapes of a character are always the skull, the torso or the ribcage, and the pelvis. For the head, I'm going to use my brush right here. I'm going to start pushing this to create this Doritos shape, a nice sharp element. That's going to be the shape of my face. The neck is going to be connecting, of course to that face. We can smooth all of this out. The neck usually goes in this inclined effect, it won't go straight into the character. Now from the front view, the character of course, also has a little bit of a shape. I'm going to use my trim dynamic here. I love using my trim dynamic brush to flatten out certain areas and create this helmet look. Imagine like a little mannequin that we're creating. I don't want to worry about the eyes or the nose or the ears or anything, I just want the general shape of my character to be ready so that when we start adding all of those elements, things fit very nicely. I always like to use the analogy of building a cake. You're not going to start decorating the cake with all of the nice little colors and confetti and stuff on top until you have the base of the breadth make ready. Here I'm cutting what's going to be eventually the jaw line so that I know where things are going to be, and there we go. This is going to be my score. Some people like to do this more like a skull, so they would add the actual holds of the skull and the nose, if you want to do it, go ahead. It's more like an echo shea effect. It's not really necessary, but you can do it if you want. Over here, we need to find the bony protrusions. Bones are the foundations of our character and if we understand where bones are and how to properly place them, everything is going to be so much easier. One of the most important bones that we have on the human body is the clavicle, which is going to be right here. It's this S-shaped bone that goes to the top of the shoulders right here. Now, the fact that I'm marking this guys right now, it doesn't mean that that's going to be the final way that they're going to look. We're going to be doing a lot of changes later on. We're going to be polishing and stuff. But just having a general rough landmark, it's going to be really, really good for me. The clavicles both connect to a bone right here in the center called the sternum. The sternum has three parts. The handle, which is the big part right here, the body which is right about there, and then there's a little thing called the xiphoid process. It's just a little dot right there at the end. From that xiphoid process and from the body we're going to have the rib cage. We're going to draw the rib-cage here with my 80 minute standard, and this ribcage is going to go all the way to the back like this. That's going to be my ribcage. Now of course, this ribcage looks absolutely horrible. I'm going to use my clay buildup, start giving this a little bit more of a ribcage feel. It should be pushing out a little bit on the sides right here. We should have this curvature, like you can imagine the ribs going forward and that's it. We have 12 pairs of ribs. We have something called the true ribs and then the false ribs depending on if they're flowing or not. This is the general shape of them. Now, when we see a female character from the back, the back of the character, and this is where we can go back over here. The back of the character, as you can see, it's going to line up with the butt of the character. Right now, if we take a look at ZBrush, you're going to see that we have this very ugly spike and is really ugly, but I'm going to use my Mbrush. Again, big brush when we're working on this first stages, you definitely want to be working with big brushes. Don't try to do everything with a small simple brush because it becomes really difficult to work with it. We're going to use trim dynamic, and I'm just going to start flattening a little bit of the back right here to create the basic shapes of my character. There we go. Now on the back, of course we have the spine. I'm going to curve in a little bit of a hole here for the spine, and this hole that I'm curving is the bony protrusion that we're eventually going to be seeing. It's also going to help us with the curvature of the character. It's more the South and there we go. Let's get rid of a little bit the fat here on the side of the torso. This is where the abdomen is going to be. Eventually we're going to have of course, the pelvis. The pelvis is like butterfly shape. We have this very nice arc right here on the top of the character, and it's going to go in and then we're going to have all of the hips and stuff. There's a lot of things that we're going to be modifying. I have one specific video for each part. Right now, I'm just focusing on the basic shapes. I'm going to flatten out a little bit here. We definitely need to add a little bit more volume here on the inside of the legs because the legs are not usually as a split as that. Now remember, there's like fashion things that change with time and as the years go by, the beauty standards that we have as a society change as well. If you go back to the medieval times, there were certain things that were considered beautiful and certain things that were considered not desirable. Nowadays, there's a couple of things that we consider beautiful and other things that we don't like as much as a society. I'm not saying this as a personal opinion is just the general thing of what we consider beautiful and what not in those sensibilities change. Don't feel that you always have to follow those guidelines. I do recommend following those guidelines. If you want to have a product or a character that's going to sell or that people are going to like because usually those standards are there because people respond well to those elements. For instance here, I'm going to press "Control Shift" and Alt to hide the arms because I want to see how this looks. As you can see, we don't have as much of that nice back that we're going for. She's going to be quite thin, to be honest. I'm going to push this curvature a little bit more exaggerated in this way. I'm going to push her abdomen back a little bit like this. That we will create this very nice S-shaped to the character. Again, I'm just focusing on the basic forms right now. I don't want you guys to start adding any muscles or anything. These are just the basic forms of the character, which is again, the torso, the arms, and the legs. Now, since we're going to be doing this in a more organized way, one technique that I love to use is poly groups. I'm going to go down here to the poly group section and I'm going to hit other groups. This will make sure that everything is a single poly group, as you can see right now. What I'm going to do is I'm going to start dividing the character into a couple of different groups. For instance, the head is going to be one group, so I'm going to press "Control". I'm going to change this to mask lasso, and I'm going to mask out the head right here. I'm going to press "Control W". Control W is a shortcut to mask something. As you can see, that one right there. Now the color might look really, really similar, but they are technically two different colors, so these are considered two different polygraphs. I'm going to do the same for the arms. The arms Control W, there we go. I'm going to do the same for the legs, Control W. There we go. Now as you can see, we have four different polar groups. The great advantage of this is if we're going to be working on the torso, for instance, I can just press Control, Shift, and click on the torso. That way I'm only going to be working right here on this character. As you can see, this torso already looks good. We're in a good position, things are looking nice and the V shapes are starting to show up very nicely. One of the things that I always give my students is since we can't do everything at the same time, like right now we're working on the torso and I like this patient. Look at that very beautiful ribcage that we have right there. Look at those nice hips that we get there. That's looking nice. However, if we look the whole thing, it looks horrible. It looks like a zombie or something. Don't worry too much about the parts that you have not fixed yet or you haven't worked on yet, focus on sections of the character. At the end we're going to make sure all of the sections play nicely together. That's one of the mistakes that a lot of people make. They try to correct things when things are not ready yet. That creates a lot of different problems that are quite difficult to fix later on. Before we move on to the actual muscles and the volumes of the torso, I want to talk about the basic shapes again. I'm going to go back here to create them. Let me turn this thing on. Let me open a new layer. There we go. One of the main mistakes that people make when drawing and when sculpting is they create really flat and Penn's character count stick figures. There say a section of art called gesture drawing. Probably some of you guys have done this before. Gesture drawing tries to capture the flu EDTA of the movement. I would even argue that this diagram right here is really stiff. It doesn't look as natural or as nice as it could. What gesture drawing tells us is that every single thing in the body, the head, the torso, and everything is connected in a way that makes things flow and look a lot nicer. As we've mentioned before, the three main shapes of our body are going to be the head, the torso right here, and the pelvis right here. All of these things are going to be connected to each other in such a way that they create this very nice, interesting effect. I was trying to do a hand right there. A nice interesting flowy effect on the character. The way we're going to think about this is we're going to be using an analogy called water analogy. Every time you have a shape like this one that pushes in a certain direction, the next shape is probably going to be pushing on the opposite direction. See this. Because what's going to eventually happen is we're going to have this or a wave going throughout the whole character. You can see this on the arms, you can see this on the legs, you can see this on the side of the body. You can see this on a lot of different parts where we have this S-shaped going throughout the body. That tells us that every time there's something pushing in, there's going to be something pushing out and we're going to have this balance throughout the body. That's what I'm going to cover. That's what I want to capture and that's where it's going to allow us to have something really cool right here. Now, there's also the thing called pushing the limits. You can really, really exaggerate things. For instance, I can exaggerate the ribcage here to the front. We might get something interesting, something that looks very sexy or very cool. You won't know until you actually push the things to the level that you're trying to get. My best advice, especially in this beginning stages, is push your characters, push your statutes, push your monsters, push whatever you're going to do, and then if you think that that's a little bit too much, push it back because it's a lot easier to push it really high up to the high points of the element and then bring it back than it is to push it little by little until you get something that you like. Now, don't forget about the landmarks. I'm going to use my Damien center here to create my middle section again. That's my middle line. When I was doing traditional sculpture so many years ago, this was one of the things that the teacher always asked us to do. He would grab a spatula and he would literally carve inside of our character so that we never forgot the word the symmetry line was, which is not that difficult to forget here on the CBT model because of course we do have symmetry turned on. But it's a good way to understand where our landmarks are. That's it. This is a really good first step for a character. As you can see, this torso looks really nice. I really like the proportions. I think it's looking quite nice. Now we're going to start moving on the muscles that we have here on the torso to understand what they are and sculpt them properly here with our character. I hang on tight and I'll see you back on the next one. Bye-bye. 4. Female Torso Sculpting: Hey guys, welcome back to the next part of our series. Today we're going to be talking about the torso. We're going to be talking about the different muscles of the torso, and we're going to sculpt them, of course. Let's get to it. Now, I got this image from art station. This is not my image, but it's a really nice echo case study of a female torso. Now, this doesn't mean that all of our torsos have to look like this. Remember, we've talked about this before. There's a lot variations and stuff that we can change, but it does include one of the most important things, which is of course, the underlying anatomy and structures that we have in the body. We're going to start the theory portion of this video with a deep pectoral muscles. The pectoral muscle is this very big muscle that we have here at the center of the chest. As you can see, it originates on the clavicle, on the sternum and some of the ribs, and it goes all the way to the arm. This is one of the most confusing muscles because people think that the pectoral muscle only lies on the chest itself, and no, it actually goes and crosses all the way over to where the arm is supposed to be. It creates this fan shape. If you've seen this like Chinese fans, where it crosses to the other side, that's what the pectoral muscle does. Now of course, on top of the pectoral muscle is where we're going to find the boss of the character, the breasts. They are just big bags of fat glands and other components that makeup this volume here on the character itself. This is the main muscle and this is the muscle that we're going to start sculpting. We're going to jump right here. I'm going to use my clay buildup. I love using clay buildup for this stage of the process. Usually this muscles, the pectoral muscle, especially in female characters is not as intense as in male characters. But I'm still going to add a little bit of this stripes so that we can see and understand where this anatomy is going to be going. It's all of this shape right here. There we go. This will be my pectoral muscle, usually in between the character, we're going to have a little bit of a gap. Now, if we take a look at the concept, you're going to see that Gavala here has a bandages on top of her breast. It's not going to be like this. It's going to look nice. It's going to have this curvature, but we're not going to see a cleavage or anything. Most of this stuff is going to be covered. That's why I'm not too worried about all of the main volumes and stripes and forms of the muscle. I'm more worried about the silhouette that we are creating. We can't talk about the torso, especially on a female character without mentioning of course, the breasts. Now, the breast are really complicated. People tend to make the big mistake of making them completely around, when in reality they're more like a teardrop shape. If we want to have natural looking breast, we want to go for this teardrop shape. You can see it right here. It's more like a cone going forward. This cone also attaches itself onto the pectoral, in this like teardrop shape. When you see it from the side, the one of the worst mistakes you can make whenever adding breasts to a character, is to make them like balloons, like this, that just looks ugly. You can think of them as balloons, but if you pick a balloon by the tip of the balloon, the balloon is going to fall. It's just going to be more volume on the bottom side and less volume on top side. That's the thing that you want to have on your characters, is going to be more like a little bit of a ramp. You're going to have the nipple at the apex of the ramp, and then the volume falling and resting on top of the torso like this. This is roughly the shape that we want to do. The problem is or one of the tricky parts is, if we tried to create this volume here with the character, like if I tried to just sculpt this, it's going to look really, really fake. You can see immediately how fake it looks. One of the advices I'm going to give you guys is, we can use the insert multi-mesh brushes. I'm going to press, BI, and I'm going to go into insert multi mesh primitives. I'm going to select a sphere. I'm going to insert this sphere right here. Now that the sphere is there, I'm going to press W to move it back, and with my move brush, while this thing is still mask, I can give it this teardrop shape. It's a lot easier and not faster to manage depending on how we want the character to look. Now this of course, will vary depending on the type of character that you want to do. Some female characters have very big ***** and some have very perky *****, depends on again, the character that you are going for. Some of them are really flat, some of them are really voluptuous. It will change. It will be quite dependent on the stuff that you're going for. My best advice is grab your reference that you like, from a statue or a character, and try to follow that reference. Now, usually the breast folds a little bit lower than a lot people think and they go to the side. They tend to roll to the side of the character. We're going to do that effect right there. As you can see we're creating this ramp right here, we're not making it soft and round, we're making this a ramp. Then we're going into the apex of the breast. Now again, I'm not too worried about all of the intricacies of the breast itself because I know that we're going to have a lot of bandages and stuff on top of the character. But we don't want to have as much or as close as possible to the final effect. There's of course going to be a gap in between the breast, that's very, very common. Like you're not going to connect the breast or anything. They're going to be flattened out. Of course this gap is going to be filled with the bandages that we're going to be adding later on. Some girls do have their breasts like really close together. But it's not a mandatory or anything. This guy's, let's push them a little bit far out. Again, I want to go for it just like teardrop shape and I want to make sure that the volume looks good from all of the different angles. There we go. I like that. It's DynaMesh. Of course if we do this, we're not going to have the breasts. I'm going to invert the selection right here. Press, control shift. Let's go to select wreck, select lasso in birth, high dose, there we go, in birth and again control W, so that all of these guys have the same effect. Look at that, that looks really, really nice. Now it's just a matter of softening up a little bit of clay buildup here and there, and just soften up the transition here on the breast area. We want a nice subtle like cleavage right here. We can add a little bit more volume. Again we're not going to see this because it's going to be covered by bandages, but we do want to have the volume as nice as possible. Just keep that in mind. There we go. I made a mistake there. I made it a little bit too round on the top. I do want to add a little bit more rounds, but not that much. Actually I'm going to use a little bit of trained dynamic here to flatten the top a little bit more. Because, especially when you're wearing a t-shirt, doesn't matter if you're male or female, all of the things get condensed, they get pushed towards your body. You're not going to have things flowing freely. They're going to be constraint to the main body. Now that we have this, we can start talking again about the bony landmarks. One of the most important bony landmarks that we're going to have is called a ribcage border. It's going to be this border right here, very prominent border. You can see this in a lot of reference. A lot of female characters have this. You're going to have this like ribcage border right there. We're going to keep it soft, we're going to keep it nice. We're going to polish everything later on, but that's if we can start cleaning certain stuff from this point, it's just going to make it a lot easier for us, there we go. Now usually here where they meet at the xiphoid process, we're going to have a division. It's very important that we create the division right there and soften that up a little bit more, there we go. Again, not too concerned about that one because it's going to be covered, but we're going to be able to see this like projection of the form through the elements of our character. Now, one of the other muscles is really important here on the torso is, of course, the abdominal muscles. The abdominal muscles are these square like shapes that we're going to have here on the character. We're going to have one right here, two, and then we're going to have the naval right here and then the fourth one over here. Now, in this case, again, since we're going to be covering her with a lot of stuff, we're not going to see it as a much of as a volume or we're not going to see each of the individual elements. We're going to see more like a little tummy. A lot of people like to have a really flat tummy on the character, I think that's a little bit too weird. Usually, even if a girl is super fit, when they eat or when they're sitting down, they're always going to have a little bit of a tummy, so I like to add the tummy here, like a little bit of volume right there. When you see it from the side, you're going to see a little bit of a dip right beneath the rib cage and then like a thing pushing up. Now, it's a little bit more visible on female characters because they of course, have their uterus so that's like an extra organ that they're going to have there under abdominal cavity, and it's going to push a little bit more towards the front. Now, you can make the tummy as big or as small as you want. It's up to you. Here I'm going to make it just slightly smaller. Again, I'm just focusing on the shapes. Focusing on the shape is going to be the secret right now because that's what's going to give us the most, or it's going to approach this the closest to what we want to do. Now, down here we have another muscle which is called the obliques. It's this one that you're seeing right here. Especially in female characters, it's going to sit, and it's going to create a little bit of a bump here on the side, sometimes call them the love handles because when you grab your girlfriend from the waist, you sometimes put your hands over there. It's going to be a little bit of a bundle of muscles and fat right here on top. As you can see, it's on top of the pelvis, so it's going to sit on top of the pelvis. Now, I do think my torso is becoming a little bit too thick on the lower side here. I might want to change that a little bit, I'm going to soften it up here with my clay buildup as you can see, I'm just building this up and I'm going to use my move brush to push this in a little bit more. Now all of this whole I don't like that hole, so I'm going to fill it in. We're going to talk about the muscles of the leg later on and that's one of the muscles that we're going to be adding at that specific area, but I want to add just feel that answer that it looks a little bit nicer. There's a very common gap right here in between the abdominal muscles and the pelvis itself. We can actually curve it in a little bit here. I'm going to curve it in and you can see I'm just filling in and softening with my clay buildup to build this like direction. Again, all of these things are going to be covered because of the concept and the concept of the design that we have a lot of bandages right here. But even if there are covered, the changes in volume that changes in trajectories, they're going to be there, you're going to see them through the cloth. Imagine wearing a really skinny tight outfit, like what superheroes do, and these are the things that you are going to see. That's why it's very important to, even though we're not going to go too extends amounts of anatomy, to just have an idea of where things are and how things are pushing in the body so that when we build things on top of those things or on top of those elements they show through and give us a lot more of a complex shape. There we go. I'm going to fill in a little bit more here, I think that's too thin and that's it. Now, one of the most important muscles and I don't want to have this video be over without mentioning it because we're definitely going to be seeing it here. It's going to help us a lot, it's this one right here. It's called the latissimus dorsi. This is actually a very big muscle that goes all the way from the back of the character to the front, and we're going to see it here. It's going to help us with this side or lateral views of the character, and it's going to fill in some of the gaps that we have right here. Especially for male characters, this is a very important muscle because it gives us a B shape that we have. But female characters is also going to be important because when we raise the arms, and she has both of her arms are slightly raised on the final concept, we are going to see a little bit of what's happening right here underneath the armpit. There's a couple of other muscles such as this array, this muscle which goes right here, and then it goes into the oblique. But again, we really don't need those muscles because all of them are going to be covered by the bandages. We will have another time when we talk about all of the anatomy, and we go over every specific muscle but for now, we're just going to keep, or we're just going to worry about the volume. This is also one of the cool things about the 3D printing that we're going to be doing later. The fact that this is going to be on the small-scale means that we don't have to worry too much about the actual muscles of the character, and we can figure, or we can focus our attention a little bit more on the forums of the characters. She looks pretty and very nice. Yeah, that's pretty much it, I think for the muscles of the torso. We mentioned the obliques, the serratus, the ribcage, like this right now is looking quite nice. You can imagine the forms of the character right now, and I do think we're in a really good position. Take your time. Don't rush it. It definitely takes time. It's not something that you can finish in 10 minutes. I know this video is 10 minutes, but I have 10 years of experience doing this. If this is the first time you're sculpting anatomy, this is definitely going to be taking you a little bit longer, make sure to polish, make sure to look at a lot of reference as well, real life reference even if you need to look at the nude pictures of female models, that's fine as long as you are using it for artistic reference of course. That's pretty much it, guys I'm going to stop the video right now and in the next one, we're going to take a look at the muscles formed off the back of the character. Hang on tight, and I'll see you back on the next one. Bye. 5. Female Back Sculpting: Hey guys, welcome back to the next part of our series. Today we're going to continue with the back of the character. We're done with the torso. It looks pretty good I would say for the base. Remember this is just the base mesh. Chapter 1 is all about the base mesh. On the back of her character, now we actually do need the arms. I'm going to have both of them together. We need to understand the bony landmarks first. In the same way we did the clavicles and the sternum and the rib cage, we're going to do something similar here on the back of the character. On the back, we have what it's called the scapulas. The scapulas are these triangular-looking shapes that we have right here. They talk themselves in through the latissimus dorsi right here. There's a super important muscle which is called the trapezius. The trapezius muscle actually starts up here on the neck of the character. We're going to have the beginning of the fibers right here, and they go to three different places. They go to the front towards the clavicle like this, they go towards the side, towards the sternum, and they go down here towards the spine. It's like this very intense-looking shape. One of the most important things about the trapezius is that when you see it from the front, you're going to see this nice straight shape going from the neck towards the arm, like this, very common. Some people have like super extreme trapezius muscle, and that's what we're going to be adding right around here. Now we do want to add the volume, but we don't want to push the volume of this muscle all the way back. We don't want to create a super big back. Another important thing is we do want to have a little bit of a neck, we want to see the neck. Right now I'm not seeing it. I'm actually going to go to Document and change the range to zero. There we go. You can see that right now we're pretty much being left without any neck. I think what we need to do is we need to grab the face and just like push the face up a little bit more, just a little bit, just a tad bit there. Of course, we're going to have to fix all of this. We're going to talk about the neck later on once we do the face and stuff, but this is where we're going to have our neck. Again, since we're going for this like a Barbie proportions for a little bit more anime-ish proportions, we definitely want to have a longer slender neck. This is the base of the trapezius. As you can see right there it goes through the side, goes through the front, it goes through the shoulder, and then it goes in this triangular shape towards the back of the couch. Again no need to actually have all of the fibers and all of the elements of the muscle there, it's just a form that we're going for. You can see me here going with the smooth brush and just smoothing out all of the information right there. Other than that, if we take a look at Emma Frost right here, there's two main muscles. They're called the infraspinatus, which is like a little muscle right here. This is called the teres major and teres minor. They're just muscle groups that we're going to go towards the arm. You're going to see them like this more often than not. Again, no need to worry too much about this ourselves because we're going to have a lot of bandages in this position. But just remember that we do have a little bit of a mess right there, like a bundle. There's also another couple of muscles down here which are called the erector spinae. There are muscles that make us go or stay up straight, and we're going to add them right here. I like to call them the shotgun muscles because there's this very nice muscles. Now, I do think on the concept, no, everything is bandaged up. Even though everything is bandaged up remember we've talked about this before, we're going to see some of the forms, so we do want to have the idea or just the indication of volume right there. Of course, we have the latissimus dorsi right here. The obliques actually go all the way to the back, so we're going to see a little bit of the mass from the obliques going to the back as well. Let's isolate this guy again, there we go. We can focus only on these guys. I'm actually going to hide some of the arms because we don't want to see all of the arms here yet. We're going to see a little bit of the shoulders. We're going to talk about the shoulders shortly because they do form a little bit, or they do affect the back a little bit here. I'm going to curve in a little bit more here on the spine. I really want to push it. It's one of the things that looks very nice especially in 3D printing when you have this line going in the middle. It holds paint really well when you're painting your characters. There we go. Smooth things out. All of this because it's just volume. Now I'm going to talk about one of my favorite muscles of all time, which is the deltoid muscle. I love the deltoid muscle. The deltoid muscle is this muscle that you're seeing right here, and it's called a deltoid because in Greek, I think it means shield, or at least that's what I was taught. It's this shield-like muscle that wraps around the arm. You're going to see three main bodies or three main shapes for the deltoid, the front shape, the middle shape, and the back shape right here. It's three main muscular-like volumes that we're going to have. The introductory connects itself to the clavicle. We're going to see the connection right here on the clavicles, on the shoulder, and on the scapula right here. One of the cool things about the female deltoids is that they tend to create this very nice sharp 90-degree angle. You can see it right here. On male characters, they tend to puff out a little bit more, but in female characters, I don't know why the anatomy changes a little bit there, I guess it's like the body type and stuff. But you're going to see this thing pushing back to the side like this. This is where we're going to have our nice deltoid muscles. The deltoids insert themselves all the way down to the middle section of the arm. They are actually quite a long muscle. People think they're really short just like these nice little volumes or bolts on the top of the shoulder. But no, they're actually go quite a bit down into the arm. There you go you can see how now this section right here on the character is looking quite nice. That's the deltoid muscle right there. There we go. Now as you can see, we've only been working on this for a couple of videos now and things are already looking quite nice. If you remember how we started with the C spheres, like nothing, this was the beginning, and now we have this. I know it might seem a little bit complicated at first, but the more you practice and the more you do this, the easier all of this is going to get. That's the deltoid. I'm going to thin this out a little bit more. I don't want her to be like super big. I mentioned that I was going to be telling you guys a little bit about her. She's the main villain of the story that I've assigned for my Dungeons and Dragons group. She has this like personality, a little bit arrogant, a little bit mean. If you guys have seen Avatar, the Last Airbender, the Anime, Azula the fire bender queen, she has more or less that personality. The only difference is that in my story, this girl, Gabala, she was a slave before becoming a queen, so she knows how things were, and she wants to burn everything down and rebuild it from scratch to make a better world. Of course, we'd like tyrannical abuse and stuff, otherwise, you wouldn't be the bad guy. But yeah that's the main gist of her. That's why I don't want her to be like a strong warrior, she's more like a sorcerers. She's going to be a little bit more magic-oriented, and I need to show that here on the character herself. Now, here's where things are going to start getting interesting because now we can start adding a little bit of detail. As you can see, some of her neck is actually uncovered. You can see some the neckline and stuff. [NOISE] Female neckline. You're going to see that on female characters, we're going to see, and we're going to appreciate one muscle which is called the sternocleidomastoid mastoidus. That's the muscle that goes all the way back from the back part of the, what's the word? That's weird. I thought you could see the mouse but no you can't. It goes from the back part of the ear all the way to the center of the neck and this volume right here, that's what we can actually start adding right here. This muscle that goes in this direction. We're going to work on the face later on. But it goes in this direction, and it inserts itself on the clavicles and on the sternum. You're going to see this effect going right there and then right at the side of this muscle, you can see that there's a dip. We don't have as much stuff. There's going to be tension here so I'm going to remove some of the volume here and create a little bit of a hollow area right there. This is going to give us a very nice slender, nice little neck right there. Now I do think my neck is a little bit too low. The neckline shouldn't be that low, so I'm going to use my move brush. I'm going to push the neckline a little bit up like this. I do think that makes a little bit thin right now, so I'm going to make it a little bit thicker. There we go. That's it. Our torso and our back of the torso are now ready. The volumes are looking quite clean. I like the way they're looking right now. I think I'm going to add a little bit more volume here on the back. Make sure that we have this very nice geometry. I think I'm going to use my trim dynamic to flatten things just a little bit. We're not doing the butt just yet, but we can push this thing in a little bit like the back of the animated character statutes. It looks really nice. That's it, guys. I'm going to stop the video right here and then the next one we're going to jump onto the arms. We're going to start working on the anatomy for the arms. Hang on tight, and I'll see you back on the next one. Bye-bye. 6. Muscle Principles: Hi, guys. Welcome back to the next part of our series. Today, we're going to continue with the muscle principles. Before we jump onto the arms, which is the next section, I actually want to take a little bit of a tangent and explain to you a couple of principles that apply to pretty much every single muscle. Those are going to help us understand in a better way how everything works. I'm going to take any layer right here. The way we need to think about muscles is that there's a couple of things that they do. We're going to start with the first principle. The first principle is that every single muscle has an origin, and it has an insertion. That's a very basic concept. It starts somewhere, and it ends somewhere. If you draw a muscle starting somewhere, you're going to have the main muscle mass. Then you're going to have the insertion of the muscle. Now, if you are observant, you're going to know that the connection that I have from the origin to the main mass of the muscle is shorter than the one that we have to the long part of the insertion. This is because muscles work as a pulley, and then they contract. That's the second principle of muscles. Every single muscle that we have in the body, the only function that it has is to contract. It can't do anything else. Yes, we can stretch the muscle, but the muscle itself, the function that it does is it contracts. In order to get the most efficient contraction, the part that they're going to be pulling towards them, it's going to be farther away. It's going to have a longer tendon. We're going to be using that tendon to bring parts of the body, muscles, and bones closer to us. Every single muscle in the human body has an origin. Usually, the origin is going to be closest to the centerline of the character. For instance, if the pectoral muscle that we just saw, its origin is the clavicle, the sternum, and some of the ribs. That's the origin of the muscle. The insertion is on the middle point of the humerus. It's going to go all the way down here to the humerus bone, which is the bone that we have on the upper arm. It's very important. Well, it's not super important that we know all of the insertions and the origins, but it really helps. Because especially when we're designing creatures or monsters that are going to have a different anatomy, if we follow these principles, it's going to be a lot easier to get a believable result. First thing, every muscle has an origin and an insertion. The mass of the muscle is usually closer to the origin than it is to the insertion. Another quick example I can give you guys is a chicken leg. If you remember a chicken leg. You can imagine that the chicken, when it's alive, the leg's like this. Most of the muscles is going to be here, and then all of this is tendons and bones. When we eat the chicken leg, that's what we get. That's the first principle. Second principle, every single muscle, the only function it has is to contract. When it contracts, it's going to bring something towards it. It's going to pull something towards it. That's going to bring us to the third section. The third thing tells us that every single muscle, for a muscle to properly work, it needs to actually go a cross and articulation. That's very important. Imagine, we have two bones right here. This one bone, two bones. If we have a muscle on this bone, the tendon of the bone has to cross the articulation so that when this thing contracts, it actually brings something closer to what it's supposed to have. If you think about the bicep, or the fingers, or our legs, that's how it works. We are going to have the muscle on the big section right here, but the tendons and the ligaments are actually going to be going all the way to the next section of the body. Those are the things that we're going to be moving. When you use your bicep to move the arm, you're not moving the arm. You're moving the forearm. When you contract your pectoral muscle, for instance, you're not contracting your chest. You're bringing the arm closer to the chest. Every muscle, it's going to cross an articulation to do its job. It would be pretty stupid to have a bone right here and the muscle with its attachments on the same bone because since the bone is a solid thing, we won't be able to bend it. That's why it's very important that the bone crosses an articulation and does its job. First, again origin insertion. If the insertion is longer, origin is shorter, the mass is closer to the origin. Second, muscles only contract. Third, a muscle must go through an articulation to properly do its work. The fourth principle of muscles, for every muscle that you have, that does something. For instance, taking this thing into account, the two bone example that we have. We had this muscle right here that brings this one over here, brings the bone up. We're going to have another muscle that's going to do the opposite action. That's something that's always going to happen as well. For every muscle that has an action, there's going to be another muscle that's going to do the opposite action. This is true, I would say, for about 90 percent of the muscles. There's a couple of muscles that don't have this thing, such as the tongue, for instance. We don't have an opposite to the tongue. There's a lot of sphincters, which are the circular muscles that also don't have a counterpart. But for instance, one of the most common ones is on the arm. On the arm, we have the bicep. On the backside of the arm, we have the tricep. We're going to talk about these muscles, which is bicep right here, and then tricep over here. They do the opposite thing. The bicep will bring the forearm closer, and the tricep will bring the forearm aback. Depending on how again you design a monster, design a creature, you want to implement all of these concepts into your element. This is pretty much it, guys. These are the basic principles of the bones that are important to remember, and they're going to be very helpful. Because now that we're going to go into more specific muscles that are a little more important, it's going to be a lot easier to understand the why and the how we're placing them on our character. That's it for this one, guys. I'll see you back on the next one when we start with the arm. Bye-bye. 7. Upper Arm Sculpting: Hey guys, welcome back to the next part of our series. Today we're going to continue with the upper arm up our character, so let's get to it. This is where we left off now, make sure to save, I don't think I have saved. The ZBrush has this auto-save feature, which is really good, but it's always important to save. I'm going to call this Gavalla_001. I always like to save my characters in the increments, that way I can make sure that if I make a mistake, I can go back and fix it without having to loose all of the progress. Also sometimes files do get corrupted, so it's important to have a backup. The bicep is the first muscle that we're going to be talking about, it starts right here on the front side of the arm into very long muscle. People think that the bicep is more like an inflated balloon muscle, but it's actually really slim muscle, we can see it here on the reference, where is it, there we go. You can see it's this very long muscle that goes all the way to the front side of the elbow, which is all of this guys right here. Now, the reason why people believe that the bicep is really big is probably because of movies and TV series where the male characters have a really inflated bicep, which is just like how it's portrayed, but it's usually not as big as you can see right here. Actually, when you see it from the front, you're not going to be seeing the bicep affecting the silhouette of the arm that much, it's going to be more like this elongated shape. I like to call it a gold ingot or a loaf of bread, it's very nice, long shape. As we mentioned in the last video, every time we have a muscle, there's going to be an opposite muscle on the other side, which in this case is going to be the tricep. Now, the bicep is called the bicep because as you can see here, like masses, it has two heads, we call them the heads of the bicep, and each volume will help for the overall thing. Again, we're not going to see the actual intensity of each fiber, but it's good to remember, and the tricep is the same thing, it has three heads, but in this case, we're only going to be seeing two. The tricep has a very similar teardrop shape, but then all of the heads converge into a single thing called the tricep tendon, which goes straight into the elbow, which is going to be right here. Then we're going to have the heads actually give us a little bit of volume, so when you see the arm from the front, you're actually going to be seeing a little bit of volume on the tricep on both sides of the arm. The tricep is the one that gives us the volume because it's a really big muscle, it has three heads instead of two, so we would expect this muscle to be a little bit bigger than the bicep, so we're going to have that one right there. Now, of course, on female characters, especially if they're not super toned or super athletic, we won't see as much of this information, so we're going to be simplifying some of the shapes later on. Now, here in-between the biceps and triceps, we actually have another muscle called the brachialis, is this one that you're seeing right here. It's like the meat on a hamburger. Again, unless you're really toned, you're not going to see it as much. I'm going to start by just like simplifying this. Again, rather than focusing on the details of the anatomy, we're going to be focusing on the forums. I want this arm to look like a nice smooth arm here for my character, which is again, going to be covered in a lot of bandages, but we do want to have the shape of the arm as nice as possible. For instance, here we can remove a little bit of the volume there, which is where the brachialis would be, and then we can add a little bit of volume and just smooth this thing out, there we go. Now, when we see it from the front, the arm is usually a little bit thinner here on the outer section, so we're going to be using my move brush to thin this out. Especially for female characters, there arms tend to be really stylish, really nice and long, so we're going to play a little bit with that shape. Now, as we've mentioned in the one of the first videos, once an area is complete or we're moving forward in an area, we're going to start noticing things on other areas that might need a little bit of fixing. For instance, this acromion process actually goes a little bit for up about there, that's where the clavicle would end. As you can see, we're losing a little bit of that sharp effect that we had on the mask before. So I'm going to push this out a little bit to regain that nice sharp look there on the arms. She's looking a little bit to buffed, so I'm going to reduce that a little bit there, reduce a little bit of the latissimus dorsi as well, and there is just small tweaks here and there that we're going to have to do to make sure things look as nice as possible. Now, talking about the elbow, let's go over here. You're going to see that the elbow is this triangular-looking shape. Here's the big black section of the tendon of the tricep, so we definitely want to have that on our silhouette. I'm going to push this a little bit further like that, [NOISE] here's going to be one of the heads of the tricep creating this volume right here, and then the other head is going to be right here. They call it the long head, it's going to go all the way around, and this is where we're going to have, our nice little connection with the rest of the arm. So that's going to be where are the shoulder is. Now, I forgot to mention the bones. The bone that we have here on the arm is called a humerus. I always remember it, thanks to the Simpsons, the Homer. So I think about Homer, humerus, and it flows into my mind. The humerus is this big bone that goes from the shoulder all the way here to the elbow, and after that we have two more bones that are going to go into the wrist and into the hands, which are the radius and the ulna. The ulna is the one that we're actually seeing just like a hook that snaps onto the elbow, and then we're going to be able to create the sharpness right here. Now, if we go back to our characters right here, you're going to see that, especially on this character is we do see the bicep coming from the deltoid and this is one of the most complicated areas. People have a lot of issues when they're working on this area, so I'm going to try to explain this as nice as possible. There's an interweaving thing going on here. Again, we're not really going to see it on our character, but I've figured it's important for you to know it. The muscle that comes or is at the very bottom of this interweaving thing is actually divisive, so I'm going to create a little bit of a cavity here to indicate that the bicep is actually coming from inside that little cave. The entrance of that little cave, it's actually being formed by the pectoral muscle right here, so it's going to create this recovery, and then it's going to flow into the arm, and on top of that flow is where we're going to have the deltoid muscle covering all of that transition. If you're going to be doing like a superhero and you really want it to look like super nice, no pun intended, then you really want to make sure that the transition of those muscles look as nice as possible because the bicep is going to be coming from that specific little hole right there. I'll push this out a little bit more, and there we go. Let's just turn the dynamic again. I really like using TrimDynamic because it gives this strong, nice bug to the whole thing. Now, on the back, we also have a little bit of a connection. So you guys remember that we mentioned that there's these two bundles, this infraspinatus and the teres major and teres minor. Not super important, at least we're not going to see them as much, probably a little bit more here on the latissimus dorsi, so it's just a matter of making sure it looks like we have the little bundles there going into the arm. Later on when we poster, there's going to be a little bit of movement, so we would expect to see a little bit more of these things pushing out. One thing that I did forget to add here was a little bit of the rich of the scapula. Usually, you do see a little bit of the scapula poking out on this middle section. Again, it depends on how tone, how exercise the character is, the amount of fat, percentage, and stuff, how dehydrated they are as well, all of those things play an important role in how we look at the anatomy, but as you can see, that looks pretty nice. Cool. Yeah, that's pretty much it for the basics of the arms, so three main muscles. Let's just go over them real quick. We have bicep right here, we have the thricep right here, and the brachial is right there on the middle. Now, one important thing is when you see the arm here, you can see that the tricep is actually a little bit higher up, it gets right here higher up than the bicep. Very common mistake is people place them at the same depth and they move slightly, so the bicep is going to be a little bit closer to the central line and this one is going to be a little bit higher. Now, one thing I'm looking at here, and again, don't think about the whole figure, because right now it seem like we are not as slim as I would like, so there might be a little bit of movement that we need to do, but I don't want to rush just yet because I know that there's a lot of things that we might be missing, and if we rush and try to fix things that are not done yet, then that might disrupt other things that we already have done, and it makes it a little bit more difficult to complete the whole thing. Make sure to go through the first basic forms, which is all of this Chapter 1 first, and then we'll go back to the polish section of the body. There we go. This is it for this one guys, I'll see you back on the next one. Bye, bye. 8. Lower Arm Sculpting: Hey, guys. Welcome back to the next part of our series. Today, then we're going to continue with the lower arm. This is going to be a tricky one because the lower arm is one of those areas that people really struggle with. It was probably the one that I struggled the most when I was learning anatomy back in my student days. The lower arm is, of course, this section that goes from the elbow all the way down to the palm. Now, as you guys know, we don't have a palm right now. We know that the hand's going to be roughly at about this distance. That little bundle of polygons that we have right there is eventually going to become the hand. This is where our arm is going to be. Now, the arm is tricky because there's a lot of muscles. There's like 25 or something muscles. Now, you don't have to learn all of them, don't worry. But it is important that we understand the forms and how they progress. The arm is composed of something called the flexors and the extensors. The flexors are going to live right here on the medial epicondyle. It's this little section of the elbow. It's the inner section of the elbow and all of this bundle of muscles are going to be flexing and they're going to allow us to flex our fingers and will create a fist, for instance. We're going to have the most mass of muscles right here and then all of the tendons, as you can see here, are going to go towards the hand. The extensors, on the other hand, are going to be on the other side of the hand and they're going to go to the backside of the fingers like you're seeing right here. Now, the easiest way for me to help you understand how flexors and extensors work is by actually again, going to the bony protrusions. I'm going to turn on my camera for just one second. I normally don't do this, but I think this is an example that it's worth having. Let's go here. If you take a look at your elbow right here, you can actually touch your elbow and go all the way to this little bone that we have right here on the pinky finger. This section, this line of bone, that's your ulna. That's the ulna bone that's going to go all the way through this area. It's important that we follow that one because it's going to allow us to divide the flexors on one side, which is going to be the inner side, these ones, and the extensors, which are going to be on this outer side. That's what we're going to do. We're going to go to the back here. If we imagine that this is our ulna, we can just draw one line and go all the way to the back here. At this point is where we will be having our pinky finger bone. I'm going to add a little dot right there. On the inside of the arm, right here, we're going to have this diamond shape. Again, teardrop shape. Most muscles are like teardrops. We're going to have this teardrop shape and these muscles are going to be our flexors. They're going to allow us to, of course, flex our fingers. Then on the other side, right here, we're going to have our extensors and they're going to be going to the other side, so it's back here to the arm. Now, of course, that's not everything because if we do this, this arm doesn't look bad, but it doesn't look right just yet. The reason is we're still missing two main muscles which are called the extensor carpi radialis longus and the brachioradialis. Those two muscles actually originate all the way up here at the middle of the arm and they're going to go around the arm towards the inner side of our hand. Again, don't worry too much about the names or the fibers, worry about the volume. As you can see, what's going to happen here is we're going to have a little bit more volume up here and a little bit less volume down here, and all of these things are going to be flowing and they're going to be flowing towards the palm. I'm going to use my trim dynamic here to flatten a little bit of this because the risk tends to be quite flat. Eventually, we're going to be adding the hands and the hands are going to be facing towards the character. That's the easiest way to create the hands. I'm just going to use my stuff right here. Again, if we take a look at the concept, no need to worry too much about the anatomy or the fibers or everything because everything is going to be, in this case, covered by a bandage. But we do want to worry about the form, which is going to be the most important thing. For instance here, and you can again see it here on the reference, on the backside of the arm, we do have some muscles. All these are the flexor muscles that are going to go to the back of the palm and they're going to be originating in this section right here, so that section right there, we definitely want to add a little bit more volume so that we make sure to indicate that these things are going to that specific direction. Smooth this out and there we go. Now, a trick that we can do to make this thing look even better is we can go here and change this to flat color, that way we can appreciate the silhouette of the character without actually seeing the details. This is very helpful, especially for the mind so that we can actually see what's going on without having to worry about the forms. Now, I can see that these are way too thick, so I'm going to start pushing this a little bit more. I'm going to start making my arms thinner. A little bit like this. Now, you can see here on the side view that my arms are a little bit too straight. I want to add a little bit of gesture to the arms. I think this is going to really help sell the fact that these are more like female arms. Another thing that I'm going to do is I'm going to carve it a little bit here. The bicep actually ends a little bit here on the volume then we get a little bit of a hollow section right there. There we go. That's like transition. Yes, we're going to have this very famous B shape that we have here on the arm. Very common. Again, not super important because we're going to be covering it. But it's there. Let's soften this up. What I want to do is right now, it looks like an electric current is going through our character's body. Let's relax the pose a little bit. What I'm going to do is I'm going to go with my mask lasso. I'm going to mask the arm, making sure I mask all of the muscles right there. I'm going to bring the pivot point to where the elbow is supposed to be, right about there, and we're going to rotate this slightly forward. That way it looks like the arms are slightly bent forward. That's good. Another thing, female characters, not always, but usually have their arms moving out a little bit like this. You see that? That little change there on the angle of the arms really help sell this feminine body to the whole thing. Now I'm going to use these guys right here. I'm going to invert the selection again, bring this to the side, and just bring this down like this. There we go. Those little changes in the angles, as you can see, already give us a more feminine and stylized look than what we had, so really liking how this is turning out. Let's use a little bit of trim dynamic to flatten out some forms first before we move on. Now, the hands. Hands are one of those things that everyone ask me, what's the best way to do the hands? Well, you could, of course, use the technique that we used before with C spheres and create your own hands. However, it takes a little bit of time. The result that you get is not as great as I would like, to be honest. I personally don't like doing the hands that way. Funny things over here because we still haven't done the legs and it's distracting me a little bit. The way I like to do hands is I actually like to use hands that are already pre-made, like a base mesh of the hands so that it's a little bit easier to work, and later on when we need to do this claw gesture, we get a better effect. First thing is we need to delete these guys right here. We're going to press Control Shift Alt and hide those points right there, and I'm going to say delete hidden. Now, when we DynaMesh, we're going to get this nice little cutout. We could also use the knife brush or any of the other brushes here instead of a C brush. I've pretty much just deleted that section. Make sure things look proportionate. Right now they do look proportionate. I think we're in a good position. We're going to check proportions later on, by the way. I think there might be a little bit too long, so I'm going to bring this thing a little bit higher. Same for the elbow. There we go. Let's DynaMesh. It looks a little bit better. I'm not sure. I'll show you a more exact way to check out proportions. But now what I'm going to do is I'm going to say BI and there's this IMM body parts that we can use. You might be tempted to use this hand option right here. But the problem with this hand option, it's a very ugly hand. I hate this hand. It's really bad. You're actually going to go to this female full arm that we have right here and we're going to get the full arm right there. Now, as you can see, we're really close. Our arm looks really close to this one, so that tells me that we're doing a good job. I'm going to rotate the hand a little bit so that the palm is facing inwards and I'm going to try and position the hand in such a way that it matches with my arm. There, as you can see, our proportions are really close to what we want. I'm going to smooth all of this out so that it gets hidden behind the geometry that they already have. I can even use a very big move brush, in this case, to push and pull the hand into its place right there. Now I'm just going to DynaMesh and there we go. The problem is we're going to get some fingers stuck together. That's fine. I'll show you how to [NOISE] fix that afterwards. Now that we have the hand right here, we can actually go back to our clay builder, for instance, and we can start blending in like this guy right here. We're going to resculpt the hand. This is just like a placeholder, don't worry. We're going to do something even better later on. But yeah, just seeing the hand and the feet later on, it's going to really help us visualize how everything is going to be looking. This is the shape that you want to have. You're going to have a nice big bundle here on the top part of the character and then this tendinous, more fibrous section going into the hand. Now, right now it looks like the hand is actually broken, so we definitely need to start fixing and tweaking certain areas so that everything seems to be flowing. We don't want the hand to be like a broken hand. I think the hand might be a little bit too long right now. A quick way to fix it, let's just mask this thing. Invert the mask and just [NOISE] move it up a little bit more. Move it back in space and just read. There we go. Proportional-wise, that looks a little bit better to me. Yeah, that's pretty much the upper arms. Again, this is just the base mesh. All of this Chapter 1 is just the base mesh, which might look like a very finalized sculpting, and it is. We're really pushing it to be really finished. But the nicer we get this base mesh to look, the easier it's going to be to add all of the other details that we need to do. All of the armor, the claw, the bandages, everything that we need to add is going to be way easier if we do this base mesh. Now, some of you might be wondering, well, if we're just doing a female base mesh, wouldn't it be easier to just grab one that's already done like this one right here, the female? Yes, you could do that. But remember the reason why I'm teaching you this is even though we're doing a female character right now, later on, you might need to do a monster or a creature or something, and if there's no base mesh for those elements, you're going to have to do it from scratch, so all of this information that we're learning is going to be helpful for you because you're going to be able to apply it to any kind of character that you need. That's it, guys. As you can see, quite the progress. Let's take a quick comparison. If you press Shift S, you drop a sample right there and we can go here. This is how we started when we started a couple of videos ago, and this is where we're going. Things are looking quite nice. Let's keep pushing and I'll see you back on the next video. Bye-bye. 9. Upper Leg Sculpting: Hi guys, welcome back to the next part of our series. Today we're going to continue with the upper leg. In the upper leg, we have one of the most important muscles, which is called the quad, the quadriceps and this muscle is a really big muscle. It starts right here, which is the superior anterior iliac spine. It's a little bump on the spine of the hips that are going to be pushing forward and that's going to be one of the insertion points for the muscle. We're going to be adding all of these volumes like a teardrop shape again. Just like this big volume but one of the important things about the quad muscle is that when you see it from the side, it's actually going to be pushing very nicely in a nice curve way towards the front and this happens both in male and female characters so we're going to have this effect going forward. I actually have one example right here. I was looking at this phoenix statue. You can see that nice curvature over there. You can see this one over here. It, of course, will depend on the anatomy of your character. As I mentioned, for my character right here, it's not going to be like super big thighs but you're going to have this very nice curvature going right about there. On the outer side of the character, let me hide the hands for just a second. There we go. On the outer side here we're going to have a couple of muscles. This is called the extensor fascia lata. It's the muscle, that will say latte like in coffee, extensor fascia lata, which is extensor muscle that has the function of keeping all of the muscles here with a very big tendon together like compartmentalized and we're going to have the volume right here and then, of course, the gluteus. We're going to have the big gluteus right here. I always recommend people to keep it nice, but not super exaggerated. Sometimes we tend to exaggerate certain features that we might like and it's fine, but there's a limit where things look gross, like hypersexualized, and maybe not the best thing we can do. Even here you can see like the, let me show you over here. This one. You can see that it is a big glute that we have right here, but it doesn't look bizarre, it doesn't look bad, it looks okay. That's the kind of thing that we want to have as well. We want to have the glutes, but we don't want them to look bizarre or ugly. We want them to look pretty. Now on this other statue the earlier statue you can see that there is a little bit of a full there and yes, we can see it, but usually, everything is just blend together. Females tend to have a lot of little fat pads around certain areas, especially here on the hip areas. That's what gives the hip areas the soft effect so that's what we're going to do. Now on the inside of the leg, we're going to have a bundle of a lot of muscles that are going to just get together at this specific area so you want to have this round effect and on the outer side, it's actually going to be a little bit flatter. I'm actually going to carve in a little bit here and we're going to be creating this flat effect that we tend to get. As you can see here on the references, both legs, they start like really thick and then they become really thin so that's another thing that we want to incorporate here on the other side. We want to make sure that the legs become thinner and more stylized as we go down. The knees of course are going to be right here so I'm just going to add a little bit of an indication of the knees. Then I'm just going to start carving out some of the section right here on the upper leg. Make sure to add volume where you need and soften things up. I'm doing so right here, I'm just adding a little bit of volume and then softening things up. Now, even though we don't have genitals, it is important to have just felt like the rough volume of where the genitals would be especially later on when we add a clothing or any bandages and stuff, that's going to make it easier for us to understand where things are supposed to be. I think I do want to push my hips a little bit further out here, and a little bit further in here. Again to stylize and give the legs a little bit more curvature. Now, the tricky part about legs, or at least that's what I find with female characters, I always have an issue is since we're doing this in this pause where legs are spread apart a little bit, it's a little bit difficult to see that nice curvature that we see when we see it from the front, when the legs are together like this. What you can do if you want to check these things out, is you can mask these legs, reset the pivot point, move it towards the center of the hips like this, and then just rotate them in and here's where you're going to be able to appreciate how the legs are going to look. Now, just do this for preview purposes because if you do this and then you split them, you can see that the geometry just sticks together. We don't want that, so I know that when I do this, this is going to give me a very nice feminine shape but right now I need to keep it separate so that it's easier to work with. Just keep that in mind. Now that we have this, now we can go back here to the abdomen, to the torsal and we can add a little bit more of that, like obliques that we have, the lobe handles that we've mentioned before, to give this character a little bit more depth over there, more volume. Now, here's the decision that we need to make. Do we want our character to look like here, like Phoenix or do we want her to look like, Ari, these are like the style choices that we're going to go for. I think particularly, I would probably going to go for something like this so that means that we can start stylizing things a little bit more. We can push things a little bit more into the stylized realm. For instance, we can make the hip a bit thinner or the shoulders, probably the shoulders. I think the shoulders are the ones that are a little bit too big, so I'm going to make them a little bit thinner there. Now that we have the proper proportions, that's when we can start playing with all of these effects. Make sure you get all the way to this point before trying to modify other things because if you don't get here, it might be a little bit difficult to visualize where things are supposed to be. For instance, here I think I'm going to push the chest out a little bit more. That's also going to give her a little bit more of a heroic look, which is fitting for the character. The head is definitely a little bit too big on that side. The eyes, since that's not going to be the size, they're actually distracting me a little bit so I'm actually just going to fill this thing in, and let's flatten all of these elements. Again, make it look like a helmet. There we go, that's a lot better. We can add the ears. Just as an indication. I don't think we actually see the ears on the character. I think the headdress she's using covers most of the ears. That's just a nice like for blocking purposes, it's a nice thing that we can add. I'm going to flatten this as well. There we go. That way we can see whether or not the body is looking good. I think we're in a good position. I think this is looking nice. Other things that we need to take into account here for the legs because we do see most of our legs like there's a little bit more anatomy showing. There's a line here that's made by a muscle called the sartorius muscle. Taylors, they use this muscle a lot when they cross their legs across one another so that's one that we're going to be seeing right there. On the back part, we're going to have a couple of muscle. One of them is called the semimembranosus and semitendinosus. They're going to get going over here and the other one's called the biceps femoris. Every time you have a muscle that has a last name, like biceps brachialis for instance, that means that that bicep is only on the arm, on the brachial area and the biceps femoris is going to be here on the femur area. The femur is of course, the bone that's going to be here on the leg. Now as we get here to the knee, we're going to have a little bit of a triangle where both muscles divide and then we're going to have the other two muscles. We're going to talk about them once we get into the lower leg that are going to create their volume here. I usually want to add a little bit of volume here on this muscles. You're going to see more muscle here on the front of the leg than on the back of the leg but there's still going to be some muscles here on the back, so make sure to keep them or add them. I'm going to start filling them out a little bit, following some of the RE stature reference that we're using. It's going to give us our very nice. Again, remember on the inside of the leg, we're going to have a round, nice effect. Here, you can see it round and then flat on the outside. That's very important so we're going to keep it around on the inside of the leg and flat on the outside. Has to do with 10 stuff. No need to worry too much about that. We're going to be polishing this even more. Remember, we're just focusing on shapes right now. That's the knee of course. There we go. We're in a really good position. Let's soften up the butt a little bit more here to make sure that the shape is looking nice, smooth it out. I like it. Now, it does seem that she's like going forward a little bit too much. Some girls do have that like curvature but I'm going to push the abdomen a little bit further forward like this. It's a little less intense. I might want to bring the butt. Just like small changes here and there and these changes, we're going to be doing them all the time, all the way up to the very end of the sculpture, we're always going to be doing these small changes. That's it for now, guys. I'm going to stop it right here and I'll see you back on the next one when we take a look at the lower leg, hang on tight and I'll see you back on the next one. Bye-bye. 10. Lower Leg Sculpting: Hey guys, welcome back to the next part of our series. Today we're going to continue with the lower legs. Let's get to it. The lower leg is a really fun part of the body, I would say I really like sculpting the lower legs because it's actually rather easy. The curvature of the lower leg pushes the forms backwards. One of the most important muscles that we're going to have are going to be the gastrocnemius or actually known as the calf muscles. The calves are going to be right here. Similarly to the arms, we're going to have two main masses. Like similar to the extensors and the flexors, we're going to have the outer one and the inner one like this. When you see it from the front, the inner one is going to be lower than the outer one. We're going to have this shape, the silhouette changing like this, and then the other one out here. I'm exaggerating things right now, just so we can see them. I'm going to use my move brush to really stylize them. We can take a look at the character right here, and you can see how we have the outer one right here and the inner one right there. Let's go to here, yeah, we you can see it right here. Outer one, inner one. Of course we're going to go into a really nice and smooth ankle. We're going to start pushing this in. Actually I'm going to delete some of this pieces, I think our legs became a little bit too long. Let's go right there and delete hidden. Now smooth everything. Dynamesh, trim dynamic, and I'm going to use my move brush again to start giving my legs the effect that we need. So there's a couple of stylistic choices. Some people like to push the curvature of the legs really, really heavily to the outer side, creating a concave section right here on the legs. I think I am going to stylize this a little bit on this character. But realistically speaking, you don't have that much of a curvature on the leg, or not as much so I'm going to be adding right now. So that's the calf muscles, and then we're going to start pushing and we're going to go towards something called the Achilles tendon. All of you guys know about the Achilles tendon. So it's this shape that we have down here on the character, like that. That's a little bit too much, so I'm going to start using my trim dynamic to curve in or just flatten things without modifying the silhouette as much. And there we go. Again, as I mentioned, it depends on how stylized you want your character to be. On the concept itself, I think one leg is bandaged and the other one's free. So we're going to have to take that into consideration. I think on the first concept, we have both of the bandages, but I like this thing that he did over here where one leg is free and the other one's not. So I think that's going to add a quite a nice little detail here. The knee is going to be here, underneath the knee we have the tibia, which is the other bone, and then we have this tibia bone going to the inside of the leg. Now, on the leg we have two little bones, this one and this one. The inner bone, which is going to be right here, it's going to be higher up than the lower bone, which is going to be right here. And those are really important for the silhouette as well because we are going to be seeing them. They really shape up the silhouette of the lower leg. Of course I exaggerated them right there, and we're going to be using, again, trimmed dynamic to soften them up and create a cleaner transition. There we go. Smooth, smooth, smooth, everything gets smoothed out. Now I think my lower legs are a little bit too short. So I'm going to use my move brush, there we go, just move this down. That's it, that's looking quite nice for a character. I think that's a really, really nice base mesh. So here's what we're going to do. Now, I'm going to add the foot or the feet in a very similar way to how we did the hand. So I'm going to go into Insert multi mesh body parts and in this case, I am going to be using the foot and so rather basic foot. Just draw the feet, rotate this so it's at zero, and just position them where they're supposed to go. Try to make them flat to the ground. We're going to go for small feet to make it a little bit more interesting. And there we go, dynamesh, and that's it. Now that they're there, we can start playing around with the shapes and curving in all of the different things that we need to make sure that they look as nice as possible. That's the Achilles tendon that we're going to be creating over there. Can make it a little bit bigger. Let's shrink down this little bones that came with the feet, because we're going to be creating our own bones. I'm actually going to use my trend dynamic here to trim everything, to make sure that things look nice first. The transition is looking nice. There we go. Now that my transition is good, now we can go back and add the inner bone and the outer bone. Remember the inner bone is higher up than the lower bone. These bones are the tibia and the fibula. Tibia and fibula, those are the bones here on the lower part of the leg. Again, we can just add them, they're going to help for the silhouette. She's barefoot, the concept has her barefoot, so we're going to have to do a little bit more sculpting than usual. I always joke that no one does feet anymore and everyone uses shoes and stuff. Now we're actually going to be sculpting feet once we get into the polishing section of the whole thing. For the vase shape, this is looking quite, quite nice. So there we go. The whole body is pretty much ready, but I don't want to move forward without actually having a check on the proportions. I'm going to show you, this is an old school trick on creating the proportions or making sure proportions are working nicely. I'm going to go to my demeanor standard and I'm going to mark where the hair line starts, which is right about there. From that line to the chin, that's going to be my main face section, that will be my proportion. What I want to make sure that I match with this chart that we have over here. I'm going to press W to go into my gizmo mode, but I'm going to turn off the gizmo and this is going to activate something called the transpose line. If you've been using ZBrush for a long time, then you are probably familiar with this tool. But for those of you that are just starting, this used to be the way to move things around in ZBrush for 10 years. [LAUGHTER] We had it for a very long time. What I'm going to do is I'm going to click here and press "Shift" and bring this down to the chin. As you can see up here, we have this option that says 0.7356 units. Because right now we're using some arbitrary unit to know how many lines we get. I'm going to go to Preferences and I'm going to say transpose units. As you can see there on the transpose units, right now it's 0.73. I'm going to change that to one. I'm just going to set the unit, I'm going to call this head and hit "Enter". I'm going to set units. There we go. So now as you can see, this measurement right there is one head, and if I start drawing a line, I'm going to get one head, two heads, three heads, etc, etc. So technically, I should be able to draw a line and bring it all the way to the crotch area and boom. Look at that. Foreheads to the point. This means that our proportions are working perfectly fine. We have this one right here, second head a little bit below the nipples. Third head is the nible and then the crotch area. That tells me that our proportions from head to the crotch area are perfect. We're in a very good position. Now, if I do the same thing, but bring it all the way down to the feet, I can see that, hey, you know what? Yes, we have eight heads towards the feet, but if you remember, we were going to have a little bit of an extra head right where we landed with the heels. Let's do the heels section real quick. Well, actually no, I think I'm going to leave it like this right now because we managed to get the perfect head proportion. If we needed to fix anything here, this is where we would probably mask things out and either push or pull them to make sure that we get the proper back the dimensions. If you need to go back to your gizmo, just press this guy right here, and it's back to the gizmo mode. But in this case, our proportions are looking quite, quite nice. Eighth head proportion looking really, really tight. The elbow, I do want to fix it a little bit, I want to make it look a little bit rounder here. Same for the armor, I think it's a little bit too big of an arm so I'm just going to start moving things around. Yeah, that's pretty much it. We're in a really, really good position with our body, I really love how this is looking. We're just going to have probably just one more video for the face proportions, just where the eyes are going to be, where the mouth is going to be, just a general construction. Then we're going to jump into Chapter 2 where we're going to start polishing things. That's it for this one, guys, hang on tight and I'll see you back on the next one. Bye bye. 11. Face Basic Shapes: Hey guys, welcome back to the next part of our series. Today we're going to continue with the face basic shapes. Let's jump into it. Our body is looking amazing. It's looking really, really cool. We have the proportions pretty much dialed in. Yes, there's a couple of things that we need to fix with the fingers, with the feed and a lot of other different polishing things. But the base shape is looking quite, quite nice and we're in a really good place. We're going to jump onto the face. Now, the face is going to be divided into thirds. That's a very basic concept. If you've done faces before, you already know this thing. First third, second third, and third third right about there. That's three same equals stuff. On the third third, that's where we're going to have our nose, so our nose is going to be right here. Our eyes are going to be at the half of the face. They're not aligned with the thirds, they're actually halfway through the face. That's where we're going to have our eyes. I'm going to start carving in some of the eye section right here. I'm not going to do it as a skull, I'm actually just going to start carving in where we would have the cavity of the ice, which is going to be right about there. For the nose, I'm just going to add a little bit of volume right here, like a little bit of a diamond shape. We're going to start creating the curvature of the shape, because this is very important. Female faces have this very round effect to their organization. This is what we want to capture here with the character. I'm going to use my move brush. We're going to start capturing this shape. We're not going to be polishing, we're not doing any sort or anything. We're just creating the basic shape of the head, which would be right about here. Females usually have this curved pointy nose and that's what I'm going to be going for in this case. Of course, you can change the shape of the nose, however way you want. But I like this effect right there, there we go. Now, the mouth is going to be on the last third of the face. Right around here, we're going to have the mouth. A little bit higher, probably about there. Females tend to have this puffy lips. I'm going to use my clay buildup. Right now, I'm actually not going to focus on the lips because we didn't have enough geometry to properly create the shapes of the lips. I'm just going to create this barrel of the mouth, it's called. It's the barrel of the mouth, which is the main silhouette of the mouth for our character. Our ears are a little bit high, so I'm going to bring them down. It should be again, aligned to the face right there. That's pretty much it. Now there's a couple of important things. We have something called the zygomatic arch, which is going to be right around here. It's the thing that creates our cheekbone. We're going to add a little bit of volume there as well to start constructing the face. You can see how our face is looking more and more realistic. Right here we're going to have a little bit of a cavity. We need to separate the nodes from the rest of the face. I'm carving in some of the sections that we're going to have right here. Now, one thing that's going to be really evident, ones we start polishing the face, is that since we're working on the small scale, we actually need to exaggerate certain proportions. The eyes are probably going to be a little bit bigger than we're used to for realistic characters. Because once we print them in 3D, if we do like realistic, they're just going to be super, super small. We're going to be going a little bit stylized as you can see it here for [inaudible], for instance. I'm guessing that the size of the eyes is going to be roughly about this size. We'll talk about that later once we get into the eyes. It's very important that we understand that proportions might be slightly difference since we need to exaggerate things, so they look nice on the 3D printing process. Now I'm just going to push the head back because it's a little bit too big on that side. Definitely need a little bit more back muscles , back here. We can add a little bit of buildup here with a clay buildup because she's looking way, way too strong, and I don't want her to be super, super strong. But that's it. That's pretty much it. I'm going to go Subtool. I'm going to say Append and we're going to append a sphere. I'm going to press the sphere and I'm going to move this up with w, and just scale this down so that we create the shape of the eye. As we mentioned, the eye is going to be a little bit bigger than you might think. We're going to go for something like this. That looks good to me. We're going to say Zplugin, SubTool Master, Mirror. That's going to mirror the eye to the other side. Now, on the face, we want to make sure that we have enough depth here on the eye. We're going to push this in and push this out a little bit. When we see it from the bottom, we can actually see the curvature of the eye like pretty nicely there. Now, if you do have enough geometry under DynaMesh, which by the way, we have not moved the resolution. We've stayed at 256 resolution. We have not been it. But if you have enough resolution, you might want to try adding the lips. Right now, I don't think it's going to work, so I'm going to avoid doing that for now. Later on, we're going to have a specific video dedicated to all of the details of the face, eyes, nose, everything. That's when we really got to polish it. What we can add though right now are a little bit of the eyelids. I can add just a little bit of an indication of the eyelids up here, and a little bit of the indication of the eyelids down here. It's going to look like an alien right now. That's fine. Again, we're going to be polishing and making the eyes look more feminine and stuff once we move forward with the rest of the elements. I'm carving here a little bit. There we go. Yeah, our character is ready guys. I know this was a short video, but this again, just the basic indication of where things are supposed to be here with our character. We're in a very good position. Now is where the fun begins because we're going to start moving on to the polishing of things. We're going to start polishing the face, the hands, the feet, everything, and we're going to start adding all of the different accessories that she has. Chapter 2 is going to be all about polishing the body and then Chapter 3 is going to be all about the props and the armors. Chapter 4 is going to be the pose and all of the different things, and then we're going to keep on moving. Hang on tight because this journey is just starting. Get all the way to this point. Please make sure you have your body a really nicely set up, and the makeshift have several shapes as well. I'll see you back on the next chapter. Bye-bye. 12. Sculpting Eyes: Hey guys, welcome back to the next part of our series. Today we're going to continue with the sculpting of our character. We're going to start now with the polishing section. We're going to start with the eyes. But before we do that, there's a couple of things I want to change in the character. That is, right now the character is all in one piece, like all of the base mesh and everything is just one single piece and that usually works. However, if we want to give a special detail to the head, it is a good idea to split the head into a separate subtool. That way we can focus on actually modifying her in a nicer way. Now, if you take a look at the reference right here, you're going to notice that she actually has these shoulder guards. We can actually create a cut on her shoulders that's going to divide and hide the fact that we're working with two separate pieces. I'm going to go into my mask lasso, and I'm going to select the shoulder section, so right about there, and I'm going to go into subtool, and I'm going to go down here to the options called split, and there's one option called split mask points. I'm just going to hit Okay, and there we go. Now we have this head right here. The important thing here is once we do DynaMesh on both elements of course, the line is going to be there. Yes, it's a little bit annoying. We can later on mix everything back together. But for now, one of the things that this is going to allow me is it's going to allow me to increase the resolution only on the head. That way we can work with a higher resolution, get a better detail, and then bring everything back together when needed. The eyes are one of those very important parts of a character. Those are very important parts of the character. I gathered a couple of extra references here for you guys. We have some concept art over here. Very cool. Again, animayish. Then this one is an actual sculpture. We're going to be using this one as a reference. I also like this one. This is by an artist or a group of artists called Artisan Guild. They make figures for D&D or for 3D print. They have a really cartoon style, but I want to make sure that you guys see this emphasis they use on the plainer shapes of the head. I don't think we're going to go that way or like that, like stylized, but more closer to something like this. This is also a statue. This is the route we're going to be taking. One cool thing about the PureRef, some of you guys might already know, some of you might not, is that you can actually modify this, place this on specific place like here, right-click and say mode, always on top. That way, PureRef is always going to be on top, and we can work in a better way. As you can see right here on the center of the eyes, there's going to be some depth. I definitely want to add some depth. Let me just close Photoshop real quick. Photoshop has this weird problem with the tablet. I'm going to carve this right here, and we're going to create some depth on this area, because on the inner side of the eyes, the eyes are going to be a little bit more concave. As we go out of the eyes, we're going to get a more of a convex shape right around here on the eyebrow section of the whole thing. Our eyebrows of course are going to be down here where our eyes meet. Now the eyebrows are not straight. Eyes have this certainly very interesting shape. I'm going to go for it just like almond-looking shapes. I'm going to go nice angle right here like a 45-degree angle, and then straight, and then down, like this. Now remember, we do need to exaggerate things a little more that we would usually do because this character is going to be printed out. If we leave the digital layer really subtle, then when we print things out, some of the details is going to be washed out, and we're not going to be able to see it. We're going to start working here on the eyes. As you can see, we're using our clay buildup to just carve in the general shape of the eyes right there. Now, these eyes looked to me a little bit too big. I'm going to grab this guy and just push this in a little bit. This is going to create a little bit of a shelf, and that's going to, later on, help me really get this thing clean over here. Because usually on the eyes there's going to be a little bit of a separation. I'm going to use my demeanor standard here to push the eyelids closer. We want a carve this thing because eyelids are supposed to be following the shape of the eyes. Let's move that out again. There we go. As you can see, this one has a little bit of an angry face to it. We definitely want to start adding a little bit of expression as well. There we go. Now for the nose, we already know this. For female noses we really want to push this curvature a little bit more, something like that, and we can start adding a little bit of detail here on the outer side of the nose. A little bit more here on top. Let's remove some of these elements right here, just to soften this up. The nostrils, so we're just going to carve in the nostrils there a little bit, there we go. I'm not in love with the eyes, so I'm going to modify a little bit just using my move brush. I'm just going to push them a little bit over there. Let's go back to clay buildup and let's start polishing here, the cheekbones, the zygomatic arch. I'm going to soften this up. There's a very interesting fold that happens right here. As you can see, I'm adding this line right here, and I can just start pushing this, and creating this fold. It's a very important fold. It's very obvious that the older we get, the more intense folds get of course. It's important that we add all of this stuff. Now the lower lid is usually not as intense, so I'm going to add a little more volume here to soften up the effect of the eyes. There we go. Now, I really like that fox eyes look that it already has. I'm going to use my move brush, and I'm going to change the shape of the eyes a little bit. Let's push it out. There we go. Now the upper eyelid of course goes on top of the lower eyelid. It's very important that we really mark that effect. I still feel like my eyes are way too low here. There we go. Remember, this is just going to be a constant adjustment of things, like certain things are going to look okay, and then certain things are not going to look as good. We're going to be modifying and changing things around. Right now, I just want to show you the basics of where to start modifying the different elements, so that when we start polishing more and more, we can notice where we need to fix more stuff. There we go. My nose is looking a little bit too thin, so I'm going to add a little more volume here. Another very important fold that we're going to have is this one right here, is called the nasolabial fold. It goes as the name implies, from the nose down to the mouth. I'm going really intense there so you guys can see it but then, of course, we're going to soften this out. This is another fold that we're going to see as much on younger people, but older people are definitely going to have it. I think my angle here for the nose is a little bit too much, so I'm going to bring it down. Just like modifying this let's bring this a little bit deeper and I can definitely feel that we still need more geometry. I'm probably going to increase my resolution a little bit more. We really have enough geometry to work with. Now, I'm going to go back to my trim dynamic in a bigger brush. I'm going to modify a little bit of the silhouette of the character because right now the chin is way too straight. I'm going to start polishing this. I'm going to get rid of the ears for now. We don't really need them. That way we can focus on the face a little bit more. Let's soften this up as well. Smooth and there we go. Let's push this back a little bit with my mu brush. This is going to be my jaw line of course. It can go like this. There we go. Cool. That's looking nice. We have a nice neck right here. If I want to remove a little bit of the information here. Most of this stuff we're not even going to see because we have the head dress and the hair. But it's always good to have a good base on your anatomy to make sure that this looks the nicest possible way. Not particularly happy with how the eyes are looking yet. I'm going to reduce a little bit more of the nose here, just move this down then move them in. I'm going to smooth this out. Now we can actually start adding a little bit of the makeup that could be useful. The makeup is going to be sculpted because we're going to be 3D printing and there's no textures in 3D prints. If we're going to have this Egyptian look on her eyes, then all of this makeup, the border of the makeup and stuff, that's going to be something that we're going to be adding as a little bit of an extra volume just to make it show on the 3D print. Now, another recommendation that I give my students on this particular section is to use your select erect and just work or just focus on this section right here. Because again, since we're not doing the mouths right now, since we're not focusing on the mouth. You see everything in context with the rest of the elements and it might seem like something looks weird because we're not ready, we're not done. But if you look only at the eyes, they should look like fairly good. We should be in a good position right here. I think we have a good amount of detail right now. Now, also remember that the more time we invest on something, the better the result is going to be. Right now, we're only been working on this for 10 minutes, a full character usually it takes 40 hours. Unfortunately, I can't really take 40 hours to record this video because that would be way of too much time. I'm trying to keep it simple, entertaining, and show you of course, all of the important things that we need to cover. Let's DynaMesh. Smooth that a little bit. There we go. I'm going to use my clue build. I can see some weird volumes over there. I'm going to use my clue buildup to rebuild some of those areas. One tip that we can do now is we can change to a round Alpha. This is going to give us softer, more natural results. The square Alpha is really good for the blocking section. But I really like the round Alpha2 to fill things in a more organic way. There we go. Let's make here a little bit more angry. Make sure that from all the sides you're seeing things in the proper way. The perspective and everything should be matching quite nice. We can draw just very quick eyebrows, just to get an idea of how they would look. That's a really important for a character. Sometimes we take them for granted, but they're actually really important. They give a lot of power and a lot of expression to faces, there we go. Not bad for a couple of minutes here. Let's keep going. Again, just adding volume where I know we need. Usually on the outer side of the eyes, eyes become a little bit more fleshy. I'm getting that path there, there we go. That looks really nice. There's my trim dynamic. I think there's a little bit too much mouth right now. Let's fix that. Let's bring back this line right there. Our their is looking nicer and nicer. I'm not sure if my face is looking a little bit too long. I'm going to change the proportions a little bit here on the top. The nose is definitely looking a little bit too thick. Maybe I need a longer nose. There we go. I'm not convinced on the nostrils just yet, so I'm actually going to fill them in and just trim dynamic because I definitely want to give it another pass on the nose later. Right now, I'm just interested on the basic shape. Usually the outer side of the nostril is going to align itself to the corner of the eye. That's an important landmark to take into account. This looks good. Cool. I'm going to stop the video right here, guys, in the next one we're going to take a look at the mouth, which is a really cool part of the character. We're just going to keep moving from there. Hang on tight and I'll see you back on the next one. Bye, bye. 13. Sculpting the Mouth: Hey guys, welcome back to the next part of our series. Today we're going to continue with the mouth and it's time to jump to the mouth. I'm going to go right here. I'm going to use my Damien Standard real quick. The first thing I'm going to do is I'm going to mark the area where the mouth is going to be, which is going to be roughly about here. You want to create this letter M on the mouth, starting of course, from the center line and out. That's going to be the border of our upper lip. That's where we're going to start working on the upper lip. I'm going to start with my clay buildup. You know I love this brush, and I'm just going to start carving in right where that M was. As you can see, I'm just carving in and you can actually just destroy this whole section down here. Because the only thing I'm worried about that the only thing that I really need right now is that M shape that we created right there. With that M shaped, that's where we're going to be creating the upper lip. The upper lip is made out of a couple of sections. The first one is this little heart-shaped section on the center of the lips, which is this one right here. I'm just going to start filling in and we're going to be building up the little heart-shaped section. This will of course depend on how thick or thin you want the lips for your character to be. I'm going to carve in here the other section of the lips, they call it the cupid's bow, which is this little indentation. Now I think it's a good time to rebuild the nostrils. Let's just redo them real quick. There we go. Then at the side of the lips we're going to have another two main masses. Again, teardrop shape, that's going to be super constant shape that we're using. That as you can see, we can build this really quickly and create this very nice lip shape. Now, from the side, the lips actually curve down into the main section. I'm going to start carving in a little bit of volume out of this thing. Smooth this out. Then with my [inaudible] brush, of course, we're going to start pushing the lips out to create that curvature and give it this very nice sexy effect. There we go. One thing we can do, we can just press "Control shift" to isolate this guy and work only on the head. That way we're not going to be framing anywhere else. Now, on the underside of the lips, we're going to have the lower lips and we need to start creating all of the volume for the lower lips. The lower lips seat a deeper in the side view than the upper lips. That's very important. You don't want to push those guys all the way to the front. They're supposed to be a little bit closer or more towards the center like this. They do go underneath the upper lips like this. Now, in the same way as how we did the eyes, the mouth creates this U-shape. You're going to see the corner of the mouth being pushed more towards the center of the character and less towards the front. It's not supposed to be flat. There's supposed to be some volume. Let's DynaMesh real quick, and there we go. Now beneath the lips, we're going to have a little bit of a hollow section. There's a very important muscle called the orbicularis oris that actually goes around the whole mouth. But right now it's going to bundle up and create this interesting puffy sections here on the sides. You can see them here. There's going to be this two puffy sections here at the side of the lips, which we're going to of course, smooth out. That way we're creating the basis of our head. Smooth all of this out, and there we go. Now, the lips usually go all the way to the center of the eyes. I'm going to push this guy's a little bit further out, push them back in space. I'm going to use my trim dynamic here. I'll just flatten out a little bit more in here. I'm going to use my clay buildup to give it a little bit more chin in here, which should not be further out than the bottom lips. As you can see, there's a little bit of an angle right here on the face. That's the angle that we want to follow. Now on the corner of the mouth right here, we are going to get a little bit of, again, another bundle of connections as they're going to give us the puppeteer lines they're called. I want Damien Standard. We get the puppeteer lines, of course that's again super intense, but I'm just going to smooth them out. Now we have everything we need to start creating the lips. I'm going to start creating or giving this lips a little bit more volume and fleshiness. Let's just give them a really nice puffy effect. Here we go. Again, we don't want to push them further out than the upper lips. But we do want to give them this nice perky effect, similar to what we have there on the concept. This is the border. We can remove a little bit more volume down here to create a little more contrast, and then we smooth out. Now for the upper lips, we'll also want to fill them a little bit more. We clay build up, we can actually build up the nice little border that we get here on the top. It just faded out towards the center of the volumes like that. Just keep adding a little bit more volume there. There we go. That looks not bad at all. Proportions look good. Everything is looking nice right now. I'm just going to use my Move brush here to tweak it a little bit. Now I still think the face looks a little bit too, I would say a little bit masculine like it's not as sharp as I would like. I'm going to start pushing, especially the cheekbones here. I'm going to start pushing some of these things in and out. I'm going to use my trim dynamic and I'm actually going to sharpen the face quite a bit. You can see with trim dynamic, we can sharpen the face to really create the planes of the face. That's going to help me give it a little bit more of a feminine look. Another thing that could help would be to bring the lips a little bit closer together. I'm going to use my Damien Standard to mark the nostrils. [NOISE] I just blend everything together. Unfortunately you see where it's just always one of those things that's a little bit difficult to explain because I can't really tell you like with what pressure or with what direction I'm giving the touches here in my tablet. So it's more about understanding the underlying concepts of the thing. Now expression wise, she had this, well, not happy but not angry. Very stern face. Maybe like a nice, interesting smile will be. There we go. I like that level of a more, a little bit like a creepy lip. Like she's glad she's destroying you. She's just supposed to be the big bath evil of the campaign. Here we go. Trim dynamic again. I'm just going to start flattening off, especially here on the eyes. I really want this thing to be like nice and sharp. Remember here we have the two lines that we've talked about, like this one, the upper one and this one. Even though we might not see them, we need to suggest those lines. All of that is going to really help sell the character's intentions and motivations. There we go. It looks a lot better. Now, it looks really weird right now, and I know because we're still missing like the ears and we're missing the hair, there's a lot of things that were missing. Again, we need to see things in context and we need to understand that everything goes in layers, like we are starting with this section. But as soon as we start adding more and more sections, things are going to look better and better. For instance, here, I just added a little bit of a plane change on the temporal bones, which is going to give us this nice sharp direction there on the eyebrows. Another thing that's going to play a very important role, and unfortunately we can do it here and see but it's not going to be reflected on the 3D printer later on, is we could definitely start adding makeup. I know some people really like to add makeup to their characters to make them look a little bit more like pretty here inside of ZBrush. But none of that is going to really apply to, what's the word? To the 3D print because, we can't print color. So I prefer to keep a really clean sculpture. I know that eventually once we paint it in the real-world, we're going to be able to get that effects or the effects that we're looking for. Right now this look a little bit too much like a duck face. I'm going to play a little bit. I'm going to use my inflate brush to inflate the lips a little bit so that they're close. There we go. Looks a lot better. I think the jaw line is a little bit too low. I'm going to bring it higher. There we go. One of the things that's really going to help the character is going to be the hair, once we do the hair. But right now, based on the basic proportions and things we're doing, I think we're in a good direction with this girl right here. Smooth all of that out. Again, remember we separated this thing from the main body so that we could work with a higher subdivision level without having to affect the subdivision level of the lower levels or of the lower elements. Thinking one out, smooth out a little bit over here. See see this sharp line, it should be a little bit more like a round section. There we go. Something like that is better. Now, the nose is looking a little bit too straight. Again, we can make it look a little bit more like typical Disney princess and a little bit sharper. There we go. I'm just going to give me like this is Scarlet Johansson bias because she has a very small nose. It's all about tweaking and finding what works best for you, what style you like. The effect that you're getting, all of that stuff. It's trial and error. Don't be afraid to spend more time to do what I'm doing right now. As I mentioned before I'm trying to keep it concise and not make this video go for like 50 hours. But have fun and tweak it. Tweak it until you have something that looks nice. Here for instance, I'm using dynamic standard with alt selected and that gave me a sharp line instead of coding in. It's actually like adding in a very sharp matter. I'm going to add a little bit of a line there like representing the way the eyelid crashes on top of the eyebrow and that already is looking quite nice. I still think the eyes a little bit too further out, so I'm going to push it in. The reason why I want to push it in is, I want to have a little bit of a shelf right there on the eyelids. It's very important and we definitely need to have a little bit of a shelf for clarity sake and also, eventually if we were to paint this, it's way easier to paint if there is a nice division, a nice transition from the eye to the remainder or to the other part of the character. There we go. If we take a look at the whole character, it's not looking bad. not bad, face looks proportional is not the final face, as we've mentioned before. We're still going to be doing more and more stuff, but it's not bad for about half an hour. I'm going to stop the video right here, guys and in then the next one, we're going to keep on polishing. Hang on tight and I'll see you back on the next video. Bye bye. 14. Hair Block In: Hey guys, welcome back to the next part of our series. Today we're going to continue with the hair blocking. The hair is a really important part of the character. It will allow us to see how the general view of the character is going to be well-looking. I always mention that hair is part of the personality of the character. It's important that we understand that then we add it, of course, to our character. Let me just open here real quick the things that we need. Sorry about this. There we go. I actually added a couple more images. This file is going to be available for you guys. I added a couple more images. I added, of course, our Gavala drawing right here. As you can see her hairstyle is actually rather simple. It's a little bit long here on the front, we have a big chunk of hair, a little bit of a nice short hair here on top of the eyebrows. Then very important for her character development. I mentioned I was going to explain a little bit about her story as we go throughout the course. It's this braid that she has right here. Part of the story of Gavala is that when she was little, she was a slave, and she was sold as a slave and that really broke her heart. It's part of the tragic backstory that detonated her fall into the dark side, if your wish. The slaves were always meant to be using, or they should always wear braids. When eventually she became the ruler of the land, she decided not to abolish the braid on herself and just keep on wearing it. But now as a proud way to display that she used to be a slave, but now she's the queen. Again, we need to have a way to sculpt here. As you can see when we sculpt here, we're still going to have big strands of hair, but it's going to be chunks , it's not going to be fibers. We don't need to focus on the fibers. There's a couple of examples right here. This one's a lot more, it's bigger chunks and more stylized because the figure is supposed to be really, really small. In our case, since we're going to go a little bit bigger, we can actually go and add 11 more fibers, but I don't want to add too many fibers. Again, I'm probably going to be using this RES as an example. Now here's the trick that we're going to be using. I'm going to go into SubTool, and I'm going to say append and we're going to append a sphere. I'm going to move up, select the sphere and move the sphere up. Now, we don't really need color, but I am going to make this thing a little bit darker. We're going to go for the dark brown color, dark red. I'm going to say RGB. I'm going to select the sphere hit "RGB" and just say Color, FillObject. That way, that sphere is going to be slightly darker, and it's going to allow me to see how everything looks. I'm going to place this right here. I'm going to DynaMesh it. So we get some nice polygons here. Using my clay buildup, I'm just going to start building up the hair. I really like using this technique where the sphere starts inside of the head so that when we start creating this effect, it's a lot easier to follow with. Again, as we see here on the reference, there is a long strand of hair here on the side. In this case, I'm going to use the snake hook, so I'm going to press BSSH. I'm going to turn on Sculptris, which is this option right here. The snake hook will allow me to move this thing and add more geometry as we pull it down. As you can see, something like this. Of course, we're going to have the hair back here as well. Here's where we're going to have the long braid, all the way down. It's a little bit smaller. Now, eventually, we're probably going to be re-sculpting the hair later on. Just because by working with what we have right now, yes, we're going to get a nice effect, but later on when we post her, the effect should be a little bit different. She has a couple of extra strands over here on the top. When I comb her hair to one side. There we go. Now I'm going to turn off sculpt yourself, DynaMesh this, so we get a nice effect right here. Let's pick this color again and just say color fill object once more. We have the proper color there. Now with my clay buildup, I'm going to start actually modifying and tweaking the hair so it looks a little bit more interesting. I know we're going to have these banks here on the front. That was the word I was looking for banks. This is the term for the hair that's normally there on the front. Then we have this long piece of hair flowing right here. Now, I'm actually not sure if I want hair on the other side, on this side right here, I might just use my move brush. Just DynaMesh this, or we can just isolate this real quick. I'm going to Control Shift, select wrecked, just erase these pieces, Delete Hidden, DynaMesh, and then just Trim Dynamic all of this. Asymmetry is always cool. It's a good way to add a visual interest to our characters. Maybe the hair on this side of her head is just going to float the back like this. Of course, all of this hair on the top is going to be flowing back, and it's going to be flowing onto the braid. I really like this looks nice. Maybe we can add a gemstone or something. Now here for the braid, I'm going to use my demonstrator, I'm going to break up symmetry. Again, I'm just going to create a little bit of an idea of how the brain is going to look, but it's not going to actually be the final braid. It's just like a six-sack thing that we can do right here to create the braid effect. Up here we definitely need to make it seem like hair is flowing into this braid shape like this. Then we have the little volumes of hair. If you guys never done the braid, I should recommend going to your mom or your sisters, your wife, and let them help you make a braid. Tell them to teach you how to make a braid. It's fun. It's relatively easy and you're going to understand this thing a little bit better. Again, we'll just keep alternating this effect. At the end of the braid, in this case we added a little bit of an armor piece because she can actually control her braid and attack you with that little dagger at the end. We're going to have something right there. That's it. That's our very basic blocking. If I were to paint her, the hair would definitely be black. I imagined her with black hair, but again, this is just a preview and the reason why we added the color is just to give us an idea of how she's going to look. I'm going to move this thing to the front. I'm still not super sold on the banks. We're probably going to play around with them a little bit more. But one thing that's going to definitely change how this looks is the hairdress piece that she has. That Pharaoh, like a crown or cowl. It's definitely going to be affecting the way we look at her. We could already start just blocking in real quick. I'm just going to go into Append. Let's Append the sphere. Let's make it smaller. Then with a moor brush. Of course, with symmetry turned on, you can see that this thing rests on the top of the head, covers most of the front part, and then falls down. It's just a basic, basic shape that we're doing here. Let's DynaMesh this real quick. To give us an idea of how this thing will eventually look. We're of course going to be remodeling this. This is not going to be the final shape. But I always like to tell my students that it's important that we have a general idea of how things are going to be looking because that general idea that we can create for ourselves, it's going to be a really important to get the general vibe of the whole thing. Here's where we're going to find which things work, which things don't work. Also, where we need to include a little bit more work and where can work be a little bit more ignored. For instance, I know that since this thing is going to be covering her head, or most of her head, I really don't need to do the ears. We're not going to see them, and we're also not going to be seeing the, what's the word, the hair that's underneath this. I only need to focus on the other parts of the hair. Trying to give this a triangular look. There we go. Now remember, even though this is supposed to be cloth, since we're going to be 3D printing this, one of the things that we need to make sure is that everything is solid. We can not have paper things on our character because all of those things are going to look horrible once we 3D print them. Now, I'm not an expert in Egyptian mythology. Let's look for a very quick Pharaoh cowl or Pharaoh headdress. There we go. This is going to allow us to see a little bit more how this thing is supposed to work. There we go. Yeah, it seems to be like a cloth going backwards. Now again, here's where we can make a couple of decisions of whether or not we want to follow all of this proper, historically accurate things or if we want to create a variation of the elements. The concept gives us a guide, but we can always change things and make them look better. I really like this one. This one looks nice and that's accurate. It's like a little hat that we have right here. This is like a little hat, covers a whole head. Then the hat flips on itself at about there, and it folds out like this. I added the cut back here for her braid, where the braid is going to be coming out. I'm going to use Trim Dynamic to flatten all of these folds, make them look a little bit more dense. I really like this, looks nice. Of course, as we see here in the concept, one of the important pieces are going to be the dark lines. Again, this is just a very basic idea of how she's going to be looking at the end. But it's going to allow us to understand and give us an idea of how we're moving forward. 3D is a very additive process. Every time we keep moving forward with the project, we're going to see more and more things. For instance, here I can see that on the front side, the lines actually go horizontal or vertical rather, like this and they flow somehow. There we go. Little by little, we're going to start adding more and more stuff, more and more pieces here to the general body. This is going to allow us to see the full figure, the full Gavala character. This is just for the blocking guys. I'm going to stop the video right here and I'll see you back on the next one. We're going to move on to the hands and the feet. We definitely need to fix them before we start adding all of the armor pieces and all of the bits and elements that we're going to be polishing. Hang on tight and I'll see you back on the next one. Bye-bye. 15. Hands Block In: Hey guys, welcome back to the next part of our series. Today we're going to continue with the hand blocking and we're going to start detailing and fixing some of the issues that we have with the hand. If we jump onto the hand, I'm just compress all there and we take a look at what's happening right now. You guys are going to know this, that one of the big issues that we have is the fact that the hands are like welded together. Let's isolate them so that we're only working on them. Especially like the middle finger and ring finger are actually welded together. I definitely want to separate them, so I'm going to show you a technique that we can use here to do so. We're going to be using masking. I'm going to use my masking tool here. Actually, first, I'm going to use my selection tool, so Control Shift select. We're going to select lasso. What we want to do, is we want to de-select or hide the union faces in between the fingers, it's going to completely break the fingers. Don't worry. Now, before we delete that, we're actually we're going to delete that one. But before we do anything else, we're going to separate the fingers a little bit more because right now since they're really close together, that doesn't help us much. If you remember from our concept, one of the things that we're going to have is that the hand is going to be in disorder like grasping section. I'm going to grab my pinky finger right here, I'm going to press Alt and click so that the pill points rotates right there. I'm just going to push the pinky finger out like that. I'm going to do the same for the index finger. Grab the index finger Control-click outside of the object, Alt and click, the pivot point goes there. It aligns itself to the normal of the face and we're going to push this one out like this. Finally, I'm going to grab the middle finger. Same thing, Control-click to invert the mask, Alt, and click right here. Alt and click right there. There we go. We're just going to move this thing like further back, like this. Now, again, since we're going to have this grasping thing, one thing that we can actually start playing with is the direction of the fingers. A very common direction that we normally do is you want to have the pinky finger be a little bit more like to the inside of the hand like this. The pinky finger is the one that's going to curl up the most and then the other fingers are not going to curl up as much. Now, if we DynaMesh, if we will delete hidden, we're going to delete hidden because we're going to leave the whole body. If we just DynaMesh right now, there we go, we're going to get this. Now, of course, one thing we can do is we can increase the resolution of the DynaMesh. If we do that, this should be fixing itself a little bit more. If this doesn't work, like right now it's not really working, I'm actually going to start pushing this webbing that we're getting on side of the hand so that we can separate the fingers in a better fashion. Just don't be afraid because we're going to be fixing all of these fingers, don't be afraid to just like push all of this. There we go. As you can see, by moving all of these webbing things, we're going to be able to fix the fingers a little bit more. There we go, perfect. Now the fingers are no longer stuck and we can start working and carving in and sculpting the different parts of the fingers. Now, fingers enhance are tricky areas. I would say they're as important or one of the most important pieces of the body, of course, and we need to understand that fingers have two main segments to them. First of all, we're going to have the bony protrusions on the top side of the hand, so on this area. We're going to have this like little spheres. This is going to be like the knuckles. This is going to be my knuckle here and the pinky finger knuckle was a little bit lower like this. That one right there. Of course, the thumb right there, the thumb's looking quite nice. Now on the inside, we're going to have the parts of the fingers. Everyone can look at their hand and they can see that they're going to have a little bit of a fold going on like this and then another fold like this. Right here, here, and here is where we're going to have the main three folds of the hand. This is the fold of the fingers right here. This is the volume of the thumb right here and there's this one which I like to call the volume of the pinky finger right there. The hand will always be softer on the inside because that's the part that we use to grip things and it's going to be harder on the outside. There we go. I'm going to use my trim dynamic here to train the fingers a little bit more because when it started like shaping them, like fingers. Fingers are pretty much cylinders. However, one of the main issues that people have when they're working with hands and fingers is that their fingers end up looking like sausages. That's one of the things that we're going to try and avoid right now. Let's isolate this again. The way we're going to avoid that is by giving the hands a little bit of gesture. Gesture is this movement that we can give the hands. For instance, I'm using my move brush here. I'm going to use my trim dynamic to flatten out and create the base measure, the base form for this finger right here. Now that's very pointy, so I'm going to smooth that out. Then of course, with my move brush, I'm going to move it back out so that we get the proper length. Our fingers are made by bones, of course, and we have the bones called the phalanges. I'm pretty sure that's the way to pronounce it and we have the proximal, middle, and distal phalanges. I'm just going to add a couple of lines here, that will be my proximal phalanges. This will be my media of phalange. Then the finger, of course, is the distal phalange. In-between the phalanges, we're going to have, of course, this won't be the knuckles per se, but they will be like the bony protrusion that we get in-between each finger. We definitely want to have those in right there. The finger, it's going to look a little bit more again edgy, a little bit more like hard surface see on the top part than it is going to be doing it on the bottom part. The bottom part, it's going to be looking more like a cushion. One thing that I'd like to do is I actually like to start adding a little bit of gesture to the fingers. Instead of having just straight fingers, I like to rotate them a little bit. I'm going to go like right there and for instance, the tip right there, I'm just going to rotate in a little bit. It looks like the hand is grasping something. This is something that when you're working in production or for production, you might want to ask your rigor before doing this, it will definitely make your character look a lot nicer, a lot cooler. But sometimes it makes it a little bit more difficult for rigorous to read the character. It's not impossible, I've read characters before when using this method and they turn out fine. It's just a little bit more like an extra thought that you have to put into the rigging process to make sure that it looks as nice as possible. See this curved shape that we have right there? That's not what we want. When we're doing this grasping thing, we definitely want the hand to look like it's actually bending and grasping something. We want to have these angles on the fingers. That's going to be, again, the gesture of things. Now keep in mind that this guy or this girl is going to be printed out at about 15 centimeters, so hands are going to be really, really small, really, really thin. That's why silhouette is so, so important because that's what we're actually going to be seeing when we see her hands from afar. I'm going to change the proportions there a little bit, soften up there a little bit. Eventually, she's going to be wearing these pointy armor finger covers. That's why I'm also not worrying too much about the details of the fingers, because most of these things are also going to be covered. But we do want to have the best possible resolution here. We have a couple of tendons that go towards the extensors. We talked about the extensors on the arm. You can add them. Again, not really going to see them because they're going to be covered. But there we go. The thumb is also going to be bending, so I'm going to mask this section right here. We're going to bend it like this, and then this guy right there, like this. DynaMesh and just clean up that section right there. There's definitely a fold that goes from these fingers. Right here in between the fingers, there is a little bit of a crevice. This is actually, in Spanish we call it tabaquera anatomica, which means the anatomical ashtray because back in the day, or at least this is what my teachers used to tell me, back in medicine school. Back in the day, people would place some tobacco here and they would sniff it out of this section. I wouldn't recommend doing so because it's very toxic of course. But apparently, that's a little hollow piece that we got there on our hand that's really handy for that sort of things. Let's set the fold here on the thumb as well. Now the pinky finger, as I mentioned, it's going to be the finger that's going to be the most curved. When I move it and then go here and move it like this. It's going to be like a transition. Each finger is going to be slightly more curved than the other one. Again, I would normally not do this where I'm sculpting and posting at the same time. If this was for production for a video game, I would probably do this in a more T-pose manner. However, for this particular case for 3D printing, you can get away with doing this because we only care about one section. Now, I'm also sure that this pose that I'm doing for the hand, it's quite natural. It's not a super extreme pose. I know that if I wanted to convert this into a game character, I could easily un-pose this section and make it look a little bit closer to a traditional T-pose. There we go. I think I'm going to grab the main finger here, like that. It looks a little more creepy. That's also going to give it a lot of visual interest to the hand. It's going to make the hand look really, really creepy, and really dynamic, which is always something that you want for your characters, because hands and faces are one of the most expressive things that we have on the body. You definitely, definitely want to make sure that they look as nice as possible. A little bit of trim dynamic here to soften this up. Sometimes when we're doing sculptures, I've also seen some people combine a couple of fingers into an interesting pose. You can of course explore and do whatever fits the sculpture the best. But I think this form right here that we have right now, it's working quite, quite nice. Again, I'm not worrying too much about the final look because most of this is going to be covered. I'm just creating the base mesh to blocking. But if you were going to do a character, you need to take it into account how young you want the hands to be. The more bony and the more wrinkly that you make the hands, the older the character is going to look. If you look at baby hands, you're going to see that they're really soft and really nice. As we grow older all of that stuff is lost. Then we start getting these very jaggedy and used hands. Again, depending on the type of character that you're going for, you might want to check out how you want to represent your hands. Here again, I'm just adding a little bit trim dynamic to properly make the arm flow into the hand. We've mentioned this before. You're going to be changing a lot of things on the go. As you modify one area, for instance here I'm modifying the hand, you're going to see that certain parts on the arm does not look as nice anymore. You're probably going to have to modify them. For instance, the arm looks a little bit too big. I'm going to trim it down a little bit. Later on we're also going to pose the character, she's going to be with the hands raised up and stuff. That means that yes, we have to tweak a couple of things on the body as well. Even though we are approaching a really nice position here, that doesn't mean that's going to be the final thing. I'm going to bring back the thumb a little bit because it's looking a little bit weird for my taste. Again, trim dynamic here a little bit. We get a clean silhouette. There we go, that looks good. Cool. I'm going to stop the video right here, guys. In the next one we're going to take a look at the feet because since she's barefoot, we definitely need to work a little bit on the general shape of the feet. Yeah, hang on tight and I'll see you back on the next one. Bye-bye. 16. Feet Block In: Hey guys, welcome back to the next part of our series. Today we're going to continue with the feet block in. As we did with the hands, we definitely need to add a little bit of life into the feet. Because right now, even though we are using a base mesh, it's not like in the previous base mesh and we definitely need to make it look a little bit nicer. Now, the feet are a little bit different than the hand in the sense that we actually don't need to split the toes. We can leave them as a single unit as long as we can properly sculpt them and give them a nice transition. The way the feet works is very similar to the hand. We're going to have something called the tarsus, which is the actual leg heel of our foot. Here's the ankle. All of this section right here, the heel of our character, that's called the tarsus and it's all of the bones that we need to stabilize ourself and walk. After the tarsus, we have something called the metatarsals, which as the name implies, meta, it's from Greek, I believe. It means beyond. After it or beyond. Those are the bones that go beyond the tarsals. Metatarsals and then we have again, the phalanges the proximal, middle and distal phalanges, one for each little toe. The way this works, usually the middle or this one right here would be like the index toe, will go a little bit further out than the rest of the toes. I'm actually going to push the thumb, the big toe, up a little bit more. In a very similar way to how we have the bones in the hand we're also going to have this little balls, the knuckles on the base. Those are really tricky because we don't study them as much as we would need to do with other parts of the body because we usually don't see them as much. We're usually wearing some like a boot or something. It can get tricky. My best advice is of course, to get some reference and make sure that it looks as nice as possible. The thumb is going to have this division right here and then the other fingers are going to go right there. I'm going to grab the thumb and I'm going to make it a little bigger so with my move brush being very careful here, I'm just going to start pushing and giving it a look that we want to go for. We definitely would like or I will definitely have some like nail bath on the toe. We don't want any ingrown nail. We're going to keep it nice and clean, I'm going to use my trim dynamic here to flatten it out. As you can see, I'm working with really little geometry. That's one of the best advices that I can give you guys. Don't add more geometry than you need when you're working on any character or creature because when we do too much geometry, what ends up happening is that we lose track of the important things such as silhouette and form. Here, I'm going to be very careful and the pinky toe, usually collapses or it goes really close like it wants to go on top of the little, this will be the next toe right here. That's what I'm trying to get there. Again, not too worried about this because it's such a minor piece of the character but you definitely want to give it a little bit of personality to the feet. There we go. We just add a little bit more there. Those groups that we have right there, we're going to keep those groups. Later on we're going to come back here and we're going to be polishing all of this stuff. But right now we only want to have the main shape. As you can see, I'm adding the little [NOISE] paths on the fingers as well because in a very similar way to how it works with the hand, we're also going to have the interesting paths right here, so 1,2,3,1,2,3, they're usually going to be going in like cave in a little bit, but they're supposed to be soft, like that. I'm going to use my trim dynamic again to polish a little bit of these fingers. Then the arc of the foot. That one is really important. Usually feet are not flat. There's a little bit of an arc and the arc will start at the center right here and they will push up. Depending on how stylize you and your character you might want to increase the arc a little bit more or a little bit less but it is important that we add that arc to the feet. Now, in the same way as how we saw the hands I think a little bit of gesture to the feet really helped to serve nice, sexy feet. I'm going to grab all of this math right here. I'm going to press W and click here and we're going to rotate the metatarsals down a little bit, like this. Then I'm going to grab the toes, all of these phalanges, all of these guys. I'm going to do something similar, but I'm going to push them up like this. There's going to give it a little bit of this using a high heel effect. Whenever you're using a high heel what ends up happening is this metatarsals go really down. Sometimes the ankle gets a little bit of rotation as well. You're going to see something like this. Just a little bit of rotation there. But the one that's going to be doing most of the job are the metatarsals. All of these guys right here, you're going to see them go and depending on how high the heel is, you're going to see these things go in a very intense direction like this. Then what ends up happening is you're actually resting most of your weight on the toes themselves. Something like this. This is the shape that we would normally see on someone who's wearing high heels. Now, our character is not wearing high heels but she is levitating. Again, to give this interesting gesture, interesting look I think it's a good idea to post her like this. It's very rare unfortunately, for our current times, we tend to always go for the traditional, canonical beauty standards and that implies, or means that most female characters that I have to modeler that I get asked to do will be wearing some thing that elevates their feet a little bit because it's just so culturally ingrained in our heads but that doesn't mean that you can't break the mold and do something different as well. Let's just smooth that out and there we go. A little bit of volume here. We don't want to make her feel look as ugly. I think these heel bones a little bit too high, so I'm going to bring it down a little bit. We can start playing again. If we see that the leg is looking nice, but we want to stylize it a little bit more, we can smooth it out a little bit as well. I'm going to use my trim dynamic. Just like soft and all of this area right here. I want the transition to look nice and smooth. Just play around with this forms until you get something that you're happy with. Some people like to add a little bit more volume here on the arc of the front part of the foot, like create a nice little curvature. Right now I'm going for anatomically correct feet. I do think my toes are a little bit too long, to be honest. I'm probably going to use my smooth brush to give her slightly smaller feet. Another really cool brush is the influent brush, which we can use to give them a little bit more volume and close the little distance that we have in-between them. Then again with our smooth brush, we can just start adding a little bit of volume here and there. Now very important we need to create the divisions. When we see them from the side, we can actually see the feet doing their thing. Again, eventually we're going to have the nail beds like that. You can see that looks good. I think we're getting a nice clean feet, so that's good. Depending on how old or young you want the feet to be you're going to add or remove more volume. I think she is barefooted on both feet but she has one leg bandaged, so that's going to definitely affect. There we go. Now in the same way as how we did it with the arm once we have the feet nicely laid out, we can start polishing all of this area as well. I'm just making sure that the transition is working nice here. I'm using again my trim dynamic to clean some of the shapes here on the leg. Move brush a little bit there. That's it. That looks good. Nice. We've gone from a really standard looking element to something that's looking a little bit more intense. You can see the gesture on the hands right there changing very nicely. Now it's time to start working on some of the base meshes for the vendanges. We're going to jump onto a technique that I'm going to show you to create vendanges. We're going to be doing that. We're going to create the main vendanges of a character before we jump onto all of the other accessories. Hang on tight and I'll see you back on the next one. Bye bye. 17. Bandages Technique: Hey guys. Welcome back to our next part of our series. Today we're going to continue with the bandages. We're going to start blocking in some of the bandages. Bandages are really interesting because we can take two approaches. We can say and we can go with realistic chest bandages. It's pretty simple. It's just like going from left to right, left to right. That's the way it works in the real world. This is what we would expect to see on the mummy. However, from a cool factor perspective, this is not great. It looks okay, but we can make it look way cooler. Here's where you will always have to take a decision or make a decision when working on projects, whether to go with the cool factor or to go with the realistic factor. Now, we're not going to give her cleavage. We're not going to make the breast look like they are a form field so we are going to have things going on top of the elements. But that doesn't mean that we can't play around with some of the elements first. Here's the thing, as you can see here, we're actually going to see some bandages going into the arms, but we're going to keep them as separate pieces. We're going to have two main block-outs for the bandages. If we take a look at the concept, you're going to see that we have bandages pretty much all the way to the crotch area. It's like a bikini, like a bodysuit or something. I'm going to go here and the first thing I'm going to do is I'm going to mask out all of the area where I'm expecting to see the bandages, which is something like this. Let's isolate this real quick. Here again, just to go a little bit with the sexy factor, let's get rid of some of this. There we go. Let's add a little bit more here. That's it. That looks good. Doesn't have to be perfect just as close as possible to what we're going for. Make sure that we're not selecting anything else. This is super important because the thing that we're going to be using is going to utilize it, the extract function. If we have extra information, it could get a little bit tricky. I like this one. This one looks okay. We're going to go to "Subtool", and we're going to say extract and we're going to hit this "Extract" button. When we do the extraction, what happens is we get some volume, as you can see right there. It's like a thick element. We don't want that. Eventually, yes, we're going to have thickness but right now we don't want thickness. I'm going to bring this thickness up here, down to zero. Now when we extract, this is just going to be a flat plate. I'm going to hit "Accept". We're going to get a new subtool. I'm going to isolate it real quick, which is literally an extraction of what we had there. It looks okay. However, if we take a look at the poly frame, you're going to see that, especially on the borders, the poly frame is not as clean as it could be. We're going to go all the way down here to the formation. We're going to move this slider called polish by features all the way up. That's going to make sure that we get a softer, more crisp edge on the different parts of the model. One of the things that we're definitely going to do is we need to reduce the amount of polygons that we have because right now, these are way too many polygons and it's going to make it really difficult to get the proper forms for our character. I'm going to go to see ZRemeasure. I'm just going to hit "ZRemeasure" one time. What ZRemeasure does is just recalculate the surface of the element. We've seen this tool before. It will give us a more topology-appropriate thing, which this one, as you can see, looks really nice. Now, if you want to modify or soften this a little bit further, you can actually go here to "Half" and hit "ZRemeasure" again, and it will give you a half that distance. I'm going to do one more at half and that's it. This is a lot cleaner and a lot closer to what I'm looking for. Now, we're going to use a very nice brush that we have here instead of Zbrush, which is called the slice curve brush. If you press "Control+Shift" and go up here into the brushes, you're going to have this one called slice curve. The way the slice curve works, it literally cuts the geometry in the direction that you choose. Whatever it is on one side of the gradient will be cut into a different polygraph as you can see there. It does not split the object. It's still the same object. It just adds a line, triangulates anything that it needs, and it gives us this very interesting and nice division. What we're going to do as some of you might be already guessing, is we're going to start adding cuts to the elements like this. Now, to make these things a little bit more interesting, for instance, we can add different cuts and at any point, you can select "Control+Shift" and click on an object, another different cut and that's only going to affect that specific element right there. For instance, this one, let's add one cut right there and see how we get these very interesting shapes. They're going to give us a very cool-looking bandage effect. Let's go here, for instance, let's have a one there. That's one straight line there, or maybe a little bit like this. I definitely want to add one straight line going across the breast area, so something like this. Then I'm going to grab this guy. Again, you want to keep those straight, like straight lines. That's the usual direction that bandages are going to follow. The straighter these guys are, the nicer the whole interlocking thing is going to look. This one, for instance, it's the uppermost one. I'm not too worried about that one so I'm probably going to leave it like that. Then back here, we definitely need some bandages to go into the crotch area. We're probably going to have something like, or here for instance, I think it would be a good idea to cut this about there. There we go. Then like this, and then this one, for instance, we can add another one going in this direction, and maybe cut that one in half, again, to get a little bit of interlocking effects. Again, you don't need to make this thing look the way it would look in the real world, like the proper technique if you wish, as long as it looks cool, we're in a good position. To me, this element right here, it looks really nice. This interlocking section looks really cool. Now, of course, the problem is that right now, this thing is exactly on top of the elements that we have and we definitely want a little bit of thickness. There's actually another way to do this. I was debating whether or not to do one way or the other. Another way is to literally go into the leg and just start sculpting the bandages like this. The advantage of doing this is that since we already have the form, it's relatively easy to give it the effect, but it looks very fake. Even if we print this, it's going to look like It's just something that's painted on or sculpted on. This one that I'm showing you right now, it's a little bit more realistic and I think it's going to look way better at the end of the whole process. Now that we have all of the stripes that we need, all of the main forms, we need to give these guys thickness. In order to do that, we're going to be using a tool called panel loops. If we go up here to the edge loop section, we have this option called panel loops. If I click that, what's going to happen as you can see there, is every single poly group that we have, which we got by using the slice group, every single poly group is now going to be extruded and we're going to get a little bit of thickness. We can, of course, increase the thickness here, let's say, for instance, 0.02, hit "Panel Loops" again, and there we go. We get this very nice bandage section that once we see it on top of the character, now it actually looks like there's bandages going across her body. Again, it's different things that we can do and change. I actually like this thick edge that we get with these guys, but I'm definitely going to increase the intensity. Let's put 0.05. Hit "Panel Loops", maybe a little bit too much, let's put 0.03 and hit "Panel Loops" again. There we go. I think that looks a lot better because we still keep the form as you can see that we're not really losing the form of the character but we do get this very nice effect where it actually looks like she's covered in bandages. Now, this border that you're seeing right there, which is also quite important, that happens due to this thing called the bevel profile. If we get rid of the bevel, if we say bevel is 0 and hit panel loops, we're still going to get the thickness, as you can see there, but we're not going to get any distance. It's just going to be a straight extrusion up, which might be something that you're looking for. In this case, I do want to lay a little bit of bevel, I'm going to hit "Panel Loops" again, so we can see the borders right there. Right now, the bevel that we're getting is this one. This is the base of the object that we extrude in and out. If you want this to be a little bit rounder, we just need to add another point right here. When we panel loop, as you can see there, we're going to get a more of a round effect on the whole element right there. We can change the elevation, for instance, a little bit. We're going to get this, look softer, rounded corners. It will all depend on the effect that you're going for. Actually, like this one to be honest but maybe it's a little bit too much. Let's bring this back. There we go. Hit "Panel Loops" again, and that's it. That looks good. Now comes to the tricky part. I would say the time-consuming part, which is actually, make sure that this fits on top of the character. I should think, is the thickness too low. There we go. That's a lot better. What we need to do now is we need to start moving some of these bandages so that they look like one is on top of the other and we start creating an interesting silhouette that helps our character. Unfortunately, right now, there's no easy way to just grab any specific area. If I try to move something, all of the areas are going to move, or of course, going to break symmetry, but there's a couple of tricks that you can do. The first trick that I want to show you is the move topological. The brush is BMT, that's the shortcut move topology, and the move topological brush allows you to move only things that are a single island. For instance, here, if I wanted to bring this a little bit out, I'm only moving this island of faces because it's the only island of faces that's stuck together in a single place. Maybe I want to bring this little triangle in. In this case, I'll just push this in and then push this out, and that's going to create the overlap that we're looking for in our character. Move topological is really, really cool. It's a really useful tool that I recommend using quite a bit. For instance, this piece right here, we're definitely going to push this in and then out so it overlaps and it looks like it's going inside of the breast. Same for this one. A little bit of overlap there. As I mentioned, this is going to be a little bit time-consuming because we definitely need to make sure that this thing looks as nice as possible. Another thing we can use is we can actually poly-group everything into a single poly-group because right now you can see from the Panel Loops, we have several poly-groups. We had the inner side, the outer side, and then the borders. We might want to have each bandage be its own poly-group, so I'm going to go all the way down to poly-groups, and I'm going to save all the groups right here. I'm just going to assign a single poly-group to every single piece right here. Now, if we go to the Move Brush, again right now it's moving everything. But there's a very nice option up here in the Brush section inside the auto masking, which is called mask by polygroup. If we bring this all the way up to 100, now, it's only going to be moving it per poly-group. It's pretty much like using the topological one, but this one obeys the Polygroup section. Again, what we want to do is we want to create this layering effect where certain bandages are going to be on top of each other. This is one of the things that we do need to take into consideration for 3D printing. I know we haven't really talked about what works and what doesn't work in 3D printing, but all of those crevices that we have right there, we definitely want to avoid having as many of them as possible. It's fine to have overlaps, overlaps are not going to kill your 3D print, but you definitely want to make sure that you don't have a lot of hollow spaces because those create a little bit of a vacuum when you're 3D printing. They're either going to need an extra support or extra supports on that area or they can make it so that light bleeds through those areas and we get a different effect. The more intense the change in silhouette is, the more careful you want to be with these things. There we go. I'm going to turn this off so that we can actually see the bandages. You can see just by modifying them and making them go in and out of the profile, we're already creating a really, really interesting pattern for the whole thing. Don't be afraid to push the volumes and play around with them. For instance here, since I don't want that big space right there, I can just push this bandage out, and it's going to create this layering effect. Usually, when I see those little triangles, that tells me that those needs to get inserted into the main bandages so that we carry this layering effect. It's like weaving things. You'll definitely want to have the body showing so that we can see how these things are weaving between each other. We're not using DynaMesh. We don't need DynaMesh because this has good topology. We can even press Control D to give it a vision and see them a little bit softer. Later on, we're of course going to add more and more details. But right now it's just about creating this layering effect. Now, we're eventually going to do the same thing for the arms and for the legs, but I want to wait until we pose the character to do that because posting the character with multiple things makes it a little bit more difficult, to be honest. If we can wait until this character is posed, it's going to make it a lot easier. Again, people are not really going to question how is this bandage holding up if things are not flowing in the proper way like a normal bandage will do in the real world. Don't worry too much about that because we're going, in this case, for the core factor. At the time of this recording, Marvel released a series called the Moon Knight, and it's been getting very good reviews so far, and the character has this effect, he's bandaged, he's like hero, like a bad man hero. He's not like the super good guy. He says he has issues. But yeah, he has bandages and I've seen that some of the bandages, again, do not make sense. That's why I'm not scared to play around with this going in and out of the things. Now here in the abdomen, as you can see, I can actually leave certain spaces open to see a little bit of skin, like if we're seeing a little bit of the navel over there, for instance, that could work. Just make sure that the overlapping looks appropriate. This would be my personal recommendation since eventually, we would like to paint this figure, we're not going to do that in this tutorial because there's not enough time to do so. But since eventually, we will probably like to paint this character, one of the things that we need to take into consideration is that we can't leave super, super tiny spots because it's going to be very difficult to get there. We want to make it easy for people to paint them as well. If you're thinking about using all of this knowledge to create your own figures and sell them, make sure you take that into account. I actually buy several STL files for my personal use, and that's one of the things that I hate when people sculpt amazing things, but they make them super, super difficult to paint, because they sculpted little details that are really difficult to get into. For instance, that one right there, I think that one's fine. Again, since we're close to the navel, we could technically add the navel right there, and that's going to be a nice detail that people would like to paint because it's going to show a little bit of skin and that makes it look interesting. But I wouldn't do a small little triangle right there because it will be really, really difficult to make sure it looks nice. I'm going to use my move brush here. I still have the polygroup thing activated, so that we get a little bit more tension on these areas. Again, it is a little bit form-fitting, but we don't want this to be super form-fitting. There we go. Cool. We got the bandages now. We still need to push some of the back parts right here, but we're in a good position. I'm going to stop the video right here, guys. In the next one, we're going to keep polishing some of these bandages. That's probably going to be the end of Chapter 2. We're pretty much done with the blocking, our character is looking more and more like what we want her to look, and then we're going to jump on to posing the character. Chapter 3, we're going to pose the character and we're going to start working on the props because that's going to be an important part of this whole process. Hang on tight and I'll see you back on the next one. Bye, bye. 18. Refining the Shapes: Hey guys, welcome back to the next part of our series. Today we're going to continue with the refinement of some shapes. First of all, I want to finish up the bandages. Let's go. I'm going to hide the hair for just a second. Let's select this guy right here. Actually, let me show you something real quick. This is a really cool feature that they added a couple of versions ago. We have these things called the visibility sets and visibility sets are, as the name implies, sets that you can create to see a specific thing. For instance, V1 could be everything. Then V2, I can say, you know what, I only want the V2 to be the body, the bandages, the head, and the eyes. That way if I switch to V1, I have everything, if I switch to V2, I only have the body and the bandages. Then we can go to V3 for instance, and say, you know what for V3, I want a head eyes and hair. Only this section. Then V4 could be head, eyes and then hair dress and this guy. At any point I can just switch between the different sections. It really allows you to work in a more specific way. That way if I only want to focus on specific things, I can just separate them in this visibility sets. I do believe we're limited to eight visibility sets, although I do remember there was an option to maybe add more, but eight is usually more than enough. You can also change this one right here is how many sub-tools you want to see. For instance, on the visibility where we have a lot of sub-tools, you might want to have the visibility count a little bit higher that we can see all of the elements. Anyway let's go to V2, which is where we have this piece right here. I'm going to go back here to the bandages. As I mentioned, the most important thing about this once is just to make sure that they flow nicely into each other. We don't want to see these things. I'm just going to start pushing like this one, this one. Now, it's very important, this is a very good advice that was given by a teacher back in the day. Do not ever push the mass of the body like right here. You might think that this looks cool, but right now, and a lot of people would go to the body, will jump onto the body sub-tool and just curve in some of the bodies so the bandage looks nice. You don't want to do that. You want to make sure that everything moves in a single piece. In this case, if the body stops there, if that's where the main muscles are, you'll want to stop this right there. Later on if you want to make the whole character slimmer or something, we can definitely do that. I'm actually going to show you that in just a second, but you don't want to push things just so that they look cool on the effect right here. You want to keep things proportionate and going into the proper position. Something like that. Let's push this up a little bit. I do like that nice little skin showing over there, but I only want that for instance there. Let's really push that, push that, push this one out. Same here, just move that big piece of geometry there. Remember I'm using multiple logical to really push this guy right there. Creating this changes in depth is also going to be really cool for painting. Because when you paint it, there's a technique called washes where you dilute the paint quite a bit and then once the paint is diluted, you pretty much through with everyone on the character and the water will flow and they will gather at the crevices of the character. Then when the water evaporates and it lives only the paint, you get this very nice contrast. We're doing an ambient occlusion pass or like a jerk pass instead of a substance painter. It really looks quite nice. All of this kravis and stuff that we're doing here with the bandages, those are going to look really cool when we eventually paint this character. That's it. The bandage is all ready. Now, we're going to jump onto the posing of the characters starting on the next chapter. One of the things I want to do is I actually want to cut the face up here on the neck. I want to paste the neck and back to the body because it's easier to move the face on this area right here, on the top portion, rather than moving it from all of the elbows and stuff. Since we're going to have this armor and stuff later on, I also don't feel obligated to keep this as a single piece. That's really weird. We already have the cut there. Oh, yeah, because we have the other masking by quality. There we go. Cool. How this works is very easy. I am going to go into my Control Shift and I'm going to say a slice curve. If we turn on the polar frame, you're going to see that we got this actually, that's a really nice cut. But I'm going to go with my slice curve and I'm going to press ''Alt'' a couple of times to create this curvature. As you can see now, the face is going to be blue and everything is going to be another color. Let's go back to select the Lasso, there we go in border selection. There we go. Control W will add a group, whatever it's there. Now what I'm going to do is I'm going to say split, group split and we're going to get two poly groups. The face is going to be one, and then this neck is going to be the other one. This neck I'm going to bring up so I'm going to say move up twice. We're going to go back to this character right here. Let's get rid of the mask and this is what will happen. Now selecting the neck, I'm going to go down here into merge and I'm going to say merge down. Then when we DynaMesh, we should be pretty much combining all of these elements right here. As you can see, we've recovered the neck and the head at separate pieces. Now it's going to be a lot easier to pose the character, also we're not going to have like that's crazy line looking over there. Then we're in a good position. Now, here's where we can stylize things a little bit more. If you guys remember from our concept pieces right here, there's a couple of statues and they have a really tiny wastes like here, for instance already. Even a phoenix here, Jean Gray has a little bit of a tiny waist. How can we make her have a tiny waist without modifying anything else, while modifying everything at the same time. We can use a plugin called Zplugin transpose master. This is actually one of the ones that we're going to be using for posting. It's a little bit of an introduction. We're going to press this button that says TPoseMesh. By pressing TPoseMesh, what ZBrush is going to do is going to create a new tool where all of the subtool are combined into their lowest subdivision level and we can modify and move this freely. For instance, we can make her a little bit thinner there, you've heard of wider hips, maybe modify their shoulders. This usually works better when you have multiple prompts like the bandages here. Maybe we want to give her a little bit more of a toshi there. Maybe we want to push her abdomen a little bit in to give her a really thin, stylized look. She was wearing a core set or something. That's it. Now that we're happy, or at the point where you're happy with the general proportions of your character and you've move everything. You just go back to Zplugin and hit TPose subtool and they will transfer all of this information to all of the sub-tools that need to be changed. The bandages, the body, everything. This allows us to make sure that, as you can see here with the body, we keep the body without really modifying it and we can just keep on working. Really handy tool the TPoseMesh. I strongly recommend you guys to use it because it's just a really easy way to modify things when you need to modify them without breaking anything else or without having to curve into elements or whatever. I'm going to go to the hands. I'm going to say MaskLasso. One thing that you guys know that I like about the hands is when they're slightly turn around. For female characters, you usually want them turned outside like this. That curvature really helps. But usually for games, you're going to turn them towards the inside like this to create that nice low angle there on the wrist. That's going to give a lot more gesture. We're pretty much ready to jump onto the posing of the character. It's very important, I would strongly recommend that you save this as a sub-tool of course, like a base. In case you ever want to go back and have a rag or something, this is like the best position to do so. Now technically we could finish all of the remaining props in this post and yes, we're going to do some of those props. But in the final pose of the statue, it is very important that she is moving. As you can see, the hips, the body, all of these changes that we have there, those are really important. I do think it's going to be a lot more useful for us to understand how to sculpt things asymmetrically and pose her so that she looks as nice as possible. That's it for now, guys. Hang on tight and I'll see you back on the next chapter when we start working on the statute itself. Bye bye. 19. Basic Pose: Hey guys. Welcome back to the next part of our series. Now we're going to jump onto the cool stuff and we have a really nice base body and we're ready to jump on to the domain aspects of the construction of the character. Sorry about that. There we go. That's the one I will show you. What we want is we want to capture this pose as close as possible to how the final pose is going to be. Now, a lot of people get scared when we jump into this step because they feel like we haven't really done all of the props. We haven't done the skirt armor, we haven't done the crown like, there's a lot of things that we really haven't constructed but if you think about it, most of those things that we haven't yet constructed are solid stuff, like they're not going to bend, they're not going to deformed, they're not going to move. They're just going to be following whatever the character is doing, so even if we pose the character right now, that doesn't mean that we won't be able to properly place all of those elements because more often than not, we model those elements as separate pieces from the character and then we get them into the character itself. Then we're going to pose this character is, we're actually going to be using the transpose master. Now, we don't really need the hair and we don't really need the headdress just yet because again, those are going to be modified and they're going to follow a different shape. This is all we need, make sure to include the eyes because we do want to have the eyes. C plug-in and we're going to hit "T pose mesh" again. We're going to wait for this thing to process the tools and there we go. Now, the pose that we have here on the concept is contrapposto pose. As you can see the character is facing forward. Okay, I'm actually going to keep the head stabilized so that's going to be quite useful for later refinement but the body is churned as you can see slightly to the left, the right arm is moving upwards and the other one is moving backwards in space and then the hips are also like moving a little bit. There's a lot of movement going on here. This is what we're going to do. The cool thing is we still have the polygraphs. Polygraphs are going to be really helpful because I can select the face, for instance, mask it, select the eyes, mask them as well. Now if we move things, they're not going to move except for the head. I'm going to press "Alt" and I'm going to move this thing to the base of the neck. We're going to start by twisting the character. We're going to twist the character to get this look right there. There we go. Now, don't worry about the neck, that's why we're doing the pose right now because we're going to go back and refine some of the anatomy and that's of course we're going to have to remodel a lot of stuff but don't worry. Now we're going to do this arm. I'm going to select the arm at around the shoulder length and I'm going to press "Alt" and I'm going to move this to where the shoulder is supposed to be. If you take a look at this, this thing is moving up in the direction of the elbow, so we're going to invert the mask and we're going to move this up, it's actually quite up and then we're going to rotate this because the arm is facing us like this. Don't scale, just rotations. Then the elbow is slightly bent as well. I know that this looks horrible compared to what we have, that's why we're doing this at this stage. I'm going to grab this arm and the arm is slightly bent backwards. Actually, I think the arm, it's like this and then we're going to mask everything about the arm and we're going to move the hand up and we're going to add a little bit more of an intense field to the hand itself. I want to go like this. It looks interesting. Now we can refine these things later on as well. Remember, sculpture is all about this refinement process. See all of this geometry right here we're going to have to rebuild all of this, that's why we're still in Dynamesh and that's why we're still working with basic shapes. Don't worry too much about that stuff. There's muscles and things that we need to rebuild over there, just going to cover real quick over there. Now, the other arm, as you can see, this one is twisted a little bit, so I'm going to grab especially the forearm and we're going to twist it so that the palm is facing the other way, move it into place, it's slightly bent like this and it's being pushed back into space. We're going to go over all of this guy. We're going to root back into space. I want to move it out like this , let's mask this. This thing is going to be coming up. Proportion, we're going to have to check our proportions as well as we move forward. It's quite a challenge if you've never sculpted asymmetrically, you're definitely going to have a little bit of a learning curve but it's really cool to be honest because we're not worrying about animation topology or anything, we're just worrying about having a great sculpture. There we go, that gets us close. Now I'm going to grab the whole character, I'm going to move it back a little bit because I wanted her leaning back. Now for the hips, we're going to go all of this section right here. You can see that the legs are actually facing forward, so I'm going to move mode, I'm going to move the face, so they're facing or they're moving forward. Very important to try to move them from the center of mesh. Here's where we got the contrapposto. Contrapposto is this effect where shoulders are like going in one direction. In this case, there should be going to the left, and then this one is getting to the right and we get this crunch effect right there on the hips. Now the left leg, the right leg, sorry, let's place this where the femur would be, so right around there, is facing forward like this. That's going to be the one that we're going to be pasting to the base, it's going to be the supporting leg and then this one, as you can see, it's going to be a little bit difficult to mask because now we're getting this overlap. What we need to do is only going to go to the old transpose method. I'm going to press "W" and select this one and I'm going to press "Control" and drag right there. As you can see, let's get rid of the mask first. We're going to go like this. That's one way to do it. Another one, I'm not sure we got, no we don't have polygraphs. Control and just hit here until we get like that and then we can continue. Just mask this thing here. Very careful not to mask anything else. There we go. Now I'm going to unmask everything else right now because we don't want anything of that sort masked. Then this leg, as you can see, is bent forward. I'm turn on my gizmo again and we're going to rotate forward, and then mask all the way to the knee. Move this down, rotate this backwards. There we go. That looks really cool. We can rotate it. In this case, my friend did the concert with the leg to the other side. I'm not sure if I like that one. I like this shape. I really like how this is looking. The foot, I'm definitely going to make the foot go into the point the effect. Even all the way to the feet. Now there's some geometry there that I'm to grab from somewhere. I'm not sure where. Don't worry. There we go. I like this. I think it looks nice. I think I want to exaggerate the posts a little more. I'm going to mask the head again, mask the eyes as well and then mask the legs. I really like how the legs look. But I want to rotate this a little bit more. No, maybe just with the move brush here. The form change right there. I really like this shape right here. I wish we could have something like that on this side. I'm not sure this arm is way too high. These might trim dynamic here to just phlegm this and I'm trying to see the silhouette right like that. That's what I'm trying to focus on. Just move topological. I'm trying to focus on the silhouette of the character. Make sure it looks like a cool character. Now there's one interesting thing. I'm going to T-post this mesh. I'm going to say C plug-in, T-pose to bring it back to where it was. There's one very important thing. This is a sculpture thing called a plumb line and it helps us with the balance. I'm going to insert a cylinder here, and then I'm going to select the cylinder. There we go. I'm going to scale it so that it's a little bit thinner. I'm going to make it really long. If you create a cylinder line that goes from the base of the neck to the bottom of the foot, we should have a balancing point, which in this case we have, we're really close. Maybe this can be pushed a little bit like forward so that point, which is supposed to be like the contact point, that would be our main balance. But yeah, look at that. That's a really nice balance position. I'm going to go back to you to the body for instance. Again, I can use my old transpose line to mask the leg. Yeah, of course. I have Photoshop open and unfortunately, folders I have this problem with my tablet where if Photoshop and the tablet are both open, you get an error. There you go. Let's go all the way up. There we go. Here I think it's easier, we can just mask the leg. I have symmetry turned on. Let's turn that off. There we go. I'm going to go back to gizmo mode inverted mask. Position this on the hips and just move this a little bit forward like this, so that the base of the foot is actually touching the element there. There we go. That's a really balanced post. I'm not sure. It looks okay to me. I would like to push this hip forward. In this case, since we only have two sub tools, it's easy to just like jump from one to the other end and adjust certain things. That looks nice. Let's turn on the hair and the hair dress. That's starting to look quite nice. As you guys can see that you've posting process definitely tricky. It's a little bit tricky. But we get a really nice idea and now even though we are asymmetrically working, we can start refining and reusing some of the elements that we have here to start building all of the things that we are still missing for her. Now, if there are things that we still need to fix, for instance, this arm, I don't particularly love how it looks like. I think it's way too open. I'm going to move this thing back and maybe move the back a little bit further out like this. It's all trial and error. We need to find the precise way in which we want to transmit the strong posts for the character. Don't be afraid to modify things and change them in such a way until you get exactly what you're looking for. You can see the bandages here got a little bit destroyed. I'm going to use my move brush to rebuild some of this. I'm not going to worry too much about this overlap that we have right there because I know that it's going to be covered by the skirt and stuff. Again, that's one of the advantages of working for this or with this stuff that since we're not going to be doing this for production, it's for 3D printing. We can break a lot of rules and we can start focusing more on the product that we want to achieve. That's it for now, guys. I'm going to stop the video right here. In the next one, we will continue refining some of the anatomy that we destroyed. Hang on tight and I'll see you back on the next one. Bye-bye. 20. Anatomy Refinement: Hi guys, welcome back to the next part of our series. Today we're going to continue with the anatomy refinement and it's time that we start modifying a couple of things here that we might need. Now, I did notice a couple of things that I want to change on the pose. I liked the pose, but it feels a little bit off-center. I'm going to turn off the air again. I'm going to go Zplugin and we're going to do another TPoseMesh. We're going to be going back-and-forth with the TPoseMesh. This is part of the production for printing. There's these things that we're going to have to be adjusting every now and then. We're going to go there and there we go, see how that just like a small little change there in the pose makes her feel a little bit more balanced. That's what we want to go for like a nice clean balanced pose. Now one thing we can do here, for instance, since we're already like posing, we can go to the foot as well. Maybe this foot just like rotate it a little bit and bring it back in like this. It's going to give us a little bit more of a different feel and even like if we want to go to a little tips of the foot. Let's just reset the orientation. Bring it right there on the center and we're going to just like a billet dancer you know how they create this very nice pointy effect and there we go. That's going to give us a very nice stylized leg. What you want to make sure is you want to make sure that the character looks super nice, no matter where you watch it from. If the pose looks interesting from every single angle, then that means that we're doing a good thing. I'm considering a little bit because here on the pose, as you can see, we have this hand right here. I liked that, but I'm not sure. Maybe we need to bring this thing a little bit further up like that and maybe move it just a little bit. Remember that every time we break the pose or every time we change how things look like, having this angles right here, like this one going in, this one going out, that's the thing that really adds dynamism to a pose. Now a lot of our anatomy, a lot of our proportions are becoming a little bit wonky. That's fine. That's expected. But we're going to be fixing all of that. There we go. I like this pose a little bit better. We're going to go "Zplugin" and "TPose/SubT". It's going to bring all of these things and just modify things so that they match nicely. Now we're going to go into the body and the body needs a lot of work because we pretty much destroy the whole body when we were doing this. The good thing is we're still in DynaMesh so that means that we can very easily start fixing some of the anatomy that we would expect to have over here. Now remember, we don't have to be super precise anatomy because we're not going to be undressing the character. She's going to have all of the armor on top, so that's fine. But it's a good idea to add all of these things for instance here. Where I see that there's a little bit of a pinch. I'm going to just get rid of that pinch. Usually when we have, what's the word a contrapposto, one part of the character is going to be stretched and the other part of the character is going to be what's the word, squashed. In this case that's the part that would be squash. Now here, there's a little bit of anatomy that we need to fix. I'm going to use my inflate brush and just inflate this whole section and DynaMesh. There's a little bit of anatomy that we need to fix so we know that the clavicle is going to go all the way over here. That's going to be like the clavicle distance. We need to smooth that out. Then there's this pectoral muscle. We talked about this one when we're doing the torso. That a brings everything towards the arm. I'm going to change my alpha here to the round alpha so we have a little bit more for an organic view. What happens to the breast actually is it gets pulled up so we're going to have this like teardrop shape more and more intense because the pectoral muscle is actually pulling this thing up like this. Then the deltoid does this very tricky thing. We're still going to have the part of the deltoid. It's like a wraparound. We're going to see a little bit of a **** of a deltoid right here and this thing is going to wrap around and go back to its insertion point. It rolls around the arm like this. We are going to see a little bit of the element right here. Right now, when the arm is moved up, we're actually activating a lot of muscles from the back, from the shoulders, from a lot of different places. Since the muscles are being activated, they're going to be puffing out a little bit more than usual. Here we have the trapezius, which is also going to puff out a little bit like this. Here we have the two muscles that we talked about, the infraspinatus and the teres major and teres minor are going to be right there. Now remember, we always want to keep the silhouette, then we want to keep the forms cleans. I'm going to use a little bit of trim dynamic here to soften all of this. In this case, we're bringing this thing back, the clavicle or the scapula. We're pushing this one back, let's get rid of symmetry, of course. Dynamesh and what we going to see, is we're going to see the scapula pushing out a little bit like that. [inaudible] we just keep softening and smoothing all of these areas. There we go. Now on this outer section, we're going to have the latissimus dorsi. We've talked about this one before. It's a really important muscle because we're really going to see this like a bat wing. Always look like a bat wing. Now we don't want it to be like super spring tans, but it is going to be there. We definitely need to add a little bit of that effect over there, like the little volume that we would get from the latissimus dorsi like that. If the shoulder is pushing too far out, we can modify this and adjust it a little bit. That's roughly how we're going to see it. Now here we would see, of course, the tricep. Tricep's going to be pushing forward like this. Smooth that out as well. There's a little bit of a muscle there called the cortical brachialis is a small muscle that we're going to see down there on the arm section. It's a lot of rebuilding. This is why a lot of people like to start whenever they're doing electronic printing, they start directly on the pose because it's like working double. I want to show you the basic proportion construction because I think it's easier to explain the basic proportions first and then pose. But if I was doing this for my own or for a client, I will definitely do this as a single pose character from the very beginning. Like always start with a base mesh [inaudible] in the same way that we did and then from there on we will just push this. Now we can turn on the bandages. Here again, we're going to have to do a little bit of adjustments on the bandages. This things are like hugging the character properly. As you can see, we are going to be seeing quite a bit of anatomy here on the side of the character. That's why we need to make sure that this thing looks really nice. It's like the side breast right here and we're going to see. We're still missing armor and stuff, but we can again start adding all of this information right there. Here we might even see a little bit of the serratus, which is a muscle that looks like, what's the word, like a saw blade. There we go. The bicep, we know the bicep. This is the bicep. Here's where we will be seeing the bicep and then the arm is slightly turned on. We turned the hand forward. By turning the hand forward, the muscles in the arm are actually going to change. The volume is going to remain that back here. On this upper side, we're going to see the hand create this like curvature. You can try it yourself. I always recommend trying this yourself so you can actually see how this things are flowing and stuff. For instance here we're still going to have these muscles going to the side, the brachioradialis. Let's soften up some of the wrist there again, help with the overall anatomy. There's going to be a little bit of a dip right here. Just smooth that out. Now the elbow. Where's the elbow going to be? The elbow is going to be down here. It's going to be pointing down. Right there doesn't change. That's where the elbow is going to be. We're going to have again the flexors, extensors, all the muscles that we've talked about before. They're still going to be there. They're just going to be doing some different things, the different movements of your wish. There we go. That looks good. Now I do think I need to add a little bit more shoulder right here and a little bit more trapezius. Let's turn on the head. There we go. No, I don't think I did DynaMesh. There we go for the head. There we go. Now going back to the body, I'm just going to unify those little things right there. I really like how this sternal mastoid muscle looks. That's a nice effect. I would expect this clavicle to be a little bit raised. There we go, creating this very nice. Again this is like contrapposto. We have this shoulder up and this hip is up as well. We're creating this very nice effect. I might even like to modify the hip just a little bit more to really make it seem like it's pushing up and then on this side that's going to be like the squash and this is a stretch that we were talking about. There we go. That looks good. Now on this side, as you can see, we lost a little bit of the form as well. It's just a matter of recovering it. By the way, sculpting without symmetry, that's a sign of a true sculpture. You guys are going to get really good at this, it's part of the process and yes, things are no longer going to be symmetrical. We're not symmetrical by the way like humans, we're not perfectly symmetrical. Some people have longer legs, longer arms, things like that. Don't worry too much about this, but we do want to make sure that the proportions look appropriate. Everything should look proportionate. That's the important part. The length of the arms and everything, they should be really close. Let's turn on the hair for just a second. One thing we can do with the hair is we already have this blocking. We already know this is roughly the shape on the image itself. We know on the front It's pretty much the same thing. But on the back, the braid is going to be doing this weird movement, right to one one together. We can already start placing that sort of stuff. I'm going to use my move brush and I'm going to start pushing the direction that I imagine. I want to go for a very traditional S-curve like this. Let's push this. Again, this is the kind of things that you want to make sure looks good from every single angle. Right now, we don't have all of the angles here on the image. We know it goes down and then all the way to the other side. I'm going to push this all the way to the other side. That's roughly where it's going to finish. But when we see it from other angles, we want to make sure this S-shape also looks really nice and really cool. What I would recommend is take a look at the shapes of the body. See how we have this nice S-shape and try to go with that form, try to go with that S-shape. For instance here, where the back is pushing in because of the back, that's where we can also push in with the hair. That when we see it, things are going to look nice. Now look at that beautiful silhouette as well. This sort like the hair here, it's helping us frame the hips. It's definitely helping frame the hips and that's really helpful. There we go. I like that braid. That braid looks quite nice. It's going to be a tricky piece to print, by the way, the braid, because it's going to be really flimsy. It doesn't have a lot of support. That's why a lot of 3D prints or designs nowadays are all like a single mass, because printing things like this that are really flimsy can get a little bit tricky. But I'm going to show you tips and tricks to make sure that this is a lot easier to manage. Let's go back to the bandages because we definitely love some of the bandages here on the pelvic area. There we go. Again, just making sure that doesn't really matter where we are seeing her from. Everything seems like part of the sign. I did see another problem here on the anatomy. Let's just feel all of these muscles seen, smooth them out. Now, don't worry too much about here, about the leg. As you can see. I'm going to use a trim dynamic to give Daniella a little bit more of a sharp turn. It's important. But this union that you see there, that's fine. This is now welded together. That's fine. That's the fold that we're going to see right there. Don't worry about those folds. Those are perfectly fine. You see them all the time in statues because it will be pretty much impossible to have the intersection there. Don't worry too much about that. There we go, and Guevara is looking quite nice. I'm going to go to document and I always change this and it always goes back. I'm going to say preferences, config, I'm going to save or save config, store config. There we go. Let's see if that helps. Because I really want to see the silhouette of the arm. It's very important for me to properly understand how this thing is looking. Yeah, there we go. We're in a good position. Yeah, that's it for this one, guys. I'm going to stop the video right here, and in the next one we will continue working on the statute. Hang on tight and I'll see you back on the next one. Bye-bye. 21. Hair Refinement: Hey guys, welcome back to our next part of our series. Today we're going to continue with the hair. I'm going to start refining some of the hair. You guys remember that we were mentioning this in the last video how by having this super long element, we're going to have a little bit of an issue with the flimsiness of things. Well, I'm going to isolate this for just one second and we're going to start adding a little bit more volume. That means that we definitely need to add more resolution to the whole thing. There we go. Let's go clay buildup, dynamish, and that's it. Let's start building or rebuilding this way more dynamish. Let's go. We definitely need to have a lot of geometry here. Because now we're talking about like something really close to the high poly. I know that this is going to be like some of the main braids that are going to be coming from the center of the character. There we go. I'm just using my clay buildup, as you can see right here, to build this effect. As we go here like I'm going to start up here, as you can see with big chunks of hair going in and then with the min standard, I'm going to start creating some overlap as you can see right here so that it makes it seem like there's like different levels of strands going onto the actual hair like this. Then from this side, we also have like this big chunk. Select the first chunk that goes into the braid. So we're going to start with a big braid right here and here's where we're going to start seeing the pattern. I'm actually going to combine these two guys as well. Before we start defining this, I'm going to do one, two, and there we go. That's where we're going to start seeing the braid appear. Now, unfortunately, or fortunately, we extended this thing into infinity so I'm going to go with my clay buildup to just rebuild the area so that we don't have any weird effect. I might give it a little bit of in-flight down here. Just because I don't want things to be super flimsy. Something like that. Let me rethink the braid over here. I'm going to actually look for a quick braid reference. Give me just one second. Yeah, so it's just like double. I was doing this six sac effect. I'm going to change it. Let's just rebuild this thing. We can maybe use drawing dynamic to clean the working area. This is like the big lump of clay that we're going to be polishing into hair. It's pretty much like a line there and it creates this effect. Well, I guess there's different kinds of rays because again, as I have been mentioning before, I like this one better. This six sac effect. So the six sac effect goes like this. We start with one line right here going across like this and then there's another one going like this and then there's another one going like this and then another one. That's how we build the main sections of the braid. There we go. Just a quick sketch right here and on top of this, all of these elements, that's where we're going to start building the main thing. This guy will go to the side like this. Like following this big chunk of hair. We can remove some of the elements there to give it a different silhouette like we don't want the hair to look completely straight. Then this one right here actually comes like on this site. Technically it since we are going to be seeing the braid on both sides, it is a good idea that we do both sides. I feel like this is a very big chunk of hair right now. It looks weird. Let's go back real quick. Because I'm seeing another reference. I'm actually going to add this reference for you guys on your on PureRef. Look at this. So that you guys can follow as well. There we go. See how we have this big chunk of hair so that's the stuff that we want to mimic. From what I can tell, we have this big chunk of hair coming into the braid and then there's another one coming this side going into the hair itself and then this one we just drew, it goes inside another bunch of hair that's coming from underneath pretty much like this. There we go. This one scrolls crossing over and then this one goes beneath this one that's coming, so this one's coming in this direction and it crosses over and that's how we're going to start building the thing. This one like this, again, this one is this one and then this like bottom ones, like we're not seeing them. But I would imagine that all of this hair is coming from this area over there. All of these strands of hair are going into this area. Then once they cross under these guys, they turn around and they become this guy right here. The pattern repeats. This guy is just under, and then over, and then there's another strand of hair, is actually this one that's coming from the top that's going to be going under, and then it comes up like this. It's going to go under this, under this one, and now this is going to be like this. As you can see, it's like a dance, each strand of hair is going from one side to the other. It's a little bit tricky as you can see, but it's definitely doable. Now, here on this curvature, remember this guy goes under and then it's going to go over. In this curvature, I'm going to crunch them a little bit closer to this area, like this. Then this one is coming this way, this is going to go like this, and on there. We should see the same pattern, but we're going to collapse it a little bit so that we get a straighter effect going down here, and now that we have this effect right here, should be a little bit easier to follow with the proper braid technique. This one goes like that and then this one is coming over. I would sit this one right here, going like this. Now, we're going to be able to see this crisscrossing pattern all over the place because it's a little bit more straight area in this area so technically should be a little bit easier to visualize the braid effect. We got a weird knot over there. Let me use my trim dynamic to clean this up a little bit. I feel like we were doing a great job there. It's here, and then here, and then here, and then here. There we go. There's the pattern. There is no shame in going back. A lot of people think that you need to get it right from the very first time, no. It's a lot of trial and error. Don't be afraid to take your time and make sure that this thing looks as nice as possible. Let's go back with my trim dynamic because all of those lines that I previously drew are messing me up a little bit. Let's just fill them in and we just keep going. Remember this guy when it comes from this side, it goes underneath this one right here and this one is crossing over, it's going to go underneath the next one, it's like weaving things. It's one weave on this side, and then another weave on this side. There we go. Look at that. Probably need a little bit more volume here on the outside and we just keep going. Now, on the top here, it is also important that we take a little bit of time to refine some of these pieces. I'm just going to push these guys to create a nice flow, because of this detail that I'm sculpting right now, this is the detail that again, similar to how we saw the bandages, all of those fibers, and breaks, and stuff are going to look really good on the 3D print and they're going to hold some paint once you paint this, and they're going to give us a very nice effect. It looks like Chorizo, it's a special type of meat that we have here in Mexico then you get these little tubes in the supermarket. It's like seasoned pork, very tasty. There we go. It's just a matter of making sure that we get the proper technique or the proper flow as nicely as possible here. Of course, as we are getting closer and closer to the tip, the size of the braid is going to become smaller and smaller. That doesn't mean that we don't have to polish it, I'm just moving a little bit faster here so we can have everything. Now, definitely, we need to go on the backside here and we're going to see pretty much the same pattern. Contrary to other productions, we are going to be seeing every single site of the statue. It's not just a [inaudible] that we're doing, we're actually seeing everything. It is important that our shapes are looking as nice as possible from every single side. I do know that certain braids tend to be flatter on certain areas, but that doesn't mean that we should ignore all of the sections over here. Now, on the concept, you guys can see that on the tip of the braid it's holding like a piercing thing. That's something that we definitely need to do. Again, let me just move a little bit fast here. We know from what we've been doing that this thing is going to continue all the way over here like a braid. I'm just going to quickly sketch out where the main nucleus of the braids are going to be. I'll polish this later. But then here we need to have a knot, a hair knot to do this thing. For that hair knot, I'm just going to add a little bit of volume here like this. Once we add the metal thing, it's going to be held with this thing. At that point, I'm going to just create another little loop that makes it seem like the hair is going there. That's it, we're getting closer here on the refinement. Now, I am going to be sculpting the hair a little bit off camera just to save a little bit of time, but this just a matter of, I'm going to continue this braid effect, and, of course, I'm going to show it to you on the next video before we continue with the next part. Hang on tight, and I'll see you back on the next one. Bye-bye. 22. Leg Bandage: Hey guys, welcome back to the next part of our series. Today, we're going to continue with the leg bandage. We're going to start adding more and more props to our character. Yeah, now we're going to jump onto the leg right here. If we take a look at the reference, which by the way this purebred file is getting bigger and bigger, you're going to get the whole file at the end of the process, probably going to be a little bit heavy because it's had a lot of images in here. But you can see that on her right leg, she has a bandage going pretty much all the way down to her foot. You can see that we can only see a little bit of the toes, so everything else is bandaged up. I'm going to jump onto the leg right here, and we're going to use our masking lasso to mask out these sections where we're going to have the bandage. Something like this, it's not a lot of sculpture that we need to do over there. Actually did not know this. As you can see, we've got both legs merged together. I'm not sure I want that, to be honest. It doesn't look bad, it's not going to be a deal-breaker. Those have those things. What are those things? It's really weird. It's like a poly group. I don't remember. I think those were the nails or something, maybe. Anyway, I don't particularly like having both legs be together because that's going to make it a little bit more complicated to print things later on. It's not uncommon though. It's not uncommon to have something like that happen. But I'm going to leave it like this for now, since you can see that the leg armor only goes at about the knee height. It's not going to be that much of an issue if we just go around this like this. Little bit of mask there. The way we're going to have to separate that eventually in a similar way to how we did it before, actually now let's separate it already because it might cost more problems later on. I'd rather have this be separate pieces now. What I'm going to do is I'm going to use my mask or my visibility lasso. Control Shift click, and we're going to select lasso, and we're going to select just one of the legs. Select that leg, invert the selection. Then with that hiding function, we're going to start hiding this outer leg like this as carefully as possible. If we take a couple of polygons, there shouldn't be that much of a deal because DynaMesh will solve it. Now here, I do want to be a little bit more precise. There we go. That seems about right. Now I'm going to press Control Shift and move this down. I'm going to say Control W so that this thing has its own poly group. I'm going to go here to subtools and there's an option called Split, Split Hidden. That's going to separate the body into two sections. Now as you guys can see, we have this leg and we have this body right here. Now the main shape is made out of two different parts. This will allow me to work on this leg without that much of an issue with DynaMesh. There we go. It's just a matter of polishing this a little bit there, like mesh that we don't have. Those floating points that we have right there, what I'm going to do is I'm going to go down here to our poly groups again. I'm going to say auto groups and then Control Shift click on this guy so that everything else is hidden, delete hidden, and there we go. Now we're only left with this leg right here. This is where we're going to be adding the advantages. I'm going to push the heel and this thing right here. Just so you guys know a little bit of a secret behind the scenes, I saved the little files here, the covers that we use on Photoshop, but that freaks out my tablet's settings. There we go. I'm also going to just trim dynamic this thing a little bit so we get a nice little like that, DynaMesh. There we go. Now that we have a nice clean leg, we can grab the mask all of the sections that we're going to be adding the bandages to, which is pretty much all of these things. Let's do something like this and the technique is exactly the same that we did before. We're going to go to subtool, we're going to go to extract, and we're going to extract this with zero thickness, hit Extract and hit Accept. This is going to create a new element right here, which is going to be our main bandage. We're going to go all the way down to the deformation. I'm going to use Polish by Features a little bit just to clean up the border. This helps with the border, keeping a softer border. Otherwise, we might get a jaggedy border and might not be what you want. Then we're going to go geometry, and actually have my ZRemesher button up here and just ZRemesh this to get clean topology. There we go. It's a little bit too dense. I'm going to go to ZRemesher, select half, and ZRemesh this, and do it once more. There we go. That's a lot more manageable as you can see. Now, we're going to use the same process that we did before. I'm going to go to select lasso and change this to slice curve, and we're going to start slicing some of this guys like this. I'm going to add a little bit of inclination to some of them as you can see right there. At this point, I really don't want to create such a crazy one, that's what we did with the other one. It makes a little bit more sense that we try to follow this straight lines. Yes, we can have some of them, they're a little bit bigger or smaller. For instance, here we're probably going to add a little bit of inclined effect again just to add some variation. Actually, I'm going to go back because since the front is going to be the one that we're going to see the most, this is where you want to have the most play in regards to shapes. Just keep that in mind. Again, with just a slice curve, we're slicing all of the sections and creating this bandages effect. There we go. On the heel, we're going to do one like this. I've seen heel bandages and they usually go like this. Then this one, maybe we can slice in half like there. I'm not sure, that looks a little bit weird. Maybe like this. Does that looks better? No, I don't love it. Maybe that should be fine. Then on the final one here, probably one more right there. This calcaneus muscle or bone, maybe just one extra layer there. I do want to cut this one. No, that looks weird. You need to be very careful to make sure that the bandages look appropriate. Maybe from top to bottom. Maybe, I'm not sure. I'll keep it like this for now. Then if we need to modify it, we can modify it later. Now we just go to edge loop and we're going to do a nice little panel right here. I think we definitely need to increase the thickness a little bit more. Let's do 0.03. I think that's what we did before. There we go. Let's bring all of the other subtools out so we can see especially the leg. There we go. Because I definitely want to make sure it looks like we're seeing the bandage. That looks really pretty. Now we're just going to go move brush and we're just going to start giving this a little bit more thickness. We don't want this many overlaps. Look at that, we get a super clean bandage effect all over the place. Eventually, we're going to smooth this out and give a little bit of texture. I say Control D to give it the subdivision level. I actually really like how this one looks. I don't think I want to do as much overlaps like on this one. We did a couple more overlaps on the front of the body. But that one looks really clean. I really like how this one looks. Maybe a little bit of tweaking down here on the foot. But I don't think we need to do as much work as with the chest piece. Now another advantage of the leg bandage that we have right here is that most of this foot is going to be merged with the fire and the textures like the little thing that we have right there. That means that we're not going to be seeing most of the foot, so we're hiding it pretty nicely. But look at that. Not bad, not freaking bad. I'm actually tempted to go back to this one and redo it for the body. It might look a little bit better because I do think it looks a little bit wonky over here. I'm not too worried because, again, there's a lot of stuff that we're still missing, like the skirt and things, and I do like this organic, a little bit more organic-looking shape on this parts over there. That's pretty much it, guys. I'm going to stop the video right here. In the next one, we're going to do the arm bandages. We're going to move on with the arm bandages. Hang on tight and I'll see you back on the next one. Bye bye. 23. Arm Bandages: Hey, guys. Welcome back to the next part of our series. Today we're going to continue with the arm bandages. We're just going to go straight to them. These are relatively simple, as you can see here on our reference. This is our very good friend model. I don't know her, but this pose is really good. If you are having issues with the arm when posing, made sure to reference this and how everything connects onto the shoulder and everything. But if we take a look at the arms, you can see that the bandages pretty much go, it looks like the reverse of a long sleeve. We're going to have them pretty much all the way to the shoulders. I am going to isolate the body real quick. Not bad, everything seems to be balanced, proportionate that's good and we're going to grab them. Now, I don't remember if on the concept we have the elements going all the way to the hands? I think they do. We do have bandages on the hands. It's pretty much like with the feet, the fingers are going to be uncovered, and then the rest of that arm and everything is going to be covered in bandages. Think of these long sleeve gloves that girls sometimes use when wearing wedding dresses or nightdresses, stuff like that. All of this, and there we go, something like that, perfect, cool. The process is exactly the same we're going to go to Subtool, and we're going to say Extract at 0.0 thickness; so Extract and hit "Accept" , and this is what we're going to get. It seems like we have extra things that we don't need. It looks like I grab the tip of the finger or something, no problem. We can just go to Polygroups again, hit other groups, and then "Control Shift-click," and hide that one there we go. In brush selection there we go and just hit "Delete hidden", that way we're only going to get these guys right here. We can take a look at the poly groups, things are looking good let's go to Geometry. Zremesher and Zremesher disguise. By the way, this is something that I haven't mentioned before but Zremesher will take longer if the geometry is really dense, it also has to do with your processors. If you have an older processor, you might be having slower results with a Zremesher, just be patient and you're gonna be good. There we go, we have this now it's a matter of creating the bandages. I think we're going to follow a very similar formula to what we did with the legs. Yes, we're going to add a little bit of variation like some like my [inaudible] relatively changes in size and stuff, but we're going to try to keep this a little bit straighter than for the chest, for instance, something like this. Then on the hand, we definitely want one line going there, and then like this or like band going like along the thumb. This one we're probably going to be sculpting a little bit more than what we've done before. For instance here, we can add another one like that. There we go. That looks good for that arm, let's go to the other one. We're going to do 1,2,2,3,4,5. It makes more sense to go in this direction with the arm than it was with the chest. There we go. Then the fingers like that, and then this guy like that. Yep, that looks good. As you can see, we have all of the bandages ready for our character. Let's show the body again, and selecting these guys, we're going to go, of course, to geometry, panel loops or edge loop and we're going to do panel loops with thickness, 0.03 is the one that we're using for everything else. Look at that beautiful, beautiful bandages. The cool thing about these bandages is that they help us hide a little bit of the problems that we might have with the topology. If the anatomy was not perfect, by utilizing these bandages we can cover them as long as the silhouette and the form pushes. For instance, here I know that we have an elbow so I'm going to make this thing a little bit more linear in that place. Same for this, right about here we know that the elbow is right about there so it is a good idea to push that in such a way that it looks like the elbows are here. I think the arms are a little bit broken, so I am going to move the bandages first, and then jump onto the arm, and move this arm a little bit as well. The closer you get the anatomy, the nicer and the easier this whole effect is going to be. But look at those wraps, they look amazing. right imagine this like a 3D printer and everything, it's going to be amazing. Well, we've probably already saw it. This is what I always mention it's funny because I record this, this whole process. I can't do this once and then re-record it, it will be a lot of time to do this twice. We record the intro video at the end of the whole thing. Look at that just by adding the bandages on arms and feet, look at this. She's already looking quite nice. As we've mentioned before, 3D it's an additive process. We're going to see these things changing. Now, I did move the head a little bit, I actually rotated a little bit so that it's facing a little bit down which means that we're going to have to definitely modify this headdress thing. We're going to have one video for the headdress very soon. I think it's going to be the next one, and we're going to polish it a little bit more. But as you can see, we had really nice base mesh here or mesh, and we can just start pushing things so they lay flat with the rest of the elements. If you guys remember that the braid is going to be coming from one section that we'll need to cut out from this headdress , something like this. You can already tell how the whole figure is going to look. Sometimes when I'm in this position, I like to do a quick BPR just to see that whole shadows and stuff, and it really makes you appreciate all of the progress that we've done so far. Just take a look at how would this look like a couple of chapters ago [LAUGHTER]. This is what we have. I'm going to press "Shift S", and now I'm just going to go back to the main one. Look at this. Look how much work and how much improvement we can get with just a couple of hours of work. It's all about patience, It's all about getting and putting into work and of course, using all this techniques and tricks that we have to make sure it looks as nice as possible. I'm going to stop the video right here, guys, the bandages for the arms are pretty much ready. A couple of tweakings here, and there that we need to do to make sure that they're not overlapping, and following the same process that we did with the chest. But I'm going to stop it right here, and then the next one we're going to take a look at the headdress. Hang on tight, and I'll see you back on the next one. Bye-bye. 24. Head Dress: Hey guys, welcome back to the next part of our series. Today we're going to continue with the headdress of our character. We're going to refine it. We already have a nice little base mesh here with the character, but we're going to definitely make this thing way better. Again, as we've mentioned before, since we're doing this in a post fashion, it really doesn't matter when we break asymmetry, so we can actually work with a very nice base mesh here. As you can see, I'm smoothing everything. And from the perspective of the audience, they're not going to really mind the fact that this thing is not like perfectly symmetrical as long as we follow again the rule of cool, then we're perfectly fine. I know based on the concept that we need this hole on the back where the ponytail is going to be coming out of. As you can see right now, we have a very big element here and this is one of those things that 3D printing allows us to play with. We actually don't need to create that hole because at the end of the day, everything's going to be merged together into a single piece. We just need to know where this hole is supposed to be. I'm going to grab my DamStandard and it seems like this is a good position. It would definitely need more resolution. I'm going to increase the resolution here, so we have enough things to work with. There we go. That's the place from where the brain is going to be coming out of this area right here. Then we're going to have, the hair dress here on the front. Now, we don't want the hair dress to be occupying as much of volume, we want to keep it as nice and clean as possible. You can see this very nice sharp lines that the fox was able to create. I'm going to use my Trim Dynamic here to flatten out some of the shapes like this. It's DynaMesh and let's just remove brush to bring some of the shapes back. Again, Trim Dynamic, to create the border of this hat going backwards. That's a clean border here we continue. Again, all of this mass that we see right here that's close to the body of the character, we're going to push it in, so that we're only seeing the border of the object. Miniatures and statutes in general, since they're solid objects, if you think about like marble sculptures that are completely solid objects, we need to make sure that we describe forms in the best possible way, but we also need to take into consideration certain physical characteristics. For instance, in regards to 3D printing, we can't print things that are paper thin, even though cloth is supposed to be really, really thin, it will be pretty much impossible to 3D print that because we need certain volume, certain thickness. The thickness will depend on the printer that you have. Some more advanced printers allow you to have way lower values. But the problem with lower values of thickness is that that's also going to affect the durability of things. Remember how we said that certain things here would make the character quite flimsy. That's not what we want. We want our statue to be able to maybe fall down once to its side on top of a table, of course not all the way to the ground and if that happens, it won't break. That's the thing that we're looking for. For instance, here, again, I'm looking at the silhouette and I want to have a clean silhouette here on the side same on this side. I don't want this thing to be bulging as much. I want to create this flaring out effect where we create this very nice graphic language. Statues and sculptures are all about that wreath. When you think about this sculpture, our eyes, they see contrast first. They're going to see the contrast between lights and darks. If a sculpture has paint on it and there's dark paint and white paint, that's the first thing that you're going to see. But after we see those elements, the next thing that we're going to see, it's going to be the contrast in shapes. We're going to be able to see soft areas and hard areas like borders in this case. That's why I'm spending a little bit more time here, on the underside of this, like a Pharaoh coil or whatever to make sure that we get a very nice wreath on the silhouette. Here, we can push this thing a little bit more and Trim Dynamic is just such a magical brushing this scenarios because it will allow us to create this changing planes and give this like sharp look to things even though they are thick. Even though we have this nice big, thick chunk of elements, it still allows us to have a nice corner there. I'm going to push this a little bit more. This is also going to allow me to use it as directional like shape. So as you can see, like this line right here is following the same shape that the shoulder has. We can call that a mirroring of elements and that's also going to help with the overall look and feel of the character. We're of course going to have to refine the front here. Actually, like right now, I think I'm going to go to the hair real quick and let me isolate it because I think I'm going do this part of the hair as a separate piece. I'm going to go into select lasso and all of these things I'm just going to delete hidden. There we go. Now we're only going to be focusing on the actual headdress without having to worry about the underlying hair. We're going to add those little extra bits of hair later on. Trim Dynamic again, let's create a nice border here on the inside of the headdress. It doesn't have to be perfect in this case because if you remember, this is cloth. If we got a little bit of organic effects to it, that's also perfectly fine. I'm going to flatten this border out a little bit. I think I'm going to do the hole there, with something else. I'm going to add a little border. I think we have something like that here. You can see the border there like a nice little opening. I think we can add something like that to make it look a little bit better. Let's go back there. Now, we saw from earlier reference that this thing actually bends on itself. It's like this cloth going up and then it goes back into itself. However, one thing that's a little bit different in our case is that we have this golden crown. There's a golden crown holding everything together and that golden crown is going to be our lifesaver because we can use that to eliminate or to hide the seam of where the lines of our Pharaoh-like cloth are going to go. I'm going to go into a Subtool. We're going to append and we're going to append the cylinder. I'm going to bring the cylinder. Let's turn this off. Bring this thing up and then I'm going to go into Zmodeler and what I want to do is I want to hide all of the edges right there. Let's delete hidden. Let's scale this down so it's more like a ring. Then I'm going to go into EdgeLoops and we're going to go into Delete and we're going to delete the EdgeLoop complete. Just delete all of the EdgeLoops here. Like that. Now we pretty much have like a tourist. We're going to bring the stores down. This one of the reasons why you keeping the head symmetrical, it's really handy. Now the head is not completely spherical, it's more a little bit like cylindrical, so that looks good. I like that one. Now what I'm going to do is we're going to go into QMesh Polygroup All and we're going to extrude this out until we create the nice shape for the crown. I think this one is supposed to be a little bit thicker and we're going to have this one right there. Now since the head is tilted, we should tilt this one as well. There we go. Look at that. It looks really, really nice. I'm going to extend this a little bit more. Then with my move brush, I'm just going to move this back parts out. Make sure to have symmetry turned on. There we go. Now, as you can see, we can push this crown out and try to keep it as straight as possible. We do want to have a little bit of a border there. Now that we have this, we can go back to the hairdress with my clay buildup, for instance. We can just push this thing back. Bundle up a little bit on top of this thing. Same here, which is curve in a little bit. That's going to look like this thing is actually pressuring, creating a little bit of pressure on top of this thing. Let's just turn dynamic to, again, flatten that out. You can see here that my headdress, it's not on the exact same position. Again, let's just [inaudible] brush to overlap both elements. It's going to make our job so much easier. Then we need to modify a little bit of the curvature here. Let's just do it. See how much volume we're missing here. Let's add a little bit of that volume. Again, that way we recover a little bit of that symmetry that we lost and we get something like this. Now, it does have a couple of more details. Let's go back to ZModeler and add those details. I'm going to go into Edge and I'm going to say Bevel, and I'm going to bevel this guy and this guy. When we divide, as you can see, we get a nice sharp edge. Then I'm going to insert an edge loop. Let's turn on this thing. There we go. I'm going to insert an edge loop, that's loop mode. Then another one right there. I'm going to go into Edge and I'm going to say PolyGroup to PolyGroup the whole thing. Then we're going to QMesh this PolyGroup in. There we go. As you can see, again, when we divide, let's activate subdivision levels, we're going to get this very nice line. Those are the things that look amazing on the 3D print. I say it's really worth it to have those little details. It also makes this cultural look more professional, more intense. Let's push this out a little bit here. I want to keep the border of the headdress here is as close as possible to the main thing. There we go. Now we have the sections, this section right here. One option, one thing that we can do is we can just use our DamStandard and just go there and create this nice little crease. However, my pulse is really bad. One thing that I recommend when we're doing this is to activate something called a LazyMouse. Some of you guys, if you've used ZBrush before, this shouldn't be like such a novelty, but it's really handy. If you haven't seen this one before, you guys are going to like it. I'm going to go into Stroke, and right now the LazyMouse is active, so I'm going to go into the DamStandard brush. Stroke, and then here on LazyMouse, I'm going to increase the lazy radius. The lazy radius is the distance that the mouse is going to wait or the tablet's going to wait before it starts drawing. As you can see, it allows me to create cleaner looking lines around my character like this. I really like this effect because since it's cloth, we get a little bit of variation in the thickness of the lines. That also helps, so the fact that this is supposed to be like this headdress. There we go. Let's push the intensity here a little bit more, and that's it. The second one is going to go right here. Hairs, I believe we did talk about this before , like rest areas. We don't want to have as much detail. Some of you might be tempted to create very small looking lines, like a lot of lines. Here I would argue it's a little bit better to go for this big sections, big lines, because again, it's a lot easier to paint them on the real-world. I count 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12 sections on the concept. I'm not sure we're going to be able to translate those 12 sections here because I think that's going to look a little bit too small. I know that's going to be another one right there. There's going to be another one right there. Let's try another one there, and then another one right here. One more. I think that's it. I think those are going to be my lines. In the back here, this thing is going to go across like this. Same for this one. Same for this one. Again, I'm looking at the big shapes and making sure that the silhouette looks nice and it does. Then this one, I would argue this one continues and creates this shape over here. Another one over here. Now there's a very cool tool that we can use called a pinch brush and the pinch brush what it will do, BPI is a shortcut, it will bring together the two edges and it will sharpen them up. For this particular asset, I think it's a really nice little touch here at the end. [inaudible] Trim Dynamic, again, to soften a little bit here. That looks good, just use my move brush here to bring this back again. Again, I want to have that nice round effect over there. The headdress is definitely going to help quite a bit, this thing, and of course, the hair that we removed once we add it back, that's also going to help. All of those things help with the effect. Let's turn off the hair for just a second. Let's turn this off. There we go. That way we can properly see how this thing moves to the other side. Try to use a small brush. Otherwise, you're going to be affecting bigger areas. It might not be what you want. Like this, and we just keep going. Now this one is slightly different because of the curvature, but we still want to respect the lines that we had going on. Even though this one won't connect, the amount of lines that we have there, we definitely want to keep it close to the same amount. They're not the same length, so they're going to be slightly different. But again, it's 1, 2, 3, or just like 1, 2, 3, 4, 5, that would be 6, 7, and 8. Again, trying to keep this as uniform as possible. We can push this back, and again, this line and back to the pinch brush to pinch this lines closer together. I'm going to brush a little bit here. Now, don't DynaMesh at this point, unless you have a high resolution like I do because you might lose all of the detail that you just sculpted. There we go. I'm not super fond of this first one. I think we can divide it twice and get two more lines. To clean this up, one quick way to do it, it's just with clay buildup. Let's just go over it really softly. Then with Trim Dynamic. That's why I love Trim Dynamic. A smooth brush is good, don't get me wrong, but Trim Dynamic will flatten things out. I like it more to preserve the form that we have because otherwise the smooth destroys a lot of the form as well, and that might not be something that you're looking for. Instead of having one big section there, we're going to have two. There we go. We just bring it all the way to the side. Sorry that this bit is going a little bit longer than usual. I try to keep the videos at 15 minutes so they are more digestible. But this one, as you can see the detail here, it's a little bit more intricate, and I want to make sure that everything remains on the same video. There we go. Cool, that looks really nice, really nice. Just a little bit more DamStandard here to push this. That's it. I'm going to stop the video right here, guys, we're in a very good position. In the next one, we're going to continue with the headdress, we're going to keep on adding a couple of more stuff. I'm going to add a little border here, some more refined. Hang on tight and I'll see you back on the next one. 25. Head Dress Refinement: Hey, guys. Welcome back to our next part of our series. Today we're going to continue with the headdress. We're going to finalize the details and we're going to refine a little bit with the remaining pieces that we were left with. I'm going to go here to this guy and we're going to go back to our DamStandard and we need to add now the other lines. Now, as we mentioned, we know that these lines are supposed to be going the other way around. However, this is where we can, again, take some artistically decision and say, hey, what looks better? Should we keep the lines going back as in the way that they would originally work or do we keep them going horizontally? I actually think going back is going to work, so we're going to go with this one. Again, just with DamStandard we're just going to create the lines here to go back, and there they go into the headdress like this. Let's try one more over here, that looks pretty cool. Like that and on the other side. Again, no need for them to be perfect, you can keep them slightly separate and that's fine. Then probably two middle lines right here. We're going to have one going like this, actually here, I think I got it a little bit thin. Let's go over here, and there we go. Then this one over here. That's cool. That looks good, let's try to connect it to the lower section there so it goes into the little metal parts, and not bad, a little bit skewed, I would say, so let's use our move brush and just straighten this things a little bit. That looks a lot better, and now I'm going to use, again, my pinch brush. In Spanish, if you add a letter E to the end of pinch, that's a bad word. Don't tell them I told you this. It's slightly intense insult, you can look it up. There we go. That's looking nice. I'm going to go, again, with my DamStandard, and we're going to add a little bit more depth now with more care because we're approaching the end of this section. On the backside, as we mentioned, we have this piece right here. Let's start on the hair. The hair is going to be floating, as you can see it floats right there. I'm going to say that this third line right there, that's where the hair stops. What I'm going to do is I need to rebuild a little bit over here. You can see how these lines are going across and they look a little bit damaged. Let's just rebuild that. In this area is where we're going to have the section that we're going to be creating the pattern for. There's a lot of different ways in how we can create pattern. We can extract it, we can use ZRemesher, we can retopologize, there's so many things. What I want to make sure is maybe someone wants to keep the hair short, like no hair. I think I'm going to just patch this whole thing up like a complete section right here. There we go, which I know it's going to be mostly covered, we're not going to see this section of the character as much. Let's use DamStandard there to recover these pieces right there, and now we can turn on the hair back. Now, what I'm going to do is with a mask, let's go to MaskPen, I'm going to draw the shape that's going to be holding this thing. About there, let's turn it off again. That's roughly the shape. Now let's polish it a little bit. There we go, so that's the section of armor that we want to create to have a nice little frame on that specific area of this Pharaoh's thing. We also need to complete these lines right here , there we go. Make sure they're going all the way in, cool. We're going to extract that. We're going to go here into extraction, we're going to select this to zero thickness and we're going to hit Extract. Here's where things are going to get fun because this is a really irregular shape; super irregular. See that? Super irregular. The first thing I'm going to do is I'm going to go again to Deformation and Polish By Features to try and get a nicer looking effect. Then we're going to go into Geometry and we're going to ZRemesher, of course, so we can get a nicer topology and there we go. This one, we're actually going to ZRemesher quite aggressively. We're going to do half, and half, and half, and half, and we're going to go, again, to Deformation, again, Polish By Features. Actually, that's fine, let's Polish By Features again. Maybe not that much, just a little bit, and then Geometry, and ZRemesher again. Here we can select Half and just select Same, and we can ZRemesher. This is what we want. See how we know we have an edge loop on the inside and then almost an edge loop on the outside, that's what we want to go for. A shape that's really close to a finalized shape. Let's get out of this section and then we go into ZModeler now, we can QMesh the whole thing. Let's just isolate this. Let's QMesh the whole thing, there we go. As you can see, this is going to create a nice little border there on the whole character. I'm going to push a little bit more, just to add more depth to it. Then with Bevel, we're going to bevel this section right here and this section right here. Now we turn the hair, it's going to look like the hair is coming out of that hole right there. Not sure if I like it though to be honest because the hair is a really big hair, it's a really big chunk of hair. It looks a little bit weird. I know under the sun we had that thing, but with the propper here, it looks a little bit weird. I think we're going to change it, that's one thing that we can do. Sorry, there's extra. We're going to be using this technique as well, so don't forget about it. But I think in this case, it might be a better idea to just split this thing into half. How can we split this into half? Well, we can use our visibility, of course. I'm going to use my SelectLasso, and I'm going to hide or select all of this section right here. That's roughly half of it. Careful to only select on the backside of things, we don't want to modify anything on the front, see how we're doing that. Let's just invert the selection, that way we only have this section right there. We're going to say Delete Hidden and DynaMesh. As you can see, this cuts the whole thing in half, and now we can start pushing this a little bit, modify the height and stuff so it looks symmetrical. I just push this thing a little bit to one of the sides where the hair is pushing. We can also go to the hair, and if we feel the hair is doing too much, it's affecting us too much on that shape, I can just inflate this like this. That's another option. Go back to the headdress and push it. Now, I do think I want to add a little bit of a border, but I think we can just sculpt that border like this. Just keep going. We're going to stop the lines right there. Then to polish it, of course, our trusty trimming dynamic. DynaMesh to get more resolution, and we just polish these guys. Probably going to have to rebuild a little bit of the lines that we have to make sure that you look clean and nice. I use them in the standard, DynaMesh again, trim dynamic. Because we want that line to look as straight as possible here my move brush. Them in a standard again. If we wanted a little triangle here, we can add the clay buildup and the triangular shape. Scroll down and just flatten it. There we go. Now when we see it from the back, as you can see, we're going to see this nice shape, that is this sort of like a division from where the hair just starts and where it ends. I'm going to go a little bit more intense here with the DynaMesh standard again to split this thing from the cloth. Then you can use the DynaMesh standard negatively, and it's going to create a nice sharp border. It's a really good to divide the sections. It's crisping the edge there a little bit. Now let's rebuild some of those borders right here. That's it. It looks way better. Again, think of this. You always need to imagine how this thing is going to look in the real life. Of course, if you were to grab like a magnifier glass and go here, you would notice a couple of issues there on the borders. But the size of this figure is going to be about this. On my screen I'm seeing it at about this size. You're probably going to see at the same size, and at this distance, this looks really good. It's exactly what we need. Now, one thing we can do, since this is supposed to be cloth, one thing we can do is we can actually add a couple of, I'm actually going to give it one more. I'm going to increase the resolution here on the DynaMesh. We can start adding some variations on the wrinkles across the cloth of this. Let's go with DynaMesh standard again. Now that we have a little bit more, I'm actually going to change the DynaMesh standard, I'm going to change the Alpha to Alpha 45. It's going to give me a nicer, sharper, line across a character like this. There we go. As you can see, it's like literally using a knife. Then we can add a little bit of a border there, smooth out. Another little border over here, like puffing it out, to make sure that it doesn't look as flat as just like a bluff of cloth. We can play around a little bit with the forms and then smooth them out. It's going to give us a very nice detail. I'm going to go here to the front, down there on the chin. We can at any point bring back our trim dynamic, for instance. Just like one of those things a little bit more, if we want to keep the nice little line that we had there, and then just again with the small draw size with DynaMesh standard. There we go. Let's continue that line all the way to the inside. I've seen some painters who grab this minis or the statutes and they paint every single detail. It's amazing. I don't have the patience, to be honest, but I've seen some amazing works. There we go. That looks good. I like that. Cool. Pretty much the hairdresser is ready. I'm not sure what that is. What's that? That's the hair. I'm going to use trimming dynamic here. Since we're no longer going to be seeing the hair on this area, I'm just going to hide it. We're only going to be seeing pretty much the ponytail, the braid. I'm going to puff this one out a little bit. This is framing the face like very nicely. I really like how this is looking. It's giving us a very nice break, pretty much everywhere, and it's looking quite polished. I like it. Now remember, and I always mention this, time is a secret here. This course is, I think, about like 15-20 hours long, something like that. If I had like 40 hours or 50 hours to do this character to a super advanced level, the level detail that we can achieve would be way bigger. Your projects are always going to be as good as the amount of time and resources that you can allocate to them. Keep that in mind. It's a little bit here. Going a little bit over the crown, that's going to be really cool. It's going to give it the cloth effect. We can even push a couple of wrinkles here, making it seem like the crown is actually like pushing this thing in. That looks good. Now I'm going to make sure to clean. I'm going to turn off this thing for just a second. See all of this inside here. Even though we're not going to be seeing this as much because the hair is going to be covering it, either recommend adding a little bit of cleanliness here, either with trim dynamic or any other tool, but just keep it clean. There's a lot of spaces in statutes where things are incomplete. As you can see, there's a lot of a big hole right there. I'm actually going to use my move brush to move this thing closer to the body. Because we want solid objects. That's going to be one of the things that we're looking for. We want a solid object right there. Again, wants to braid this there. We really don't see it. All of that part is going to be covered by shadows and other stuff, so we're really not going to see it. But if you want to, if you want to go the extra mile, of course, I would continue the border here. and then the lines of the cloth. That's going the extra mile. Here I'll probably just do the border, to be honest. I think that should be more than enough, because everything else could be just like a dark color, like a shadow, when painting or something. Let's add one more line over here. We're missing it. Let's just clean up the details. Because all of these details are going to be visible on your 3D printing machine. Of course, it depends on the quality and everything, but we're going to get a nice detail. That's it, guys. This is it for this one. I'll see you back on the next one. Bye-bye. 26. Eyebrows and Eyelashes: Hey, guys. Welcome back to the next part of our series. Today, I'm going to show you a technique that I learned that it's going to allow us to create some very nice eyelashes and eyebrows. Eyebrows and eyelashes usually, not always, but usually are painted after the fact, but if we want to have this nice Egyptian decoration eyelashes, we need to scope them and the best way to scope them is to create the actual polygons that we're going to be using. There's again, a couple of different ways to do it, I do think extraction is one of the easiest ways, so I'm going to show you here real quick. We're going to start with the eye lashes, so I'm going to draw a nice little strip here on the eyes following the shape that we want to go for, so something like this. I believe this is called the cats eyelashes or something, so it's going to be something like this. That looks interesting, I like that one maybe a little bit, just a tad bit darker. We could of course sculpt, this thing's going out, but that's going to make it a little bit difficult for the trade printing, so we need to stylize things a little bit, and this is a really nice way to do it. We're going to get into extraction, going to set this to zero, and we're going to hit Extract. Now let's isolate them for just a second, so that's what we have. Got rid of the mask and we're going to go into, of course, our deformation and polish by features a little bit. This one again, we're going to really clean this up with ZRemesher, so we're going to go ZRemesher and then half ZRemesher mesh again and again and again, we're going to go really low. We pretty much only one single polys, almost like this, there we go, so this is really close to what we want. Perfect. Now that we have this, we're going to, of course, q match these guys with ZModeler, q match the polygroups and push these guys out. That is what's going to give us the nice thickness that we're going for and that's not only going to give us thickness as you can see, it's going to give us some nice shadows, nice effects, and it's going to be again, a little bit easier for people to paint them. Here I'm going to use my MBrush and we're just going to point them out a little bit more, maybe make them a little bit thicker over here. Let's take a look at the reference here. For instance, like you can see here, Jean Grey, she has this really thick eyebrows. That's what we're going for now. In this one, you can see that it's actually pushing out and again, if you want to give it a shot, go for it, try to really push these guys out and create the actual depth. I do think this one works pretty nicely. I'm not going to add that the lower section, but I do want to add a couple of divisions. Now, when we add the divisions, you're going to see that we get this very not so nice looking like bluff. One thing that we definitely need to do is with similar active, we're going to go into edges and similar to what we would do inside of Maya, we're in Blender, we're going to insert a couple of edge loops right there and right there and probably one going across the element. Now when we press Control D, as you can see, now we get this very nice and sharp detail, that's what we're going to go for, that nice dark effect. Now, some of my students, whenever I teach them this technique, they like to paint them black so I can go color and just fill object and that way you're going to be able to appreciate a little bit more how the darkness of that like a feature is going to look like. Now for the eyebrows, I actually don't recommend using this technique for the eyebrows because eyebrows are usually not as thick almost you're going for this Frida Kahlo style where she had really big and puffy eyebrows. I actually recommend just drawing them directly on the surface of the character. Now, eyebrows follow this direction where they start bending down, and then at the side here once we hit this section of the element, we get really thin hairs and they go down like this. Again, I'm using clay buildup, I think this one works perfectly fine. Just creating this little nice texture here on the character, it's going to be really helpful again when we paint this, if we were to paint this in the real world, because the paintbrush is going to collide with this like little bumps and that element is going to give us a little bit of extra color there. It's usually easy to paint these sort. You're of course going to have to decide that how intense you want the eyebrows to be. I think this one's look nice and they become smaller, so you want to start with small strokes here, maybe even make the brush really small, and then make it a little bit bigger and bigger. I'm going to intensify this line a little bit more just to soften it up and I also want to give it a little more of a border here on the lower eyelid. We've talked about this, sometimes when you're working on an area, you know this things unlike areas that are close to that area and it's a good idea to refine those areas as well as you're working. I'm going to go to this one, I'm going to smooth this out a little bit because it doesn't go all the way to the tear duct. It's going to be a little bit more like that. Perfect. That looks amazing. Pretty cool. Nice. The face needs a little bit more polishing, we're going to polishing everything a little bit more once we go into the last bits of the section but I can already start just creating the general look here very nicely. Let's push the nostrils a little bit, same for the nasolabial fold that I know goes right about there. You can create a nice little effect right there. Cool. She looks menacing. [LAUGHTER] I definitely don't want my party to face her just yet, they're going to have a little bit of a hard time. Here we go. That looks a little bit too deep, I'm going to soften that one up. There we go. That looks good. The eyebrows and eyelashes look quite nice. I'm going to stop the video right here, guys. This is the end of this one and in the next one we're going to talk about the front here, we're missing the front here to finish this upper section of the character. I think after that one, we are ready to jump onto the final modeling stage, which is going to be the armor. Have a lot of pieces, a lot of them are recyclable, so we can just do one and utilize this several times throughout the character but I think we're ready to jump onto the armor pieces of the characters. Hang on tight and I'll see you back on the next one. Bye-bye. 27. Front Hair Sculpting: Hey, guys. Welcome back to the next part of our first series. Today we're going to continue with the front hair. Let's go to it. This is probably going to be a short video. We just want to add extra blob of hair that we're missing here on the front, and a couple of little strands of hair on the front part of the head. I'm going to go into Subtool, and I'm going to say Append , and I'm going append the sphere. There we go. This is going to be the main strand. We're going to start with a very big blob of hair. It's going to live inside of the head, of course. Then with my Move brush, I'm just going to start moving it out here, like so. Just to create the initial strand that's going to be coming from the side here. DynaMesh, of course, a lot more geometry. Here we go. Here's where snake hook, is a really good brush. I'm going to press "BSH" to go into snake hook. I'm going to say Okay, and I am going to turn the sculptures on. We've seen this one before. Sculptures, remember, is this very interesting system inside of ZBrush that creates new geometry as we're using it. For instance, here we're smoothing, and we're creating this geometry. Now we definitely want this like lock of hair to be close to the cap, or to the element. Remember, we usually don't want to have things floating around. The less negative space we can get on our sculptures while still creating some cool silhouettes and elements, the easier it's going to be for everyone involved. Because whenever you have flimsy little things just floating around, that makes it really difficult to print. It makes it really difficult to paint. In general, it creates a very fragile element that we really don't want right now. That's it. Let's turn off sculptures, DynaMesh this real quick, smooth it out a lot, quite a bit. Now we can go back to our clay buildup and we can start creating the nice texture here for the hair. I want to grab a little bit more here. You can see that I'm creating small locks of hair. These are not going to go all the way down. We're playing around with the figures right now, or with the shapes. Yes, we're going to have some really long strands of hair coming from under the little-like Pharaoh cap. The standards also going to be really helpful to give us the effect. I'm going to add a little bit of volume there to break up the hair. So it's not just one single strand of hair. Same thing here, for instance. We can add a little bit of volume here. Let me use the snake hook again. I'm going to make it seem like the hair is splitting on the edges. Really cool effect. I don't know what that was. You guys hear it? It's like someone moving a big piece of furniture or something. Just inflate here to inflate that little wild strand of hair. There we go. This thing keeps going down like this. I'm going to use my Move brush again to create that nice S curve. There's a nice brush called the spiral brush, BS spiral. We can also use this one. I'm going to make it really big. We can use this one to curve the hair. It creates this very nice Art Deco, like spirals. Very cool looking. You can see that's a nice detail that we can add. I'm definitely going to have to inflate the hair there a little bit, because the spiral brush tends to smoothen it out. As you can see, we can create this very nice curve. This like S-curve. S-curves are your friends. S-curves are one of the easiest ways to add a lot of dynamism to sculptures and keep them organic at the same time. I'm actually tempted to get rid of this one right here. I'm going to use trim dynamic to flatten that area right there, and keep it little more with this clean S shape. I don't want the texture, so I'm going to use the clay buildup here to create the texture on my character here, on Gavala. There we go. Just adding a couple more strands here and there. That's it. We get a nice strand right there. That's the initial strand. Now, technically, we can just duplicate this one and create a couple of other ones over here. But I think it's going to make it a little bit difficult to work with. So even though we'll create a couple more subtools, I'm going to do this as a separate piece. I'm going to grab this sphere, and just make this thing smaller. Bring this forward. Get really close there. Again, snake hook. Let's turn on sculptures. I can see one main strand and then a second main strand right there. Move this case forward a little bit, just a little bit of a couple of banks. Just to add a little bit of break up. Again, we want these guys to be like really close to the geometry of the head. We don't want them to be floating around. Something like this. Then there's another one on the outer side, going from this side here. It's weird. Let's go back. I like those two, those look interesting. Maybe it might not be a bad idea. I'm going to grab this one and hit "Control Alt" and just move this around. Then I'm going to scale it. Actually, let's duplicate this. There we go. Then I'm going to mirror it to the other side and just make a small version of it. That could work. I like that one. That's also a very quick and dirty trick that we use quite a bit in 3D. When you have something that works, just repeat it. No need to do it again. Just repeat it. Reuse, recycle. Reuse, recycle, all that stuff. Very similar. I had that hair strand that looked quite nice. It also helps like make sure that the whole silhouette and everything look pretty repetitive, but in a good way, like you see a pattern and then you see the same pattern repeats somewhere else. That gives this cohesive nature to the whole thing. I guess the best way I can explain this is, think about a zebra, it has stripes, and it has a lot of stripes all over the place. That's the stuff that we're creating here, or that we want to create here, because by doing those details or elements, we make sure that when people see the character, the same patterns and the same shape language is being shared across the board. There we go. I'm tempted to use a little bit of spiral here as well. Let's turn off sculptures. What do you guys think? Looks good? Maybe, maybe not. Do we even want that? That's another good question. Do we want that one or not? This is where we start asking questions. I actually don't think we need it, to be honest. It doesn't look bad, but also like contaminates a little bit of the face, and I really like how this face is looking. I'm actually going to delete that one. What we can do is we can go here, for instance, and make this thing slightly bigger to the front. We get a nice interesting shadow on top of the eye. Then add another little stripe right there. It's like combining both of them. Same for this one. I'm just going to increment the size of this one a little bit. There we go. Not bad. Now we have this very nice braid on the back, and we have the character on the front. These nice little extra banks on the front. They're quite nice on the front here. I don't like that shape as much. So I'm going to smooth it out a little bit. There we go. Because remember, super thin things, they're tricky. They don't always work as nicely on the sculptor things. We want to tighten her, just like make things a little bit more intense. There we go. Cool. Again, let's do a quick render here. That's looking nice. Because sometimes when we're seeing this thing, you only see the white color on the active subtool. When you do the BPR, you're actually going to see every single piece. I really like this one. There we go. We're in a really good position, guys. Our character is looking quite nice. Again, always go back and compare how it was when we started, like this was earlier in the process. Now, there was some refinement. That's why ZBrush is a little bit difficult to teach sometimes because I know we want to get to this position. But people don't understand that we're going to start here. By polishing, we can eventually get here. Of course, if I showed this to a student is like, oh, yeah, I'm going to teach you how to make a female character, and I show them this is like, that looks horrible. Yes, of course, it looks horrible, but eventually, it look quite nice. There we go. We're in a very good position, guys. I'm going to stop the video right here. I think that's it for this one. I'm just trying to make a mental recollection of whether or not we're missing one more thing in this chapter. But yeah, I'll stop the video right here, and we'll continue on the next video. Bye-bye. 28. Pelvis Bandages: Hey guys, welcome to the last part of this chapter. We're going to take a look at the pelvis bandages of our character because I really like how the chest bandages look. I think they have this very nice flow to them, but the pelvis, I'm not so sure about. If we take a look at this, as you can see when we move the legs and everything, it became a mess down here. We definitely need to fix this. The way we're going to do this is I'm actually going to go into polymath and I'm just going to start hiding the bandages that I don't like, which are all of these guys over here. There we go and we're going to rebuild him. Now, I'm thinking about leaving a little bit of the abdomen like discovered on this section right here. If we move the line of the underwear a little bit lower, that way, we can see a little bit of the skin there as well. I think that's going to look a little bit nicer. The problem here is that we separated the legs. If you guys remember when we were doing these things, we separated the legs from the rest of the character. How can we solve this? Well, there's a couple of options. First of all, we can just bring them back. That's a very easy option. Let's turn DynaMesh here, this guy, there we go. One very easy thing we could do is just bring this back, like bring them together again. To the right here, this is the leg right here. Let's get rid of the mask. We can just say, bring this down, so move down. Now that we've moved this down, here's the body and the other leg. We can just say Merge Down, and hit Okay. There we go. Now they're back together, even though they're still separated poly groups and everything, they are together in a single tool again. Don't be afraid of doing this thing. It's actually something that works very nicely. What we're going to do is I'm going to go with my mask bent and we're going to create a little bit of like shorts. You guys have probably seen this, but some sports, volleyball female shorts, they use really tiny shorts, which I'm not going to like, they look quite sexy. We're going to follow this, that way, we can use this like a shape for the arms. As you can see, they're close to the thigh. I'm just going to go with my mask lasso right here and we're just going to create the line of the shorts. That's going to be the line that we're going to follow, maybe a little bit more there, just so that we don't get any problems later on. But yeah, that's going to be like the bandages that we're going to be going for. Now, if you want to, of course, you can just cut this out and make it like a bikini. I think shorts are a nice way to compromise. That way we can keep it sexy without falling into like a censorship territory. Let's maybe just make this line straight. That looks a little bit better. I don't know. No, you know what? We need to make this line because when we see it from the side, this should be like this. But then of course, on this side, it should be pretty straight, there we go. It's a lot better. Maybe we can remove a little bit, there we go, that's a lot better. That's what we're going to do. We're going to extract that shape right there. We're going to go, you know the drill, extract, thickness zero, extract, except, settle this. Now the problem here is this thing. Actually, as you can see there, is divided into separate poly groups. That's like a big mask right there. That's actually something that we don't want. How can we fix this? I know what we can do. This shape right here, we're going to DynaMesh. Let's go to the mask and we're going to DynaMesh. There you go. As you can see, this gives us a solid piece. Now I'm just going to grab this poly group right here. Let's see, there we go. Invert the mask. There we go. As you can see, all of those polygons are gone. Press Control W, I'm just going to say, badly hidden [NOISE]. Sorry about that. We're going to go all the way down again to deformation and we're going to select the Polish By Features. You're going to see how this works because before this, it really didn't work like as much, but as you can see here, it really polishes the border on our element. That's going to make it a lot easier to work with the rest of the things. Here, we're just going to say, ZRemesher of course, and ZRemesher. To create a nice little topology that's amazing. We're just going to, of course, go to half. Just bringing this back a couple times, there we go. Now, I do want to keep this like a bikini line with the whole thing. I'm going to go with, of course, our slice curve. I'm going to try and create again this bikini line like this. Now, the problem as you can see there is that if I were to create something like this, it projects the line across the surface. If you want to avoid that, you can go like this and then double-tap Alt and it's going to create this right angle. That way, we're going to be able to cut this in a very nice way. I'm going to cut this guy right here. Let's get the other side of the bikini like this. There we go. That way, if we go to this guy, for instance, we should be able, let's go all the way down here to display properties and say Double so we can see both sides. There we go. We can just start creating some nice bandage lines like this. For instance, I think this one, we can give the cut right there. I don't know, it looks nice. I like it. Let's go here, same thing, so 1, 2, let's do three like that, that's good. Then this one, we do need to have one line that goes into the crotch. Well, first, let's do like one line on the top like this. Then this one, let's do a couple of lines that go like that. I think that it's a little bit closer to what I would expect this bandage to look like. We're going to go to geometry, EdgeLoop and we're going to say 0.03 Panel Loops. There we go. Looks like a diaper. Little bit like a diaper. I'm not sure if I like that to be honest. It doesn't look bad, but it doesn't look as nice as I thought it would. Maybe it's still a little bit too high. Let's try going to poly groups real quick. There we go. We're going to say Auto groups. Let's go into our poly group selection and let's just hide a couple of them. Is that better? That looks a little bit better. I'm even tempted to remove it, to be honest. Let's just try bikini style for just a second. I don't know, it looks like a diaper. That's what I don't like about this one. Maybe the thickness was a little bit too big. Let's go back to the options when we did the panel loops here. Let's try a little bit less thing that's like points 0.015 half the thickness, and say panel loops. That's a lot better. That's a lot better. Yes, of course, we're going to have to like push this guys a little bit forward so they're not overlapping with the geometry, but now looks a lot nicer. Now, of course, there's going to be like a skirt and there's a couple of other things that we're going to be adding on top of this guys, but we want to make sure that we are keeping the silhouette of the character as nicely as possible. That looks okay. I do like these uncovered hips. I think that looks interesting. Nice, cool. I'm going to stop the video right here, guys. As you can see, we're in a really good position. The next stage is going to be the armor. We're going to be working with the armor, it's a little bit of hard surface techniques and stuff that we need to do here instead of ZBrush. It's a little bit tricky, so make sure to get all the way to this point or as close as possible to this point before moving forward. I'll see you back on the next video. Bye-bye. 29. Armor Block In: Hey, guys, welcome back to the next part of our series. Today, we're going to start with the armor. This one's going to be a short video. I'm just going to show you how to quickly block in a couple of the pieces of armor that we're going to be using. Now, in general, there's a couple of shapes that repeat quite a bit of times. For instance, you can see this gem right here on the palm, and then on the wrist as well, and then we have a little bit of that same gem here on the shoulder. We have pretty much the same or very similar gem here, here, and even on some of the elements right there, on the head crown as well. So we're going to be doing this shape several times. One of the ways we can work with this is of course with C modeler. So I'm going to jump here. I'm going to click this object called the Polymesh 3D, which is this basic starter we can use to create different types of poly groups or poly models. I'm going to go to "Initialize" and I'm going to bring down the X resolution, Y resolution, and Z resolution down to one. I'm going to press "QCube" not sure. Anyway, this is the cube that we get and now we're going to convert this into Polymesh 3D, which is this one right there. We want to create this basic shape, which as you can see, it's pretty much just a rhomboid shape, so it's a square turned 45 degrees to one side, and then it has a couple of bevels and a couple of elements right there that we want to include. Now, we've talked about this before. We don't want things to be perfectly flat. So the base of this object is going to be, actually, let's go to the front. There we go. Which is going to be about that thick, and then from this point onwards, we are going to start building what we need. I'm using my mouse right now. When I'm working with ZModeler, I prefer to work with the mouse just because I find it a little bit more traditional. It looks a little bit or it feels a little bit more like what it would feel to model inside of Maya. To be perfectly honest and this is an opinion that I almost always share, I'm not super fond of working with ZModeler. I prefer working traditionally in a DCC program like a Maya or Blender. I'm going to show you how to stay so that we can stay here instead of servers without having to move anywhere. The first thing we need to do is we need to create the H loop that has this again, this rhomboid shape. I'm going to bring this thing over here so we can see it. Actually, let's go to the crown, that's a little bit easier to see. As you can see is just like a ramp. The first thing is I need to make sure that all of the border here is probably looped into the same object. I'm going to grab all of this guy and I'm just going to say "Space Bar" and polygroup EdgePolyloop and just click. That way, everything is the same polygroup. I'm going to go to Q mesh and then on Q mesh, we're going to just extrude this thing out. That's going to give us this board that we have right there. Probably a little bit more, so something like that. There we go. Now, we want to push this new polygroup up like this, or actually, that's polygroup or poly loop, and then push this guy up to create the actual border of the object, this one right here. Then now that we have this, we're going to collapse. So I'm going to go here into the Collapse Option, and we're going to collapse all of this open edges, its collapse. Where we're going to collapse the polyloop, there we go. Like this, and now we have the nice shape that we're going for. This very cool-looking like sharp shape that we have right here. Now this one's a bit more like a rhomboid shape. We're going to change it later. I'd rather have the first initial piece and then modify it as we need it. Because again, we're going to be needing this quite a bit of times. Now here on the inside, we need to create the gemstone. The first thing is I'm probably going to bevel this border just a little bit just so that we have, or that we can see the inside of the element. Then this one we're going to Q mesh or before that actually, we're going to insert first. So we're going to insert give it a little bit of fun an insert, and now we're going to Q mesh. So Q mesh this guy out like this to create the actual like gemstone that we have right there. That way we are going to have a little bit of a gap and we're going to be able to see the depth of the element. Now that we have this, I am going to go into phases and I'm going to delete this face. If we go into edges, there's this collapsed hole that we can use to bring this back into a point like that, and that's pretty much it. I actually think we can collapse this polyloop as well. Let's collapse the polyloop. Yeah, that's a little bit better and that's also going to help with 3D printing. There we go. That's the main thing. Now, with this point, we can just move this point and press "Shift" to make sure it goes like, so make sure it goes to the proper section. That's it. Now, the problem is if we were to divide this guy, we will not get anything, we'll look very ugly. So what we're going to do is we're going to go into geometry, and what I'm going to say, is I'm going to say CreaseAll, CreaseAll will grab every single edge and it will add a crease, which is like a support edge. The cool thing about this is we can later go into this bevel option and change the resolution of the bevel. Then now the crease that we have is now a formal bevel, and if we divide, as you can see, this is going to remain really sharp, really nice, which is what we're going for. That's it. I'm just going to now go into Gavala. So this is Gavala right here, I'm going to go sub tool and we're going to append the new sub tool, so append, and we're going to append this one that we just created. Perfect. Now, one thing I would definitely like to do is I'm actually going to duplicate this guy. Let's raise the pivot point, just have one up there. In case we want to go back and we're going to be modifying things, for instance, this one right here, I know this one's going to go on the crown itself, like up here. There's going to be slighter difference more like a rhomboid shape. So I'm going to modify this into more like a rhomboid-shaped like this. But it's not like a perfect rhomboid, it's a little bit rhomboid like this, and then the points like this, upper points, they go a little bit higher. So I'm going to push this a little bit higher. It's going to change the shape slightly. It's not going to be perfect. It looks really nice. I think it gives this very interesting effect. Similar to how we did with every or we've been doing with everything else, you don't want things to be perfectly flat. You always want a little bit of thickness, and we're going to add this overlap effect right here. How big is this thing? Not as big. I think mine's a little bit too big right now. Let's make it a little bit smaller, and you can see that the top border aligns with the crown itself, so we're going to go there. Now. Remember what we've been mentioning about overlaps and stuff. If we leave this thing, see how much empty space we have back here. That's not something that we want to be honest. So I'm going to go to the Options here. I'm going to go into Visibility, select "Lasso", and I'm going to select all of the back faces like this. Oh, almost. I'm actually going to go to select "Rect". There we go. That way it's easier to select everything, control W, it get everything there. Then I'm just going to go Q mesh polygroup O, and then just push this guy, I was trying to extrude it now. I don't want that, so I'm going to go into move then. Move and just move polygroup O. So that way, when we see this thing with Gavala, there's going to be enough overlap and that's a lot easier to work with when talking about 3D printing. Those are the little things that you'd normally don't do with them in production, but for 3D printing, you definitely want to take those into account. Let's just push this guys there.The more brushes, make sure that the overlap is not as evident. There we go. Look at that. I mean, just simple details. Oh my God, Gavala is going to look amazing once we've finished the whole process. Now another really simple piece of armor that we have are these bracers, and you can see that on top of these bracers, we have the same crystals, and then we have this sort of wings on the elements. I'm going to show you a very cool way to do it. The wings will do it on the next video, but I'm going to show you how to do the bracelets really quickly. What I'm going to do here is I'm going to, let's get rid of that transform. Let's go here, and I'm going to say append, and we're going to append the new cylinder. Bring the cylinder up about there, make it smaller. Like about there. That seems to be about right. Thickness wise probably like this, a little bit shorter. I'm going to grab all of the faces on the front. This one is right there. I'm going to say Delete Hidden, and as you can see, we're left with only these guys right here. I think I do want to have them a little bit thick. I'm going to go ZModeler, and we're going to delete this edge loop that we have right here. Just delete this guy, and delete this guy. There we go. Then we're going to poly loop this border right here and right here for effect. We're going to go QMesh first , and we're going to say everything. All polygons let's just give it a little bit of thickness, because we didn't have as much. I'll leave the thickness like that. Let's poly loop again those guys. Now we're going to poly loop Polygroup all, like this. As you can see it, that's going to give us the border. Now we really don't need to do that. That's the Polygroup. That's fine. Even though we're getting that thing, it's going to be overlapping and eventually it's going to be just welded together. Maybe a little bit thicker, you can see that this is a little bit longer. There we go. Now we're going to go into the bevels. We're going to go bevel. We're going to bevel down one about there. Cool thing about ZModeler, this is one thing that my other doesn't have readily than not it's easily, is you can just click, click, click and it will repeat the same amount of bevel that we did. There we go. That's not looking bad, it's looking quite nice I would say, and we're ready to get it where they're supposed to be. I'm going to append something here first. I'm going to append this sphere, because you can see it has like spheres. Actually I don't think we're going to have spheres to be honest. I'm going to delete this one. I think it's more like this crystal thing is. They have small crystals. I'm going to grab this guy, I'm going to duplicate, and I'm going to bring this guy down. See F and this one's going to be right there again, just a little bit of overlap. I tried to get it as close as possible to the center, something like that. I do think we're going to grab this guy as well. Just another thing you can just mask it in by the mask just push this in. There we go. Remember all of these things like the reason we're doing this extrusion if you wish, is to facilitate the whole process. Now technically, we should be able to multiply or duplicate this guy a couple of times. However, we need to first align its pivot point, to the center of this guy right here, right about there. Now if we duplicate, or if we rotate around as you can see, it pretty much rotates around the whole thing pretty much uniformly. I mean might not be perfect right now, but it works. What I'm going to do, is I'm going to say Control Alt and then duplicate. Let's do 90 degrees they work. Let's do it another way. I'm just going to duplicate this one, and then rotate this 45 or 90 degrees, and then duplicate again, another 90 degrees, duplicate again. Another 90 degrees, and then I'm going to go back to the first one. I'm going to say merge, merge down, merge down, merge down and then I duplicate again, and move this 45 degrees. There we go. Now we have created this very nice little bracelet. Cool little details. Grab this one, merge down, merge down and now everything you see single object. Now here's the very cool thing. This is a relatively new thing, so make sure you have the latest ZBrush to make use of this. But we can go to geometry, there's this thing called the Stager. Right here is called the stager. Where we can say is we can set this current position as the home stage, which is really, really good, because it's like everything's is like center and everything and we can just look sculpted modifier to whatever we want, and then once the home stage has been set, we can move this thing and position it where it will be used. Which in this case, as you can see it's under the arm, on the upper side of the arm. Right about there, you can rotate this and modify the position which is something that we hate doing instead of series, because we lose the symmetry. If we wanted to sculpt or do anything, it will be really difficult. Now, we can just position and scale it. See I just scale this thing right there, then we can scale it as well. Rotate right there. Scale it up a little bit. It's a little bit stylized of course can be a little bit of a heavy piece of armor, not that much of a problem to be honest. There we go. As you can see now, the piece of armor is right there on her arm. Where of course missing the little Winger Thinky, this guy right here. But that piece is right there, and we can say, target stage. Now if we switch stage, we're going to go back to the beginning with the exact same scale that we have. It's like remembering the transformations of the object, and we can just bring it up and down like anytime we want. At any point we can switch stage, and if you were to do anything here, and you switch stage, it remembers that modification. We can sculpt with symmetry very cool over here, and then once we're ready and we want it to be in place, we can just modify it right there. As you can see, that's one of the first pieces of armor which is looking quite, quite nice. The cool thing is, if we were to Control D for instance and divide everything, we get this very nice smooth effect on the armor. Now since we need the other armor, we're going to go back to the switch stage. We're going to go to sub-tools, and we're going to duplicate this one. Now in these duplicated element, we're going to go to geometry again, and we're going to like so like home stitch. There we go. Then we're going to move it. Let's reset the pivot point. There we go. We're going to move this one, to this other side. Same deal which is scaled this down. Start playing with the rotations and stuff, to make sure it fits nicely as possible with the character. Let's bring it a little bit higher up. This is where proportions might be slightly different because the armors who might have changed the arms are slightly when we were modeling. If that happens don't worry just push and move these things, so that you get it again looking as nice as possible and with the overlaps. The overlaps are super important. Because remember we don't want any negative spaces in our cultures. There we go. We can go to this one switch stage. That one's going to be there, this one's going to be here, and at any point I could just call that target stage and just switch stage. As you can see it will remember that's the stage that it has. There's another option that a couple of other options that we're going to be using later on, actually in the next video to create some of those very cool patterns. Yeah that's it for now guys make sure to start working on this accessories, this little prompts that we're going to be adding. Hang on tight and I'll see you back on the next one. Bye, bye. 30. Upper Arm Armor: Hi guys, welcome to the next part of our series. Today we're going to start with the upper arm armor. We're going to go onto this little detail that we have right here, which is the wing element. This is the word that I was trying to find yesterday, the motif. A motif is something that gets repeated a couple of times throughout the character and it helps ground up the design elements of any project or element that we're doing. We're going to do this little guy right here. The first thing we need to do is we need to create the crystal. We already have the crystal right here. I'm going to select it real quick, and I'm gong to duplicate it because I always want to have a backup in case I want to go back to that one. I bring this down and I grab one of these guys from the arm. In this case, it's the left one. Remember that we have the stage here, down here. I just brought it back to its home stage so that we can work with this piece, while we have this one as a reference, and later on we'll just bring the stage back and that's it. This guy as you can see it's a little bit bigger than the actual element, but some of it more for rhomboid shape, so I'm going to increase the rhomboid shape right there. Let's bring it back of course. Similarly to what we did with the head, I also want to mask the back faces and just push them back so they overlap and make it a little bit easier for the printing section. Now, one of the problems that we have here is that this is not bending in the same shape as the actual little round thing and we need that. To do that, we need to add more geometry to our object because this object right now has very little piece of geometry which works perfectly fine for printing and then for a lot of things, but not for bending, because when you bend, the more points you have, the easier and the smoother the transition of the bend is going to be. I'm going to go into my DynaMesh options and I'm going to turn on Polish, which if we remember all of this shortcuts that I have here you have them on the tool themselves. DynaMesh, it's the polish option and I'm going to increase the resolution quite a bit to 1,000. I'm just going to hit DynaMesh and there you go. Now as you can see, yes, we get a little bit of a weird angle right there on the center but since it's going to be small piece, you really won't be noticing it. I'm going to press Q or W to go into edit mode, and I'm going to press this little gear. This gear has a lot of things that we can use and one of the ones that we want right now is this bend arc deformer. I'm going to select the bend arc and the bend arc is moved with this little green arrow, so when you move that green arrow, as you can see, you're going to deform the object from that point, which as you can see that already gives us some very nice shape, so we might use some of them later on. We have this other one that advance towards the front. In this case, I want to go up here and I'm going to bend towards the back. We're going to use this one right here to bend towards the back like this. As you can see, it's about a 30 degree or a 25 degree of bend. That's fine. Now we're overlapping, which is perfectly fine, and that's going to give us a nice result. Now, we can decide later on whether or not we want this little pieces like those little crystals. I think they're fine, I don't think they're creating any big issue. Since we're going to have this wing shapes, it's fine. We'll add the wing shapes and later on if we see that they don't fit, I will change it. Now I'm going to go into my sub-tool panel and I'm going to add a cube. I'm going to say append a cube, and we're going to go to Q, go back to the gizmo. If we go to the cube, we're going to move the cube up. I'm going to show you this technique. This is a really cool technique that we're going to use to create the shape of the wings. Imagine we're creating the canvas where we're going to be doing this thing. It's about there to run through really big. Let me make this a little bit wider. The first thing I want to do is I want to give this a little bit more resolution. I'm going to DynaMesh it just to get poly groups or poly frames. There we go. We're going to do a cut right here. I'm going to say Control Shift and we're going to use our knife curve right here to create a curve. I'm going to press X so that we have symmetry and we're going to go Alt and there we go. That's going to create the cut that we want there. If we want this to be a little bit sharper, we can sharpen it up a little bit there, but I like that one. I'm going to use my brush here just to give it this a round shape to the wings and then here on the top we have this V-shape. There we go. Now I'm going to say mirror and weld to make sure that they are perfectly symmetrical and that's it. Now, here's the important part. You must not forget this because otherwise, we're going to have a very hard time creating the actual panels because these are supposed to be slightly thick panels. I'm going to press "Control Shift Click" on the poly group here and I'm going to delete the rest of the polygons. It's easier to use the slice group when there's volume to it, but what we're about to do, it's a lot easier if we do it like this. Now, I actually want to delete half of this guy, so I'm going to go into Visibility. Select wrecked, and I'm going to get rid of symmetry and delete half of it, like that. I'm going to actually build it a little bit less than half of it so about there. You guys probably already know what we're about to do. Here we go. Looks good. Wait a second, let's turn on the split properties a double. It seems like we still have some sections there. There we go. Is that better? I just want to make sure that we don't have any extra polygons, it's just a flat plane, pretty much. There we go. We're going to say Delete hidden. Now we're going to use our slice curve to create the panels themselves. I can see that we have 1, 2, 3, 4, 5, 6, 7 panels, so its like one and then the other one is 1, 2, 3, 4, 5, 6 that will be seven. There we go. That looks good. Now, of course we're going to go to geometry and we're going to do our good old panel loops. We go to edge loop and we do panel loops and what's going to happen is we're going to get the thickness for the arms. We definitely need a little bit more thickness, so I'm going to increase the thickness to 0.05, let's try that. Yeah, that's perfect. That's a really nice thickness. I don't want the bevel because the bevel is creating some weird elements, so I am going to get rid of the bevel, so bevel zero, and just hit panel loops. That's just going to give me a nice blocking for everyone. Now of course, if I were to smooth this thing slightly, which around borders always make it a lot better for a 3D printing. As you can see right there we have this very nice winged effect. That's it. That's pretty much it. We can of course divide this once or twice and what I'm going to do here is I'm going to move this thing slightly in, just slightly in so it crosses the middle section. I'm going to say mirror and then weld and that's going to add the second part right there. Now this whole thing is going to go inside, of course, of the diamond shape, and now we need to also bend this guy. I'm going to go into, what's the word, into Q and the little gear icon, bend arc and we're going to hit this green button again to give it a little bit of a bend, so something like that looks good. Then if we need to scale it or do whatever else to make sure it fits nicely, we can change a little bit there. But look at that. It's really nice, it looks really clean and we get this very nice effect. Now, as you can see, there's a little bit of overlap, wings going on top of each other. This is where we can actually start moving some of these effects. Again, if we'd like move topological for instance, we can move this guy up and create this stair-step effect where some of these guys are on top of the others, if you want. If you like how it looks from the get-go, feel free to leave it like that. Well, remember we've talked about these, these stair-stepping things, really help give a nice perspective to things. Maybe up there I'm not going to use this as much but down here, I think it's a nice detail. It's like stair-stepping, it makes it look interesting, and it's not that difficult to add, so there we go. Now, some of you might be wondering, are we going to have issues with areas where there's empty space? It's a possibility, I'm not going to lie, but if we just push things a little bit there, as long as we get the nice little overlap effect, it shouldn't be that much of a problem. There we go. We can hit "Control D" a couple of times to soften these guys up, make sure we get some nice or crisper edges. Then of course with TrimDynamic, we can polish the borders, you can see it's not as clean. Now, it's just such a small detail that I'm not super worried about it. But if you want to just be way cleaner, we're going to love it if cleanliness over there. We're going to use smooth brush, just give this more of a nice little effect right there. Again, topological, I want to create a nice little silhouette on the spikes, like that little change there on silhouette that really makes it look interesting. There we go, cool. Now that we have this piece, I am going to combine it with the other piece. I'm going to delete the lower so that it's just a single mesh. It's a little bit dense, but it's not that bad. If we go to our Subtools, we have this one, which was the original element, and then we have this one, but we're missing this one right here. So I'm going to grab this guy and just move it down a couple of tools and then I'm going to say "MergeDown", so these two pieces are there. I'm also going to set the stage for this one. So I'm going to Geometry, I'm going to say "Stager" set this as a Home Stage. Let's go to this one, let's switch the stage, let's go to this one. So now the little thing is where it's supposed to be, and I can just move this thing into position as well. We'll definitely need to scale this down, and we just position it in such a way that it looks really nice. I think this one's a little bit low though. You can see that this one's a little bit higher, so this should be around the place where I would expect to see the armor, which tells me that this guy right here, Target Stage that we have right now, it's a little bit low, so let's just modify. That's what I love about the new Stager feature here inside of ZBrush, it's really really easy to make these changes. Make sure there's no big overlaps or anything. For instance there, where we're seeing some of the bandages poking out, that will be a nice moment or position to just push them in a little bit so they're not overlapping my wristband here. Maybe just a little bit bigger. We want to be very careful to not see any big overlap. You can see a little bit of the bandages there as well, so let's go to the bandages because I would expect the bandages to be pressed against the body on those specific parts. Those are the parts where I would probably break my rules of keeping everything clean. Now, I'm not going to lie, this area right there and all of that negative space in-between the armor piece, those are the areas that I really don't like at 3D printing because it can get tricky. I'm not saying it will, and one of the advantages of 3D printing is that yes we're going to be able to print this thing in a very easy way but just be careful with this one because that's a tricky part. Some people might even consider printing this piece as a separate element, separate from the element, and just gluing it together at the end. But one of the advantages of 3D printing is that we can actually work with those little crevices and stuff without that much of a problem. So I'm going to set that as Target Stage, now we can switch the stages between this one and the other one. We have two of them, that's the left one, we have a right one, so I'm going to duplicate this one. Let's go to the old one, and now that we've duplicated it at Home Stage, we can just switch it back to where it's supposed to be, right about there and now we go to this one. Let's center [inaudible] point. I'm going to turn off this guy, just set this as Home Stage now, and now we move this. This one's going to be facing up. There we go. Just a matter of positioning it properly again, with a little bit of overlap and that's it. Now we have both armor pieces. I think this one's got a little smaller, so let's just make it slightly bigger so it fits the rest of the elements. Yeah, that looks good, so cool. We got the armor piece done and as you saw, it's a little bit of a technical process, but it shouldn't be that much or that difficult. Make sure to follow along with all of the steps. We're going to move now onto the armor on the hands, so hang on tight and I'll see you back on the next one. Bye-bye. 31. Hand Armor Block In: Hey guys, welcome back to our next part of our series. Today we're going to start with the hand armor. Let's get to it. This is where we left off with the finalization of the shoulder armor, the upper arm armor. Now, on the hand you can see that we have one big square crystal and one rectangular crystal on the palm of the hand. They're just like overlapping. They don't seem to be like they're not being held by anything else. That's relatively common. People sometimes do that thing for the science and stuff. Let's place them real quick. We're going to go here, so to duplicate. Since I do want them to be relatively easy to or relatively similar, I'm going to scale one down like this. That's going to be like the wrist armor. That's the size for the wrist armor. I'm just going to place it on top of the wrist like this. Now the question is, do we want to bend it? I'm not sure. This is one of those things that it really could go both ways. I do want to have a little bit more probably like smaller. This one should be a little bit smaller, like that. There we go. Now that we have this one in a smaller section, it might not be a bad idea to scale it down, or just rotate it in such a way that the overlap matches nicely. The problem with bending this one is that we're going to need a lot of geometry as well, similar to what we did with the other one. I don't think I want to bend it. I think just like keeping it like this, even if there's a little bit of negative space down there, I think that's fine. Now we want to get rid of the negative space. You guys know what we can do. We can just grab the faces up there and just move them down. But I think that's a good distance. I'm just going to press "Control Alt" and move this so that we have the exact same size on the other side as well. It's going to have a different position. We're not having a stager. We don't have stager on these ones, so be careful with that. It's going to be right here. Around there. There we go. It's going to be the spike on the other hand. I think we're a little bit back though. It's a little bit more complicated on this hand because there's a bend on the actual hand. It seems a little bit broken, to be honest. The distance here, on the other hand is way,way too much like this bend should be closer. To fix that, there's of course a couple of ways to do, but I'm going to try and fix it just with my move brush here. Let's push the bandages up a little bit more. There we go. That bend looks a little bit more natural. Of course, we need to go to the hand and push the hand so that it's right there. That's a little bit more appropriate. We go back here. The other parts should still be masked so it should be fairly easy to just move this up a little bit. That's it. We'll have those two little pieces nicely placed on the wrist. There's a little bit of overlap, which is enough for the 3D printer to catch that element. We're good to go. Now we're going to go back here and we have this rectangular piece, which it looks very similar to the head. We can do a very similar thing. We can just duplicate the hand, and then move this one toward the palm is supposed to be. Now, I know that in the post, it was like that, so perfect. We're just going to move this thing to the palm right there. Play around with the overlaps. This one, I do want to have a little bit more overlap. I'm fine with this being a little bit thicker. There we go. I love it smaller, and it should be pointing in the direction of the hand, like that. Perfect. That's one. Again, we want the same scales, so I'm just going to duplicate this one, and get it on the other hand. Rotate this around. Some people like to do this on other softwares, like Mayer Blender. It's fine. But as I mentioned in another video, I'm trying to keep everything inside of ZBrush, so that we don't have to be exporting and importing. We're going to have to export and import a lot of things once we get into the 3D printing face. But for now, let's keep it organized. Talking about organization, we're going to have one video where I'm going to show you how to clean up the sub-tools over here because right now they're a complete mess. There we go. Cool. That's like the big crystal and the small crystal of the hand, the ones that we have right there. Not like super intense, because we don't want to break the very clean and nice silhouette that we have. But just a nice little detail when we see it from the side embedded there on the bandages. Now, one thing that she has an I love, and I actually asked my friend to do this, it's this armor on the fingers. A part of the story of this girl is that she was granted power by an evil-like primal ancient dragon if you wish. So there's some draconic motifs as well. I didn't want it to be super obvious on the elements, just like a hidden detail. But as you can see here, it's like the claw that's coming out of her, I love the base. That's like a dragon's claw or something. For the fingers, we need to create the armors that are going to give us a very nice effect. Usually, when I've seen these armors, they're made into three pieces. One for each phalange of the finger. That's what we're going to do. We're going to do this. I'm thinking about whether to do it here on the same tool or doing on a separate tool. I think we can do it here. I'm going to append a new cube, where I'm going to go to my polymesh sphere here. Actually now, let's do it here, and then we'll modify it. I'm going to go into initialize, bring this back to one, one and one and say Qcube. There we go. We're going to make a polymesh 3D so that we have the actual cube that we're going to be working with. Now, these armors, I want to have these jaggedy edges to them. They're covering the finger but they're not going to be like in this exact same shape. We're going to bevel some of the corners, to give us the armor look. Let's turn on a poly frame and let's go Zmodeler. We're going to go to the edges , and we're going to bevel. We're going to turn on symmetry, so we bevel both of them. I just wanted to loop edgeloop partial or actually, let's do polyloop. It's really weird. I'm going to press "Control W". Let's do edgeloop partial. That's really weird. You know what guys? Let's do this one. Since I do want to show you, I know I just mentioned that they wanted to keep everything inside of ZBrush, but I think it's a good idea to also learn how to bring things into ZBrush. I'm going to use Blender in this case, just because it's a little bit easier. If you've never used Blender before, you can do this inside of Mayer or any other treaty packaging softwares. This is what I want. I'm going to press "Stop" here instead of blender and I click this option right here, I'm going to select the outer edges. This one's right here. Then I'm going to press this tool, which is the bevel tool, and we're going to bevel to get the pieces where these things are going to be going towards. That's it. This is what I wanted to do inside of ZBrush, but it's a little bit faster to do it here. Now you can see that this thing is like pushing back. I'm going to go back to selection. I'm going to grab this face right here and then press a g and a, y to push this back and create this effect right here. Then I'm going to go into number 3, which is faces. Select these two faces. I'm going to press "X" to delete them. Delete the faces and we're going to get this hollowed effect. Now I'm going to grab the object mode. I'm going to go press tab, grab object mode. There's a nice modifier here in Blender, which is called the thickness modifier. It's like the thickness inside of ZBrush. Where is it? To solidify. There we go. We're going to add a little bit of thickness to the solidify function like that, and that's it. We're just going to hit, what's the word? We're just going to hit "Accept". Here, we're going to apply. Now, this piece, I'm just going to export into, save as. I'm going to export. If you don't have a blender or you are not familiar with it, don't worry, you can use or grab this one from, what's the word? From the folder files. So wavefront. If we go to our printing tap on the OBJ's file, we're going to call this finger base mesh. That's it. Here I'm just going to say import. We go to our objects folder and that's the finger base mesh, and there we go. We've got this very nice base mesh. If you find yourself or if you think that certain things are a little bit easier to do inside of, what's the word? Instead of a blender or I might go for it, just make sure to import everything back here. Now I'm going to turn on dynamesh, with polish turned on, there we go, so we can hold all of those elements right there. Now we can turn on symmetry, and just do a little bit of sculpting here. For instance, I'm going to just push this thing down a little bit. Maybe manually bevel. I want this to look a little bit more like handmade made, so I'm going to manually bevel the border right here. Because again, super sharp corners. One, they're not very natural, they don't exist in the real world as it's commonly. They also can get a little bit complicated to 3D print sometimes. When we do dynamesh, the polish itself will help clean some of that up. We can even make this thing a little bit more spikier. Dynamesh, and then just trim dynamic to polish this up. There we go. Since this is going to be such a small detail because it's going to be on the fingers, I'm not too worried about this. Cool. Now comes the part of actual setup on the hands. It's definitely going to take a little bit of time, so I'm probably just going to do one finger here for you guys, and then I'll show you the other ones. I'm going to go here to sub tool, and I'm going to hit "Append," and we're going to append this piece right here. We're going to do the first one. Actually, I'm going to show you a couple of techniques, so let's go. This is supposed to be the first fallacy. I'm going to try and look for one finger. Probably the one that's straighter like this ring finger. Here we go. Push this out and we're going to position it so that even if it's overlapping, that's fine. Now here is where we would definitely need to move a couple of things. For instance, you can see that right now it's overlapping down there on the finger, and it will be pretty much impossible to move with that piece of armor. Just tweak these things a little bit. This is going to definitely make her hands look bigger because of the armors but I think it's fine. Then we're going to go "Control Alt" and duplicate this. Rotate a little bit, of course, make it smaller, so we create the second section there. Of course going to see a bigger focal shift to rather a softer focal shift , something like that. Technically, this should be the smaller one, we should be getting smaller and smaller. What we can do, that's embroidered mask, and just push the scene so that overlaps underneath it. Right that. Invert the mask "Control Alt," and we're going to duplicate this again. This is going to be the tip of the elements. You can see that on the tip, the thing changes. Actually, we need a different one, but we can get it from here. What I'm going to do here is I'm going to say split or unmask points. Now, this piece is a separate piece, and we can start creating the claw-like shape. That looks good, I like it. It's just a little bit trim dynamic here. Again, I would expect this one to be, it's not super important that we make this work from an engineering standpoint because we're not going to be bending or animating this character. If we were, this was the character for production, then we'll need to have a lot more care in these things. But in this case, the only thing we want, again, it's the rule of cool. We want this thing to look really, really cool. There we go. Now there's that nice little curvature there. I think it's worth it. I'm going to push this up. I'm not sure, I like this, very nice, evil looking nail. We can see a little bit of the finger there, which is also fine. Let's go back to this sub tool. Straighten some of these things out, push this one out a little bit. We need to be very careful with these overlaps because we don't want the overlaps to affect us. We want them to make sense. Again, just move your character back to roughly the size that you think the statute is going to look like, so that's the size, and that's fine. That looks, good. I'll probably go here to lighten topological, push this one out as well just so we see the border of the finger armor. I like the fact that it looks like hammered metal, it's not perfect, but it looks nice. It gives us a very, very cool silhouette. Very cool. Nice. That's pretty much it guys. I'm going to stop the video right here, and then the next one we're going to continue working on this guys, we need to add a little bit more detailing where there's a couple of things that we're still missing here for the fingers. We need to duplicate this to every single finger. Hang on tight, and I'll see you back on the next one. Bye-bye. 32. Hand Armor Details: Hey guys, welcome back to the next part of our series. Today we're going to continue with the details of the hand armor. One of the things that I want to do is even though yes, we're going for this very rough effect, I do want to add just a couple of details. For instance, we can add this little spheres or little details on the armor to indicate that these things rotate. We're never going to see them rotate, this is not an action figure. It's supposed to be a collectible statue, but it's important that we just understand that there's a little bit of extra detail there. Now, also before moving this thing into position where it's going to finally be, on the other fingers, we definitely want to clean it up, make sure it looks as nice as possible. All of the overlaps that we mentioned, and we want to get rid of all of those overlaps and make sure it merges properly with all of the different pieces. There we go. Yeah, that's good. I like that one. We're not going to add any specific damaged details just yet. We're going to have a quick pass later on where we're going to just damaged things in general. But right now we're not, we don't need it at this moment because we're going be duplicating. If we add details right now or damage and then we duplicate that damage, it's going to be visible everywhere. Again, that's not what we're going for. Now what I'm going to do is I'm going to merge both of the elements. I'm going to say merge down, hit "Okay" so it's easier to just duplicate the whole thing. Before we start duplicating it, move topological to make sure that they're straight as possible. I'm just going to duplicate them, but I'm going to duplicate them over here, because I want to be able to move the whole thing. We're going to move the pivot point, and this is how we're going to be doing this. We're going to move the pivot point to the base, and we're going to try and get the base on the finger that we're layering up. We're going to rotate this, just rotate this a little bit and get the armor where it's supposed to be, right about there. Now of course, this armor is going to be a little bit smaller because it's supposed to be smaller finger. We won't be able to skip, that's why I mentioned that this was going to be a little bit of a slow process. Hands are always like that. So BMT. We're not going to be able to escape the fact that we need to tweak and move certain proportions around to make sure that we match with the fingers. Like this. I'll just make sure that things remain as straight as possible, it's going to be important. Again, I'm not super worried about this because I know that the scale which we're going to be seeing this is going to be quite small. We want to look cool and clean, so there we go. Now here again, since this is supposed to be metal, we can actually go into the hand. Just push a little bit of the fat of the hand inside of the metal beats, so it looks like the metal is actually hugging the hand. Now this one we need to get a little bit more of an inclination there. There we go, it's a little better. The final bit, this one right here, which by the way we can go into our Polygroups, and say Auto groups. There we go. This one right here, probably going to make this a little bit smaller and rotate it so that's facing the proper direction like that. Again, a little bit of move topological. Even leaving that open space, I don't think that's a bad idea. Because this finger is supposed to be going a little bit lower, so it's the finger and the nail bed should be really close together. That's it, we got the second hand. Now again, we go into Subtools and we duplicate. We just move this thing over here, definitely going to make this a little bit bigger. Let's move the base of the finger to the base of the armor piece, and we're going to go right there. That's the first piece and we can mask it, and then move the pivot point to the second piece, like that. You can see there that this is a little bit of a thicker finger. Then we grab that one, mask it, and you put the mask. Move the pivot point to this one now and rotate it. When you use this gray circle, that's camera based rotation like in Maya. There we go. I'm going to use a little bit of move topological, give it a little bit of extra thickness to this inner areas. Since I don't want the gloves to be super thick, we can push them in a little bit. Although the claw was looking quite nice over here, so I like this one. In this case, again this is where we can curve in just a little bit here on the fingers as if the armor was pushing down. Again, a couple of empty spaces there I think it's fine. Who would have thought that there will be so much work on such a small area, but that's part of this thing. This is why I always, not with you guys because you guys are watching this video and you've been watching for what? Like eight hours now, and you guys understand how much time goes into doing this things. But there's a lot of people out there, clients for instance, they say, "Can you do like this or that?" You're like, "Yeah, sure." But it's going to take some time and of course that means that I'm going to have to charge you for that time. It's going to be a lot of money or quite a bit of an investment, and people are like, "Oh, but you make it look so easy." Yeah, it's not that it's difficult, it's just that it's time consuming. It's really time consuming to get all of these details right. I really like this hammered metal effect, a raw energy going in there. Cool, let's do one more. We're going to duplicate this, rotate slightly. Again, it's a little bit easier if we move the pivot point as close to the base of the finger as possible. See, like that one right there like this. Because the index finger and the middle finger, they're really similar in proportions. As you can see there, we didn't need to do a lot of fixing because we got this quite nice. Just a little bit of proportion adjustments here and there. Since this one definitely needs to rotate a little bit to follow the proper shape of the finger, but all of the other ones are looking good. I don't know what that is. Like an overlap or something. Let's clean it up. Look at that. Our dragon hand is looking quite nice. Just looking way more fierce or stronger. Again, the graphic shape of things. If we go again to the range and bring this back, just to see whether we're getting, I'd like to change this sometimes to like a flat color, so we can appreciate everything. You can see, look at that silhouette right there. That's a really really cool and interesting silhouette , and that wreaths. Those little details wreath on the main shapes of the character, and then it gives us a really cool effect. Now with just one final duplication here. Let's duplicate. It's just going to be the thumb. We need to rotate this. This one is only going to have two sections. We're going to be eliminating the final section, but let's get this into the thumb first. In this case, I'm using the tip as the nucleus. Scrub this one. Control Shift click. Let's go and select "Lasso," and by the selection, delete hidden. There we go. Just move brush, and we can start tweaking the position of this speed of armor. Just going to be for the thumb. Nice. Now, technically, I'm not sure if I remember this right, but I think the hands were pretty much the same. I don t think we changed like to silhouette of the hands. We should be able to just mirror this and properly place them to save us quite a bit of time. I'll show you how to do that, but before that, I do want to start adding some details now. Now that we have this, now we can start adding some details on the elements themselves. For instance, something that's very common is a nice little border in-between the sections. Let's go with clay buildup. For instance, we can add a nice little border here on the armor pieces. Again, I'm not super worried about the level of detail or cleanliness that we need to achieve here, because it's going to look so small. But just like adding that little border there, I think it really helps. Very careful here. I'm going to go around the hand. I'm just going to add this border. Again, such small detail, but they will be visible. I've seen some people when they paint armor, they like to have that little lip on the border of armors, and they'll paint like silver armor everywhere, and then that little border, that little lip, it would be like gold. That's a little bit of a different detail. Now, technically, if we had a little bit more time, we could just properly model like box model and poly model of these things instead of Meijer or blender. That's another thing that I want to talk to you guys about. We're going to see this a little bit more in-depth once we hit the printing stage. But when we're dealing with 3D printing, there are a lot of things that you're not going to see, for instance, this guy right here. This is supposed to be a 30-millimeter print. It's really small. It's like three centimeters, or like an inch high. Well, probably like two inches high. As you can see, look at the level of detail that they add here to the armor. It's just a polish nice armor. But that's fine, because at the height or at the distance that you're going to see it, that's perfectly fine. Same for this like Jean Grey. You can see that we have this big blobs of hair right here. Because the size of the sculpture might not be as big. If you're working on a real-size sculpture and you're going to see every single detail, those would be the cases where I would strongly recommend that you spend the time and make sure that every single detail looks perfect. But you do need to take into account the production that you're going to give to each a piece. Because one of the mistakes that a lot of my students make, and this is not only for character and sculpting things, it's actually for everything like Game Center and renders and stuff. They spend way too much time adding details to things that you're not even going to see. That's not something that you can afford to do once you're in production. Because in production, your time is very valuable. People paying you for the hour or for a certain amount of hours per week. You need to make sure that you are using those hours in the best possible way. People ask me, couldn't you make this armor better? Couldn't it be cleaner and a lot nicer? Yes, of course, it could. But that will take me like three or four hours to do so. For the size that we're going to be printing this character at, it's not really worth it. I'll rather use those three or four hours on another part of the character that's more valuable or more important like the face, for instance, and not spend that much time here on this little section, which is not even going to be seen as much because it's so small. This is going to be less than a centimeter probably. That's why, again, I'm not super worried about this. But just adding that little detail there, like scales, I think that really helps. Cool. Actually, we're past the usual time. I'm going to stop the video right here, guys, and in the next one, I'm going to try and bring these armor pieces to the other side of the hand, but we're still missing, I can see here that under knuckles, my friend added more of these gemstones. I do think those are going to look nice. Let's do that real quick, shall we? I think that's a rather quick things. I'm just going to duplicate this guy. I know we're past the 15-minute mark. I'll try to keep this under 18 minutes, but I just want to have this whole hand ready. There we go. Let's give it a little bit more depth. Something like this. Let me isolate this real quick. I'm going to go here. Let's try the poly group front, see if that works. Poly group, or group by normal. There we go. Grab poly group, mask it, invert it. Here, I want to push this just to give it a little thickness that we need. There we go. That's a lot better. Cool. Now to probably center pick point, it's a little bit smaller, so we can't fit all of them. Then Control Alt and just drag and move this. Get that there. Control Alt, rotate this, push it. Make sure the rotation is going in the direction of the knuckle. Even if there's a little bit of overlap, I don't really care. Finally, this one right here. That's all we need. That little overlap that should be fine. There we go. Cool. Now the hand is ready, all of the fingers and all of the elements right there. Now we can duplicate it and get it to the other side. Thank you very much, guys. Hang on tight. I'll see you back on the next one. Bye-bye. 33. Thigh Armor: Hey guys. Welcome back to the next part of our series. Today we're going to continue with the thigh armor. But before that, I just want to show you this little process that I did with the hands that you see right here. In order to make sure to save a lot of time, one of the things that I decide to do is I combine all of the pieces here using the merge down function here on sea brush as we've done before. Once everything was combined, the fingers, a little gemstones on the knuckles, everything, I just mirrored this, duplicated this, and mirrored it to the other side though X. Technically we didn't change the position of the hand. I'm going to show you here, this is the process. I mirrored the hands right here, so duplicate mirror. Then with the gizmo, I just move this and rotate this all the way until we match the hand. Now it did take me about five or six minutes, I would say to get this thing to properly align. But once I was happy with it, it's just a matter of modifying a couple of things. For instance, here, I can use my move brush just a little bit here on the index finger, for instance, to push these things forward. Same over here, we don't want to have as much negative space, and that's it. For the pinky finger over there I can change that a little bit there and be good with. That's it. It's a lot easier, we save a lot of time. We do have to account for some of the bandages and stuff as you see right there. But it just saves so much time, and it makes the process a lot easier. Now, if you want to do it manually, if you want to go to each specific finger and assemble it as we did with the other hand, then of course you're welcome to do so. However, it's definitely going to take a little bit more time than you might imagine. For the thighs, I just notice that yes, we are actually wearing some a bikini thing, so I'm going to start deleting some of these pieces. Let's do a quick auto group here, so Polygroups, Auto Groups. There we go. We're just going to start selecting these ones and getting rid of that, so we get this sexy-looking-like element. That one doesn't look that bad to be honest. That looks really interesting, should we keep it? I think we should keep it. That looks cool. I'm just going to say delete hidden and there we go. For the thighs, as you can see, we have this big shape. It's very similar to all of the crystals that we've done before. Let's have a little bit of curvature, so we need to take that into account, and we need to create this strap right here. For the strap, I'm going to go here to the leg and trying to face like the proper direction here I'm going to use my mask lasso, and I'm going to create a band, which is going be the band that's going to encompass the whole thing. As you can see, we're following the direction of the leg, which is really important. That one looks good, and we're going to do our usual trick, so we're going to say subtool, and we're going to extract this with a thickness of zero. There we go. Hit Accept. Let's get rid of the mask. This is what we have, and we need to clean it. You can see that the borders are really jaggedy, and we clean it in the same usual way with a polish by features. There we go. Now that we have that we're going to go geometry, see remeasure, and we're going to reverse this. Since this is a super simple topology, and it's just a square, we can actually really simplify it like this. That's perfect. Then we can go to the formation again, polish by features. It's going to give us a super nice clean armor piece. There we go. Now of course we're going to go to Zmodeler, Qmesh, Polygroup all, I just give you this thickness, like that. The armor is just going to be on top of the element. Maybe that's a little bit too much, probably something like that. There we go. That's it, I don't think I want to do anything else, this is a really nice smooth effect I like the sort of like a nice armor, makes her look quite cool. Now it's just a matter of going back to the crystal here, and we need to duplicate this. We're going to say sub tool, duplicate. Let's move this down, so you can see it's a little bit more like a rhomboid. We're going to make this rhomboid. Let's turn on polish and with a high resolution, hit DynaMesh. There we go. Why? Because we want to bend this. We're going to go here, we're going to go to bend arc, and we're going to bend it backwards a little bit, probably something like that. There we go. Now we go back to little engine or engine gear, and we bring this back to the leg. Quite a big piece, but this is one of the cool things about armor. If you place a big piece of armor on an area that does not bend, such as this upper part of the thigh, then it really doesn't matter because everything is going to move as a single unit if we were to animate this or whatever. I mean, this of course is not prepared to be animated but in case we're going to do something like that, that could be possible. There we go, a little bit of overlap there is good. That's it, we have a nice leg armor right there. I think I'm going to push this a little bit more to the front so that we don't get any overlap, and that's it. It moves along with the leg in a very nice way, I like it. But we have this little scarab shapes here that we haven't used before, and I think it would be a nice idea to of course add them. Yes, we could add them symmetrically, actually, that might be the best idea. Let's go to control C, just a couple of steps. I know that we're going to be able to bring that there very easily. There we go. Let's build the shapes right here with this thing in a very similar way to how we did the other, the things with the armor, select these pieces right here. We're going to say Append, and I'm going to append a cube. Bring the cube to this area, which is where we're going to be drawing the shape like that scab-like shape. Let's make this thinner, let's bring this closer. Make sure that we don't rotate this if we don't need to yet. There we go, rotate this, move this up. There we go that's it. Let's DynaMesh this real quick. Maybe a little bit more resolution. There we go, and we're going to say KnifeCurve and the curve goes like this and like this. Let's start up here, it's this shape. It's scarabs-like. There we go. DynaMesh again. We can polish this, I think it might not be a bad idea, so I'm going to hit PTD or BTD, which is a trim dynamic. Let's start to polish and let's manually have a nice bevel here. DynaMesh would polish on. There we go, it's a really nice clean shape. Now we of course need to give it a little bit of curvature as well. But before that, we need to duplicate this. I'm going to reset the pivot point here. Hit Alt, reset the pivot point like that. I'm going to say control Alt, and I'm going to move this down, rotate this. Unfortunately, it's not like in blender where you can just like negatively do this. Actually, no, let's do this. Let's say mirror or just like a C plugging subtle master mirror on the x-axis. There we go, and then we're going to do the same thing, Z plugin subtle master mirror on the y-axis. Now, unfortunately, the y is going to be like really down there, that's fine which is mass death, better mask, race of the field points center of the pivot and just move this up. Now those are a little bit smaller, so I'm going to make them a little smaller here. It should be on the same position, and we have that nice little spike on the bottom part, so I'm going to use my move brush here. Let's make sure to use X, and we're going to build this curb effect. This also going to push this out DynaMesh to sharpen them up, and that's it, we got the proper shape. Now we need to of course, give them a little bit the curvature, probably a little bit closer there, there we go. We're going to say a little engine thing, or it's a gear, are going to go up here and bend it. They follows a very close shape to what we have down there. That's it. Let's go to the gear again, go back to gizmo, and probably just push them a little bit back, so there's a little bit of a distance there. That's it. We have the nice little, looks like it's curved. Is curve the correct word? I think so. Let's grab this guy right here, let's bring it all the way to the bottom, so we can combine them. Here we're going to say march down, and that's it. Now, since this might be a tool that we want to use for the other leg as well, it might be a good idea to go into the stage your thing, so stager. Let's say this is the home stage. There we go, and now we'll just properly position it where it's supposed to be. Closer there, match the proper curvature of the leg. There we go. The most important thing is I want there to be a little bit of overlap, we've talked about this before. Because overlap is going to make things so much easier on the printing side of things. For instance here, it might not be a bad idea to just slightly push that up. Again, just because it just makes things so much easier on the printing side of things and we can rotate this a little bit. That's going in the same direction, we've talked about this earlier. It goes in the same direction as the leg and flows with the leg. Push that one up a little bit. That's it. It looks good. Maybe just that bit smaller, a little bit more to the side. I hate this because it's a lot of tweaking, like small little tweaks here and there, but it's part of the process to make sure that this looks as nice as possible. They quick BPR and I mean, just look at this, it's essentially looking amazing. Cool. Let's do the other piece real quick. The cool thing about this is we have the stager, so we're going to duplicate this. We're going to say duplicate, and then this piece right here. Technically we're still on the other stage. If we check the geometry, you can see that we can set this as a target stage and switch the stage and we're going to go back to the upper side. But this allows me to go here to the target stage and that way I can make sure that both of the spiders that we have right here share the same size. I'm going to go right there. This one's a little bit lower, it should be a little bit lower, so right about there. There we go. It's floating a little bit, right there. I get it's not the end of the world, but we want to save ourselves a little bit of headache, we can just look at it closer to the element. Because those little things like the floating elements usually require a little bit extra supports on the 3D process. By getting them closer to the skin, we avoid using as many supports and that's always good. Let's go to this bandage right here. Where is it? Was it hidden? There we go. I'm going to go to do this bandage right here. I actually like the overlap, it looks interesting, but let's just push a little bit closer there. Yes, we're going to see the two things combining with each other if you wish, but not in a bad way. There we go. That looks good. Now we need to of course do the same thing we did here with the middle bit. Let's grab the middle bit, that looks okay, a little bit strange right there, but it's fine. We're going to extract, hit "Accept". Slow it, geometry, ZRemesher. We're going to do half, and then ZRemesher again, and again, and again. One more, there we go. See modeler and just cube mesh everything here. Again, when we divide this, we should give it a nice effect right there. Nice armor effect. We can of course push this thing just a little bit in, so that we don't get that ugly overlap. See, I'm not sure if that's supposed to be like leather or gold or whatever. When people paint these guys, they can decide what's the best material for it, straighten this thing a little bit more and that's it. The thigh armor is ready. Make sure to get all the way to this point guys, try to follow along if you are doing this exact same pieces and everything. The next one we're going to now jump onto the crown, we're going to start working on the crown, I think that's a very important piece. If we make like a quick count of things that we're missing, we're missing the crown, the shoulder armor, the hip armor and then some little details here and there, like the thing here, the knee pads. I'm going to show you the knee pads real quick because I do think that's a little bit of probably a small mistake that my friend did. This motif that we have right here, doesn't match any of the other motifs. I think it would be better if we just recycle this one right here. I'll see if we just recycle that one or if we do this one from scratch, but I would probably use the same motif that we have down here, so that all of the sign matches with the character. That's it guys, hang on tight and I'll see you back on the next one. Bye, bye 34. Crown Armor Block In: Hey, guys. Welcome back to the next part of our series. Today we're going to continue with the head armor, the crown armor. If we take a look at the armor it's a really cool armor. I really like what my friend did here with the design. We have these front wings and then we have these side wings as well. Now, we do have the same shape like the little crystal shape repeating a couple of times, which is going to, of course, make our lives so much easier, but right now we need to work on the blocking for this main shape right here. Now, on this front side, I see that line right there, and then on the backside, it does seem like we have these extra wings over here. There's like this floating thing. Floating things are always tricky. I did tell him, try not to make a lot of floating things because they can get a little bit tricky. The design looks really nice, and we can definitely solve it. The way I think this works is we have these guys right here attached with these little crystals to the back. That doesn't worry me that much. Usually, when you have, imagine like a tree with a lot of branches, that's when things get complicated in the 3D printing department. As you can see, we have this gemstone right here, and we have another shape, like a big shape, where these wings are being like setup. I'm going to, again, grab this piece right here. We're going to duplicate this, and we're going to bring it down to create that nice little support on the backside of the character. This is going to be here. There's, of course, going to be overlap. I don't care about the overlap, because it's just going to be for the shape. Let's make this more horizontal like that. It's right about there. It looks like that. Now, you might be wondering, but we have that ugly thing right there. How can we fix that? Well, we can, of course, just like, for instance, with a knife brush, just cut that thing, and that was just a flat surface. The cloth here on the crown, we are going to have to move it back a little bit, so we're not overlapping those areas as carefully here like that. We can still keep some of the lines. Here I'm going to use my move brush and just brush this thing back. This is a very common technique in the 3D world, in general, which is, I'd like to call it overlapping. When you have simple shapes like this one and you start overlapping them, you can create a lot of complexity without really having to work that much on the element, because it's a very simple effect. Now, this shape, as you can see, has this border, and then we have the wings similar to how we did all of the other wings that we've done so far. I'm going to append the cube here. Actually, the key cube that we've been using, this polymerase 3D cube, which is just a simple cube. This one. Where is it? There we go. We're going to bring this up. We're going to bring this forward. As you can see, this guy starts creating its shape from in-between these two shapes, so another like overlap there. I'll make this thinner. Right about there is where we get this shape. Now, this is one of those cases where ZModeler is really useful, because this is just like an extrusion. What I'm going to do here is I'm going to jump into ZModeler. Let's turn on poly frame. With X symmetry turned on, we're just going to Q mesh this single poly. Just grab this guy, and push it out. How much? Well, softly at the eye level. Right about there. Then what we can do is we can insert an edge loop right around there. Then with Q Michigan, just push this thing up. This one is a little bit taller. So just push this quite high, like that. That seems appropriate. Now I'm going to insert a couple of edge loops here, so like one and two. Just with move brush, I'm going to give this a little bit of curvature. Just a little bit of curvature. Why? Because when we smooth this, I'm going to turn on the dynamics of the vision, we're going to get this effect, which is what we're going for. Now, of course, on the upper side here, this vertex right here, we definitely want to move down. Same for this one. We're going to move it down. We get this like sharp effect. Let's move this one up. This one up as well. Again, no need to be super precise, but as long as it works. Now I'm going to go back to ZModeler and we're going to add our support edges. We're going to have one support edge there, one support edge there, one support edge here, and one support edge here. Then we press "D," and say always yes. Now we're going to get the nice effect that we're going for. If we want to tighten this curvature a little bit more, we can insert an edge right there, tighten up a little bit. Just a little bit. I don't think I want it to be like super tight. Something like that works fine. Then with my move brush, I do want to move this area out a little bit to create a little bit of a curvature. Like following the curvature that we're creating like up here. Now, of course, we are only doing this on this side. I'm going to do first a mirror and then the mirror on weld, so that we get the exact same detail on both sides of the element. Press "Shift D" to get out of dynamics up there, or stay there. That's fine. That's the element. Now, as you can see, I'm doing this relatively thick, because again, this is going to be like a quite flimsy section. Based on personal experience, you don't want things to be extremely thin, because then they break very easily. Unfortunately, resin in the 3D printing world. There are some resins that are a little bit more resistant than others, but more often than not they're quite flimsy. If this thing were to fall, then one of the first things that's going to go is, of course, this crown. That's the crown. We're going to go now into geometry, and here on the dynamics software I'm going to hit "Apply," so that this preview that we're seeing becomes permanent. There we go. Now we need to do the wings, these guys right here, the main wings of the element. I'm going to, of course, do a append. We're going to do the same like cube trick that we've done before. We append this cube. We create the Canvas that we're going to be using for our element. Let's thin this out. A little bit more. Probably going to be a little bit thinner than the rest of it, but not like super thin, because we just talked about what happens if we do that. There we go. Control Shift, KnifeCurve. I know that the knife goes when to start. Let's us start up here, so it goes in this direction, a little bit more like this direction. Then it creates this like wing effect like this. That looks good. That's a DynaMesh with a higher resolution. Then let's get rid of this section right here. Again, DynaMesh, and that's it. We have the basic shape. Don't worry about this one. We can just delete part of it because we're going to be doing the rest of the elements. I definitely want to polish this things a little bit more. I'm going to use my trim dynamic to go here on the border and clean it up a little bit. There we go. Nice. Now I'm going to press Control Shift and we're going to use the slice curve again to create the basic shapes so you can see it's like one. Wait, before this, I almost forgot about this. Remember we actually don't want to have all of it just yet. We want to create the basic or just like a flat surface. I'm going to go here and I'm going to use this option called poly groups. It's called by normals. Where is it? We can use the front. As you can see, it's going to go up way more stuff, not this one group by normals. There we go. That's really weird. Strike and group by normals. No problem. Let's grab our SelectRect, and I'm going to delete most of this. There we go. That should work. Delete hidden. Let's go to Deformation and clean the Polish by Features. It should go. It should give us a cleaner effect. There we go. Now that we have that, now we can actually start using the cuts. Again, let's go to SliceCurve. We're going to have one cut there, 2, 3, 4, 5, 6, and then there's 1, 2, 3, 4 little feathers there. So 1, 2, 3, and 4 like that. Now we're going to try of course, our panel loops. We're going to go to Edge Loop and hit "Panel Loops". There we go. Definitely way more thickness. Let's say 0.04. There we go. That's way better. I like the bubble right now. I'm going to bring the bubble down to 10. No, I don't like the bubble. It's making some weird stuff there. Let's get rid of the bubble. Just hit ''Panel Loops'' and there we go. Now if we smooth them out a little bit, as you can see, we're going to get the divisions in each piece. I'm going to say, make sure that groups is turned on and polish and we're going to DynaMesh or actually, first, let's go to Polygroups. Make sure that all the groups is on now with DynaMesh and that each specific part of the crown is going to be like that. We can use a little bit of inflate, for instance. Inflate is going to bring things a little bit closer together. Then we can smooth them out again. Let's make them a little bit thinner. Maybe the inflate was a bad idea. Let me go back. Let's bring this thing here first. There we go. That's it. I'm not too worried about the spaces in between the elements, but again, if you want to be super precise about this, we can use our multiple logical and just push some of these guys closer together so that we can keep the nice little division in between them but without actually affecting it. I'm not too worried about because there's one thing, and again, we'll talk a little bit more in depth about this once we hit the 3D printing section. But there's one thing called light bleed that happens in 3D printers. If there's like really tiny spaces in between things, usually the light will bleed and they will just automatically harden that area. Even though these guys are not overlapping, I know I don't need them to overlap so much because we got this. Now here, we definitely want to create that wing effect, feather effect. Very carefully here, I'm going to start pushing these guys out a little bit, trying not to deform the curvatures much. Soften them out a little bit and that seems to be like the last one. Same here. If you want to clean this curvature a little bit more, we can do that. I'm going to use my normal mood brush because you can see that this things , they're a little bit higher. It looks like a really big scale. I'm going to push this guy a little bit higher like this so we can see her face a little bit more. Or maybe even grab this guy, let's push this a little bit higher as well so that when we move this guy up, we also have the connection like this. Let's try multiple logical again. Just to fill in some of those gaps. That looks good. Now we're going to do a mirror first and then mirroring and weld, so the central pieces combine as you can see right there and that's it. The center crown is done. We're done with this initial blocking of the element and we're ready to go into the next areas. We're going to go for the shapes like this, this external shapes that we have over here. Hang on tight and I'll see you back on the next one. Bye bye. 35. Crown Armor Forms: Hey guys, welcome back to the next part of our series. Today we're going to continue with the Crown Armor. Let's get to it. This is where we left off. We're done with the front part of the crown, which looks really cool. Again, the silhouette, really amazing. This line right here from the side view, it's just so simple. Pointing towards the face, I think it works amazingly. Now technically if we wanted to, we could also curve this a little bit and have it follow a little bit more of the shape. But I think this straight shape is going to look really nice once we print this. If we take a look at the back of the head right here, at the back of the crown, we have this support things like flying to the side. It's a complicated shape, I'm not going to lie because these are like curved shape. So imagine a line going here like a curve shape because of these things, these floating things, from what I can tell, there at the side. They look like they're the side and at the same time they look like they're not at the side. So it's tricky. But let's do the same process that we did. We're going to go sub tool and we're going to append the same polymers 3D cube that we had before. It's just a basic traditional cube here, which is going to be the basis for our arch. Let's create the support, is going to start right here. It starts on a side like here. It looks cool, its a weird shape though. Let's make this thing a little bit longer, it's going to be rotated like this. I think I know what he meant now. We're going to push this back like this. I am going to keep it a little bit thicker than the usual, again just to give the extra support to things because otherwise it's going to be a little bit too complicated. I was going to say let's try to bend it, but I'm not sure if this is bending. Looks like it's bending, like a nice 90-degree curve. I'm going to do it with ZModeler here. Let's turn on poly frame, let's add a one and two, and then with my Move brush, I'm just going to give this round effect of the whole thing. Try to straighten this guy's up a little bit, just like Move brush and stuff. Because I know when I do D, which is a subdivision mode, we're going to get this thing right here. Let's take a look at the front pose, this one right here. They're coming from the side. This seems to be good, probably I'll scale them down a little bit more. Let's do the overlap there. That's the only thing that's a little bit worrying to me. The fact that all of the weight of this flying things is going to be hanging on that specific point. That's always something that we need to be careful about. Now we do have this extra lines with your extra wings on the back, and I think we can use those wings. If we place them right here, we can use them to anchor everything. Like if everything over here is welded into a single piece, then I'm confident that we can hold this shape in a better way. Now, this shape is a little bit different to what we've been doing so far because rather than being completely flat, this actually is going on a little bit of a tangent. However, we're still going to build it in a flat way because that's probably the easiest way to do it. I can see the border here, that's the first thing that we need to do, so I'm going to append a cube. Let's select this cube or rather let's append the older cube again, like this polymers 3D cube. I like this cube because it's just a one-sided face cube, so it's usually a little bit easier to work with. Now, we don't have a side view, if I could call my friend right now and tell him to do a quick side view, that would be great. But when you don't have that, you just need to make sure it works, however you can make it work. Let's grab another crystal real quick. I'm going to select this faces right here, let's just give them a little bit more thickness Where is it? That's correct, there we go. Just mask that, put the mask on. Should be there, there we go. Duplicate and we're going to move this thing down to where this element is. This one does look a little bit more like a square element, so we're going to keep it at 90 degrees and this is going to be the anchor. But another little like cheat that we can do here is really anchor this right there. There's a lot of overlap there, and maybe later we can add a little bit of support there as well to make sure that this thing does not fall off. In regards to size, it's a little bit bigger than this one right here. We also do have this diamond shape look. Let me make it slightly smaller, that looks interesting. Maybe a little bit thinner. Again thin is going to make it easier to support so well, so let's go for something a little bit thinner, there we go. Now, this is a cube that we're going to use to build this frame. Now we're going to build the frame in, for instance here, here's what I meant. We can use this square, and anchor it all the way to the support. Yes it's a little bit of extra weight, but it's also a little bit more support so more points to attach to, and this thing goes down here. This is something like this, and then we're going to go into ZModeler and we're going to start extruding from this square right here. So we queue mesh out, and I'm going to use Move now to move it up. That's the first one. Then from here, from the corner we have a curvature, here we need to decide the word now we want the [inaudible] loop to flow. I think we do want that, so I'm going to go into Edge mode and I'm also going to move this, like this. I think I'm doing the arch right there. Let's push this up a little bit, and then let's move this edge a little bit out like this. Keeping it as straight as possible, let's insert a couple of [inaudible] here, and then I'm just going to go with Move brush, and this is going to be the actual arc. Let's just push it, I have way to lower intensity. There we go. Keep this straight as possible. There we go. Now we go back to ZModeler to QMesh, and this is where the actual character is going to be coming from. I'm actually going to go with this poly, there we go, and this go higher than the front section. Let's kill these guys, and then with the move brush, big brush, let's move it into position. They go to the center like this and there's curvature. We're going to go back to ZModeler. Let's insert a couple of edge loops. Let's go back to my move brush. I'm going to show you a trick here in just a second. There we go. I know that my front-facing faces are really straight, but the back ones are not. What we can do here is we can hide all of the back ones, so we just remain with this one. Delete hidden, and then with scale, we can scale them as you can see there with the red square that's going to flatten them out and now if we go back to ZModeler, we can just grab the QMesh everything or polygons, and just bring back the proper thickness, and now I know that the shape and everything is following properly. That's it. Well, before that actually, I'm going to cross this guy to the other side, and we're going to do a mirror in the weld. I'm not sure we can do a mirror and weld unfortunately. The reason is we're not in the center of the grid. That's a problem. That's fine. Now let's go back then. Again QMesh, let's brings this up, and that's it. That's going to be the basic shape of this thing. Now, of course, we have the central lines, the plates of the helmet and you guys already know how we're going to do those. Append, a cube, style number is SQ. Make it thin. I'm going to try doing the poly groups by normal. There we go. We have proper normal facing things. Let's get the proper thickness, which we're going to change of course, but just makes it a little bit easier. Let's get this in there. There we go. Now, with our cut tool, with the knife curve, we are going to cut, first of all, half foot like that, and then I am going to start cutting the border. Here I think we can even do double-tap, which is going to give us a straight look, but since all of this is going to be hidden, really doesn't matter. That's it. Now, we're going to grab this edge or this panel lobe right here, delete hidden, and we're going to go into our slice curve, and you can see that the lines go inwards. From the top in, so we got 1, 2, 3, 4, 5, 6, 7, 8, 1, 2, 3, 4, 5. I think the angle was a little bit off. Something like this 3, 6, 7. We can add one right there. Cool. Now, we of course go to geometry and we do panel loops. I think that's perfect. That's really nice. Thickness-wise, we can definitely make this things a little bit thicker. Again, we're going to leave a little bit of a gap between this case in the border. We can do that. Perfect. We have the border right here, and we have these guys right here. There's a little bit of a diamond shape up here that we can duplicate one of these guys and reuse, but now the big question is how are we going to make this thing actually symmetrical and with this or incline towards the character. The answer is, we first of all need to polish this guy right here, which says you can see if we press "Control D", we lose all of the sharpness. Again, with ZModeler selected, we're going to insert some supporter, so one on the back, one on the front, one up here, one here, and another one here so when, again, when we press "D", you can see that we get the proper shapes. Now in this angles, where we have the angles, you definitely want to add a couple more, so for instance, there and there, and on the border there. That's it. Now, this shape is looking quite nice. Let's look for it under subtools. It's right there. Let's merge this down, so say merge down. We will have this big piece now set up. We're going to move this so it's right there in the middle. I'm going to move the pivot point so it's as close as possible to the middle as we can get it, so right about there. Now, we're going to duplicate this and yes, we're going to mirror on the c-axis. We're going to go here to low little objects there and hit "Mirror". There we go. That's the center of the grid. We're going to move this back so it matches the section right there. Now, we're going to again move the pivot point to the center or as close to the center as we can, and we're going to rotate this. I think 30 degrees is a good number. Let's push this in a little bit more so that we create a little bit from the overlap. We go back to this guy. We rotate this 30 degrees as well and we'll push them in so we get the overlap. Technically, this is what we're going to get. Is it perfect? No. Is it good? I would say so. I think it's a good compromise and we properly capture the shape. Now, you can see that this thing is also inclined a little bit towards the center , it's not straight up. I also think it's a little bit too big in general, so I'm going to select this guy and just merge down again. Now, we have both sections here. We can smooth a little bit here. I don't really care about this, like top border because we're going to add a little crystal that's going to cap it off, but here, let's go to the center of the mass and we're going to make it a little bit smaller. Here's what we're going to be twisting it or rotating a little bit so we create this overlap. Now, that's something actually that I'm a little bit happy about. The fact that this thing is going to be looking good. Now, one thing I'm a little bit worried about is now the silhouette because as you can see, the silhouette here is changing quite a bit. I don't love the silhouette. I'm not really sure where I would improve it, because right now we're creating something called a tangent where two points are really close to each other and they interfere. This one we'll definitely going to have put this well. Now, you hear my friend did this a round shape as well, which we don't see over here. Let's try giving that round shape. I'm going to use a very big move brush. A little bit of curvature there. I think that helps. I still think it's a little bit too big, to be honest, so I'm going to make it a little bit smaller. I like this, the shape. Now, this looks interesting. I'm a little bit scared about the insertion points as I've been mentioning, because I know that that can be a little bit problematic, so hopefully we don't have that issues. Let's go to this piece real quick, and of course, if we smooth it out, it's going to look horrible, so let's go to ZModeler and we're going to insert again our support edges. When we smooth we get this effect. I'm going to make this a little bit smaller. Just from a design perspective, I think it's going to look way better that way. That looks interesting. I think we're in a good position. Now, these guys, they have the proper symmetry with the head, so technically, we should be able to go here, see blogging, and mirror them to the other side. No, apparently didn't work. Wait. Do the flooring or let's try just a normal mirror. Mirror and weld. There we go. Same for this one mirror and mirror and weld, and same for this one, mirror and mirror and weld. Well, okay, yeah, that looks good. Now, the silhouette makes a little bit more sense because with one, it was really throwing me off, but this one looks really nice. It looks like something like cat ears and you guys know that in Egyptian mythology, cats were also really important. Cool, yeah, I like it. I like how this is looking. Nice. This is looking quite, nice, cool. I'm going to stop the video right here, guys and in the next one we're going to be finishing some of the details here for the class. Hang on tight, and I'll see you back on the next one. Bye, bye. 36. Crown Armor Details: Hey guys, welcome back to the next part of our series. Today we're going to continue with the armor details. Let's get to it. The last part that we're missing is we're missing a couple of crystals, here's 1, 2, which are going to be attaching to this thing as well. They're going to be back here. These things right here and the capping detail that we have here on the top of the elements. It's still a couple of things, not that many. I think we're almost done with the crown, which is looking quite nice. Now, here's a little bit of a weird thing if you take a look at the, what's the word a crown right here, we're also going to see this little diamond here at the site so that one would be about there. Now, as you can see, we're using this shape quite a bit of times I wasn't using it. I don't know, like 10, 20, 50 times right now. Since we're going to be using it quite a bit still, there are some more pieces where we're going to be adding that little detail. I think it's just time to make a brush. If you see that you're going to be using a peace quite a bit of times just make a brush. I'm going to clone this thing right here to go into this option. I'm going to press "R" to scale it up. Right now, this is not DynaMesh, so I am going to make it DynaMesh, so I'm going to say polish, say 500 DynaMesh. We got a nice a density there. The way this is, I'm just going to click here. I'm going to say Create, insert mesh brush. I'm going to create a new brush, and that's it. This is going to be my insert mesh brush. Now we can go to the Brush section and I believe we can rename it, where is it? Create, I will just save it. I'm just going to go here, let's move this to the side. If you click here and you save this, you can save this as your own stuff. Let's go to our tool and I'm going to save it on your Ztools. I'm going to call this [inaudible] . GavalaCrystal. There we go. Now if we go back to the shape right here, we need to grab a piece that we're going to be able to insert into. I'm going to grab the crown. I think it's a good piece. We need to make sure that we don't have any subdivision levels, so that's fine. That would just literally drag and drop and that's it. We can very easily create that sort of shape right there. As you can see, it's symmetrical so we just need to push it in, rotate a little bit and that's it. Now he's really happy because we are using DynaMesh with quite a big amount of elements, but it's going to work just fine. That way we can insert that little crystal right there. We're going to need another crystal that are back here. We're going to just insert it right there. The only difference from doing this than using substance is that at least we're not going to have as many sub tools. That one's going to go right there. Let's rotate it a little bit and push this. There we go. Again, I'm trying to create a little bit of that overlap that I've been mentioning. Because I know that we're going to benefit from having a strong connection point. If all of this thing is just welded together in a single point, I know that the 3D printer is going to hold a little bit better. Because remember this thing is just literally flying off into space. It's a little bit better if we do it that way. Now, as you can see back here on the concept, this piece is really similar to what we have right here to this piece right here. The only difference is that it's a little bit more curved and of course a little bit smaller. Why not try to recycle this piece and utilize this as well? It's relatively easy to do. First of all, I'm going to duplicate this guy. Let's isolate it. I will want to eliminate half. I'm going to delete half of this one. Say delete hidden, and there we go. Then I am going to do the same thing over here. Now, technically these things should still have their poly groups, as you can see right here. We can try and see, let's see. No because we've mirrored them well. We mirrored them well. That's going to change things slightly. Instead of that, I'm just going to go to my knife curve. I'm literally just going to cut half of it out, like that. That's it with DynaMesh again. With a high resolution, maybe even higher. I want to do other groups right now. Some of the straight poly groups, other groups. Because it's welded, that's a problem. It's a really big problem. Instead of doing that, we're going to do something called Booleans, which we're going to be using quite a bit. I'm going to comb this into a different tool right here. I'm going to insert a cube. I'm going to go into sub tool, append and we're going to append a cube. The reason we're going to be using Booleans is because when I combine the Booleans points or the Boolean elements. I want to be able to retain the depth in everything. Just going to have this there and then turn on light Booleans. I'm going to divide. Now if we go back here and turn off poly frame, as you can see, we're pretty much cutting this piece from the rest of the element. It's a really clean cut, a little bit of extra geometry there, not the end of the world. There we go. We are going to make this a Boolean mesh. We're going to go into Boolean, make Boolean mesh and now this is an actual geometry right here the U mesh thing. But one thing before we do that though, this guy right here, we need to give it a couple of subdivision levels. There we go. When we make the Boolean mesh, we get that soft curvature as well. That's it, 157,000, that's not bad. Now we see it from here. You can see that this thing has a little bit of a curvature. This is where the gizmo thing is going to help. We're going to go into bent arc. Let's see which little thing. There we go. We're just going to carry this out a little bit more there. It's all about trying to find a what makes things easier. We don't want to over-complicate elements or things. [inaudible] Let's see if we can push a little detail in. There we go. Now, don't try to DynaMesh this because if we try to DynaMesh things we're just going to break it. In this case, this is how this piece is going to end and that's it. We go back here. Let's go to the back and we're going to say append. We're going to append that U-poly mesh that we just did. If we go all the way to the bottom part and we move this thing back with the gizmo. There we go. We're going to rotate this sideways, we're going to make it smaller, of course, let's receive the full points so we can properly position this. I do think it's a little bit thin we've talked about this before, so let's make it a little bit thinner or thicker. I'm going to move the pivot point to the base so it's a little bit easier to properly place. This thing is going to be here. Same thing I know that this is supposed to be connected to the main area of the crown. But I'm going to connect it to the head itself with a little bit of overlap. It just so that we get a better support. Like that. It's a lot thinner. You can see the spike going all the way down here, so the tricky trying to be careful here because I know when we mirror this, forward say mirror here, and mirror and wealth, it's going to collide. I don't want that. We're going to push this a little bit more towards the sides, and with mu brush I'm going to be very careful, I'm going to try to give the spiky thing. I'm trying to get this as clean as possible. There we go. Let's curve this out a little bit more. That looks good. Mirror and Weld. Still not enough. That's fine. Just push this a little bit more, Mirror and Weld, there we go. I do want to have the empty space in-between those points. That's it. We see that silhouette, it's going to look really, really crazy. We see it from the front. Remember what we want here is we want this very nice, just grab any other shape, that shape right there that we're seeing, that's a graphic shape. When you see the statue from afar, that's the shape that you're going to see, and those spikes, that's what you want to read this. I think that looks good. I do think they're a little bit too big, to be honest. Again, I'm going to deviate a little bit from the concept just because from the sign perspective, I think it's going to look a little bit better if they're shorter and maybe lower. Maybe curve them a little bit. Something like this. There's a little spike there that I want to hide, [inaudible] symmetry, let's hide that, force this out, there we go. That way, yes, we're going to have a little bit of silhouette there, which I like. But it's not going to be that much. Because I think the shapes were a little bit too uniform. You want to have a little bit of contrast. You want to break things up so they look a little bit nicer. Cool. Now we just need to create this like a capstone on things right here. I think the easiest way is going to be masking. Let's bring this guy down here. I'm going to select my "Mask Lasso". That's a problem because as you can see that there's not enough information for the mask lasso to work properly. We don't have enough polygons, especially on the border there. Let me see if I can extract this shape right there. That works. As you can see, that's a relatively clean shape that we could use. That's an option. Wait, do we have multiple pieces? They duplicated or something? That seems like I duplicate it. That's really weird. I'm just going to delete those. There we go. Because we don't have Autogroups, unfortunately, I don't think we do. Let's give it a shot, just in case. Polygroups, Autogroups, we do, perfect. That's going to make our life so much easier. There we go. We have that group right there. What I'm going to do then is I'm going to go into Subtool and I'm going to duplicate this whole thing. Just select that one. Let's isolate that hidden. Then Mirror and Weld, well, not Mirror and Weld. We'll probably going to just do a manual mirror. We're just going to scale this. Let's scale that one. Let's press this case so we go to center , and there we go. That's our nice little crystal shape, like the capstone of the whole thing. Let's reset this and try to scale it a little bit more so we can get a nice thickness right there. Now we're going to duplicate this. This, we're going to mirror it on the Z-axis. Then we're just going to bring this back in, like that. Go back to this one, Merge, Merge Down, hit "Okay". I'm just going to soften a little bit there so they meet in the center. Make sure Polish is turned on, quite a bit of resolution, and DynaMesh, and there we go. We have a nice little triangular shape. We can, of course, go with our Trim Dynamic. We don't have symmetry but we can activate. We can turn this thing called local symmetry on. Then if we go to Transform, we can change symmetry to Z symmetry and it should respect the symmetry here. There we go. Now on the back here, as you can see, it looks a little wonky. We have two options, either push this guy out, which I think it's going to be the way to go, or push the other one in. I think just pushing this one out is fine. Push this one down. Again when we see it from the side we want to makes sure that it looks as clean as possible. Again, Trim Dynamic, just clean the shape there a little bit more. That's it. That's the cat point for the whole thing. It's a little bit wonky over here as well, let's just straighten the line a little bit so this is what it looks a little bit cleaner. Select that guy and we're just going to say mirror on the x-axis and Mirror and Weld with no local symmetry. There we go. There you go, guys. We are done with the crown effect. I don't think we're missing any the other little points or anything, the front wings, the side panels, the back panels, everything's looking really, really nice. The silhouette just looks really menacing. Again, I always like whenever I'm working and I'm feeling a little bit demotivated or tired, which is common, it's completely normal, I like to go back to the first few things that we have. This is how Gavala looked at the beginning of the series. We just had the base, even in the face was looking a little bit, as they say nowadays, sus. Look at this. Wow, not bad. right freaking bad. We're moving forward, guys. We're going to jump now onto the, what's the word? What should we do next? I think we're going to do the hip armors. Let's do this one. Let's do the hair dagger that we're going to have at the end or at the back, which is going to be one of the weapons. That way we can also finalize the hair sculpture. Hang on tight and I'll see you back on the next one. Bye-bye. 37. Hair Dagger: Hey, guys. Welcome back to the next part of our series. Today, we're going to continue with the hair dagger. As you remember, on the back part of the hair, she actually is carrying this hairpin, but it acts as a dagger. In Dungeons and Dragons, there's this thing called action economy. It's how many times this character can attack per turn. I would say she's magical enough that she can control her hair and she can do an extra effect. Just a little thing to soften up the players and makes sure that the fight is balanced. This is the shape. It's a really easy shape, but we do have some hard surfacy things. I'm actually going to be doing this thing as a separate piece. I'm going to click again our polymesh 3D over here, and we're going to start with a cube again. We're going to go all the way down to Initialize, and we're going to do a QCube with one, thank you, there we go. Make sure this is a polymesh 3D and we need to do the first rhomboid shape. We already know how to do a rhomboid shape, we just need to rotate this 45 degrees, rotate this thing, and scale it up. However, on the top part here, it's actually flat. Because it's where the thing it's going to be rolling on top of it. We're going to make this thing right here. I'm going to go into ZModeler. Let's turn on the polygroups so we can see what's going on. We're going to start with an insert. I'm going to say insert, and we're going to see insert polygroup all. We're going to create the border of the effects or something like that. Then we can go QMesh single poly just pushes down, and once we go all the way back, it's going to just delete it like that. I am going to keep it relatively thick, something like this, I would say. As you can see on the outer side, we don't really see it right here, but I would guess that there's a blade thing or something. We're just going to add that blade. Easiest way to do that is we're going to go into polygroups or edge. We're going to the polygroop like this, and then we're going to QMesh or actually insert, let's insert polygroup all. Actually before, let's go into polygroup. Then we could ultimately get a different color. There we go. Then we insert. There we go. That's going to be that thing right there. We can just move this because I will move it along the normal. I will just push it out. Wait, let's make sure to turn on symmetry. There we go. So as you can see, this is going to push it along the normal. [NOISE] I'm not super thrilled about the result there. Let's just QMesh instead. I'm going to QMesh the polygroup all. There we go. That looks more like a blade. Then we're going to go to the polyloop and we're going to collapse the polyloop like that, and that's going to give us a sharp effect. Then what I'm going to do is we can actually just delete this edge that we have right there. We're going to go to Delete, actually complete, and just delete that one and that one. That's pretty much what I wanted to do. That one and that one. Although it's pushing a little bit to the front side, just a little bit weird. [NOISE] Astray, you're saying move edge. [NOISE] Let me go back. I didn't like the collapse that we get here. Maybe we'll just leave it like this collapse polyloop. Weird, it's trying to collapse it to look at different site. Let's try something else. Let's do an insert again. I'm going to go into the Insert Options, then say multiple edge loops. If I try to do this, it's going to be right in the center. Just click once. Let's change the options again to one. That way it's going to be right in the center. There we go. Now, we can go to this edge, I should be able to delete it. There we go. We're going to be left with a very sharp effect right there. Now we can of course go into bevel, for instance. Bevel this point there, make sure that both of sides are the same bevel and that looks really cool. Now, I know I did mention that things are not great, but as you can see, there's a little bit of things. Yes, it's going to become a really, really thin, could be a problem, to be honest. Just to be safe, I'm going to bevel that a little bit so that it looks sharp. Even though it's not completely sharp, it's going to be sharp enough. Now, I definitely want to go and the bevel, this edge right here, there we go, quite heavily as you can see right there, to create the flat area where this thing is going to be inserted towards. Now, there's one like this piece, I really don't care. It's gong to be overlapping. Even though we have all of that section, it's completely fine. I will probably bevel this shape as well, and same distance back there, just to make it look a little bit prettier , and there we go. That's a nice little dagger there for Kabbalah, for her character. Now we do have this extra wings on the thing. Just like other extra squares. If we go back here to the polymesh 3D, we can initialize this QCube once more. We can of course, make this polymesh 3D. Go back here and append that polymesh 3D, and let's just position it here like this, scale it. There we go. I want to move this one. Let's see if we can move it uniformly. [NOISE] Not really, I need a small brush. [NOISE] There we go. Scale this in, push this out, maybe rotate it a little bit. I want to have clean angles. That's what I'm trying to go for. But that looks good. Let's go to ZModeler, and let's try a bevel. There and there. Perfect, so we get that nice shape. Now, I do see that there's a hole there. We can make it a hole or we can make it like a volume. I do think we need the hole. I'm going to show you how to do this for this one. First, we're going to mirror on well so together we get both. It's like the basic shape of our element. I'm going to make a little bit thicker. It's also going to have a little bit of support to the rest of the elements. I'm going to bend another cube, [NOISE] and then we're going to scale this down. Bring these guys back. [NOISE] I'm going to thin this out so that we have the same shape that we had on the cube. [NOISE] Try to get as close as possible to the center, and we're going to use Live Booleans. We're going to turn on Live Booleans, it's already turn on. I'm going to click this icon here that says Start. The Boolean operations will start from this element and I'm just going to hit "Divide", and as you can say, we're going to get this where this thing is just like creating a hole throughout the element. It's just a super nice shape. These are the shapes that look really, really cool. Of course, this guy, we're going to mirror, mirror on wealth so we got both of them. We're going to say Boolean and make Boolean Mesh. Now, we are going to have our nice little this U-Mesh shape right here, it's two pieces. Let's merge down. I'm going to say merge down, or are visible, that's fine. Now we have a single piece up here. Let's go back to Kabbalah. We can say append. We're going to append that merge U-shape, which should be right there. Now we scale it down to an appropriate size, something like that seems good, and we position it where it's supposed to be with the proper rotation and everything. Probably a little bit bigger. Just for simplicity sake. Now, this arrow, actually it serves two functions. Of course, it's going to be a weapon. But you guys tell me, what creature from hematology and stuff do you think about when you see this pointy tail? A demon. It looks like a demon, even though it's her hair. This image looks like a devil or a demon or whatever. That's the world we're going for right now. We want to create this play with all of these elements. Those are the hidden things that people are going to know this like, oh my God, that looks like a demon's tail, but it's not the tail, it's her hair. That's so cool. I like to call this subliminal messages. It's not really like that, but it's like a hidden message indicating that she's evil through this graphic way of showing things. Now, this thing is pointing towards her hand. Her hand has this direction going through the body. All of the shapes are working together and we're creating a very nice composition that hopefully it's going to look amazing once with 3D printers. This is pretty much it for this one, guys. I'm going to stop right here and we're ready to jump onto the next part of the armors. We're probably going to go with the shoulder armors. Now you can see we have this flaring things like the wings, like a couple of other wings. Her shoulders are uncovered. I can see that they're a little bit on cupboard, I think. It's this very thin. It's like a necklace thing that going. Then there's the golden scarab. That one, I think we can really play with a golden scarab motif and make that part look really, really nice. That's it, guys. I'll see you back on the next one. Bye-bye. 38. Neck Scarab: Hey guys. Welcome back to the next part of our series. Today we're going to continue with the neck section of our character. In the concept, she has this scarab-looking shape, which again, it's a very common symbol in Egyptian ethology, and even though she's not actually from Egypt in the game in the story. I don't think I've mentioned where she's from, that the place in my world. Again, I mentioned this before, she is from a D&D campaign that we're playing and she comes from a place called Ebakor. It's not written like Abaco from a sci-fi movie, here you go, it's Ebakor, there we go. It is, of course, based on objection, mythology and stuff. Most of the or a lot of the motifs that we normally see in Egyptian ethology are going to be repeated here. As you can see, there's a little bit more space, I think this headdress piece that we have right here is invading a little bit on the actual place. I'm going to mask this out, this corner, so that when I move this one to the side, we don't interfere so much. Again, we're not yet on the 3D printing side of things. But one thing that I've decided is that we're going to be printing the head, head dress, head thing, and hair as a separate piece. Then that thing is going to go into the character. That way, we're going to be able to preserve most of the details without creating too many problems. That's what I think. That means that I don't want to have as much overlap here, because this thing is going to be sitting on top of the character. It's an attachment that we're going to be placing later on. I'm still deciding whether or not we're going to follow that specific route. Just keep that in mind on the back of your head for now. Cool. The scarab itself, we can do it on a separate layer. As you can see, it's right here in the middle, so we're going to sculpt with a separate piece. I'm going to go to a sphere probably and let' s just DynaMesh, we'll make this a PolyMesh3D and DynaMesh it. It has a little too spiky thing, very similar to what she has on legs. I'm probably just going to duplicate them. I'm just going to use my move brush like a quiet nice little exercise on traditional sculpting. Actually, let's get a quick reference real quick. Egyptian scarab, beetle, that's perfect. This is like a real-world thing. This one looks really cool as well. I'm going to add this one on your guises, just pure rough folder. Where is it? There we go. Let's add that right here. Make use of pure, my friends. It's one of the best tools out there, and it's really handy to be able to, have the same right here. I'm going to use my theme in standard. We're going to create the nice little element right there. Let's create a round shape. I'm actually going to use my knife curve to flatten this out like this. There we go. Even with skill, maybe let's just keep this a little bit flatter. I'm going to just trim dynamic again. I don't like 90 degree angles as much. Do I have? Oh, I do have. I have Photoshop turned on schools that there we go. That's it. Just a little bit of trained dynamic all over the place. We get this one right here. Perfect. [NOISE] They mean a standard. We're going to move this down like this, and then up here we have little hair at the right. This is the neck. Up here we're going to have a head. Again, I'm not too worried about this prop because it's super small and we barely see it. It's going to be half centimeter or something like that. It's going to be really small. Dynamesh, we can even turn on polish. I think polish will give us a stone effect. There we go. Let's just a little bit of pinch brush to tighten this things right here. Let's curve in the sides. Over here, for instance, we can add a little bit of details like the wings that we have on the other sections of the character, just as graphic shape that breaks things down a little bit. You know what I mean? I can use trim dynamic to flatten them out. That's it. Now, we do have the crystal, which is a very common motif that we're using. Maybe create a little nice crystal there. Could be useful as well. That's it. That's pretty much all we need. Now, before I bring this into Kabbalah, I'm going to go to these guys right here. I think we did do the stages. Pretty sure we did to the stager. Oh, no, we didn't. Did we do it with this one? Cool. Oh, no where is it? Switch stage. No. [LAUGHTER] We didn't have a stager. That's fine. We can still extract this thing very easily. What I'm going to do is I'm going to select this tool, and then I'm going to jump back into the little scarab thing. I'm going to say it's sub tool append. We're going to append that tool right there, this one, and it's going to append that piece. There we go. Now, if we take a look at the polygroups groups, you're going to see that this one, it's own polygroup work. We can go to poly groups and do other groups. We should be able to extract that one. Let's just say Delete hidden, and that's it. Now, we just have this piece. It's not oriented or anything, but we really don't need it to be. We can just adjust it right. We're going to have that one right about there. Where's the concept. Here. [NOISE] There we go. You can see the little thingy right there. Like a little horn. Make this a little bit bigger, just to have a little bit more. Visual interest again. I'm going to rotate this because this thing is going to be lying flat against her chest. I know there's going to be a little bit of overlap. Now, let's mirror the mirror and wealth so that we can duplicate. That's it. We have the little golden scarab, I think, ready. Now, I can see that it tapers down over here. It might be a good idea to taper down over there. I also see the little head creates this little hourglass shape. There we go, something like that. I'm going to add like to like, I hope they are something. Now, we're going to merge this, Subtool merge down. We're going to go back to our main sculpture right here, and we're going to append. We're going to say Subtool, append a little scared, which is huge. But don't worry, I'm just going to scale this down. Now, since we might be using this one later or just in case you want to save space. What happened there? Is it a mass or something? Why is this thing not moving. There we go. There was a mess or something. There we go. We can just save as stager position right on this thing. If we want to keep the symmetry, let's just scale it down right there. Again, here in geometry, we can go through stager and just hit "Home Stage" and now we position it. As we can see here, it's right on top of the cleavage, which we don't have as much of. Let's make it just slightly smaller, I think. Rotate this. Let's get rid of symmetry. It's going to be sitting right right. I do want it to be nicely visible. It's part of her armor. That looks okay. I think it looks fine. But now, I don't like this thing as much because it's securing a little bit over there. I'm just going to push the general shape back here. We see a little bit more of her chest. Same for this one. I'm going to push this cloth back a little bit as well. Now, we're going to have to decide something with the hair as well because I do want to have some collision there. We've talked about this before. As you can see, it might seem like we're almost done and there's always little things that are going to change slightly. There we go. That way we can clearly see the scarab amulet there on her chest. Sure. That there's not a lot of empty space underneath. It seems fine. Again, there's no problem with 3D printing, but there is a problem in case you want to create molten stuff later on. There could be a little bit of a problem with those pockets of air. Even though we don't see it, I'm adding a little bit of volume there, like here, just so that we can actually touch the thing. No one's going to know that there's something in there. But we know that it's there. Cool. That's the golden scarab my friends. Again, one piece closer to the end of this journey. Now, we're going to go with this, like Paul Jones. Well, [LAUGHTER] I'm just staggering or something. What they can see here is there's this golden necklace that goes all around here, and then on top of that necklace, we have the paths. The paths are just like overlaid on top of the elements. Again, no need to worry too much about super realism of things, the most important thing here is to make sure it looks as cool as possible. Since that's the shape, we're going to be doing the shoulder parts. That's it for now, guys. Hang on tight. I'll see you back on the next one. 39. Neck Armor Block In: Hey, guys. Welcome back to the next part of our series. Today we're going to continue with the neck armor and we're going to be doing the shoulder pads. I call it the neck armor because of the region, but it's actually the shoulder armor. This piece right here, I was trying to see what will be the best way to teach you guys how to do this thing, and to be honest, I think it is really worth it for you to know that we can actually take our models out of ZBrush into other packages and do things that will take us way longer to do here instead of ZBrush. The reason why this piece is a little bit tricky here is because we have thickness, but we have these very weird angle that's going to be a little bit difficult to achieve. This is the original mesh that we have. If you remember, the original character. As you can see, it's quite dense. Almost one million points, which is like two million polygons. What I'm going to do is the following. First of all, I'm going to say match visible. And that's going to combine all of these tools into a single element. That's why we having, save some of your character is also really good. We're going to be modeling this piece of armor in V pose, and then we're just going to post it on the character once we have it ready. We're going to go to C plug-in and we're going to say a decimation master, and we're going to try to decimate this as long as we can get like 75K points should be more than enough because we're not going to extract anything, we're not going to change anything. The only thing we want is we want to have a low amount of polygons. Now, remember, if you don't have an external application, don't worry, all of these files and things are going to be available for you in the project files as well. I'm going to go to our object files. I'm going to call this GavalaBodyReference and now we're going to jump into Blender. I'm using Blender because it's free, of course, and keeps it simple. I believe we want to use Maya, 3D Max or whatever else, you can feel free to do so, import, and we're going to import in OBJ, we're going to go to the folder documents and we're going to do the GavalaBodyRefrence. There we go. That's it. That's her body. As you can see, it's actually really close to real scale, so that's pretty cool. Eventually, of course, for 3D printing is going to be a little bit different, but yeah, here's the model. We're only going to be using this model as a reference. I'm going to press '' Shift+A ''. Oh my god. I just realized I haven't had this thing active in awhile. I apologize, guys. Where's Karnak? There we go. I'm really sorry that it wasn't on. We haven't used any weird tools but just, yeah. "Shift+A" and we're going to say mesh cube, and that's going to create a cube, and what I'm going to do is I'm going to press our ''R'', which is rotate, and then "C" which is the C-axis. I'm going to press ''Control'' so that it rotates in angles. There's going to be 45-degree angles, and there we go. Then I'm going to press "S'' to scale this down. I'm going to press ''G'' and "C" to push this up, and then "G" and "X" to move this to the side like this. Now we're going to go into a component mount with the Tab key, and I'm going to select a number three, which is faces. I'm going to select all of the faces that we don't need, which are all of these ones right here. Then I press ''X'' and delete the faces and we get this thing right here. Which again, yes, we could do this in ZBrush, but the next step, I think it's a little bit trickier. I'm going to go back with Tab key to object mode. I want to position this upper points where they're supposed to be, which is right around there. It's going to press again "G" and "X" to push this to the side and a "G" and a "Z" to move this down a little bit like that. As you can see, that's roughly the shape that we want. It's really close. It seems like the scale should be a little bit closer, so I'm going to press a "G" and a "Y" to bring this forward and then I'm going to press ''S'' and ''Y'' to scale this in Y. As you can see, this is scaling it down only in the y-axis, and we get this. This is a very nice upper section here for the shoulder pads. Now, if you want to just press ''G'' and move it around, you're free to do so. Of course, I'm just trying to use the keys to keep it as simple as possible. Now I'm going to go back into component. I'm going to press "Number 1" which is my front view. I'm going to press this button right here, which is the Wireframe View, and I'm going to go into vertex mode because I want to select this vertex right here, and with G, move it to where it's supposed to be, which is around there. This one is also supposed to be closer, so I'm going to press ''G'' and just move it right around there. Now we're going to have thickness, so I'm not too worried about that one. I'm going to select a selection box, both points, which is front and back, and we're going to move these guys, so they're over here as well. See how easier it is to do this manipulation here on the 3D software? That's why I think it's worth it to know that you have the options. There are certain things that are just a little bit easier to doing another engines. That's it. That's the general shape of the thing. Now, to create a nice border, like what we have right there. First of all, we need to extrude this whole thing. I'm going to select this thing and I'm going to go to the modifiers, which is the wrench right here. I'm going to assign A as a solidify modifier, which is going to give it thickness, and we increase the thickness. In this case, I'm going to increase it up to something like this I would say, maybe that's a little bit too much. Let's bring it down. I think that's good and we're going to apply this. I'm going to select the object, click here and apply. That's going to make that change permanent, and now we have the actual geometry, which again, would be a little bit complicated to doing so in ZBrush, but here, it's relatively easy. We're going to press ''Tab key''. Again, we're going to go in number 3. Grab these two faces. I'm going to press the letter "I". The I is going to insert the faces as you can see right there. It's going to create this section right here. Now, it should be fairly easy, so that for instance, all of these guys, I'm just going to Alt and click so that we select the whole edge loop, and I'm going to press ''E'', which is the extrusion and we're going to extrude this up like this. That's it. We got the shape that we want. Now, this is where I'm going to stop. I'm not going to do anything else because most of the tools that I want to do like those paneling things that we have, we can actually do inside of ZBrush, and I think we're going to get a nice results. But there is one more thing I want to do and that is I want to add a couple of edge loops and support edges just to get this thing, because as you can see, we have four elements right here. I'm going to go with this, which is the loop cut, and I'm going to do one there, one there, and one there, one there, one there, and that one there. Is going to give me the four cuts, and that's all the shape that we need. We don't need anything else. It took us what? Five minutes to do this and now the shape is going to help us quite a bit inside of ZBrush. I'm going to grab this guy, File, Export as an OBJ, and again, if you don't want to do this, that's fine. You can just grab this object inside of zeros, so shoulder path. Let's call this base and export. Now we jump into ZBrush and we don't need to jump here. Actually, let's jump here, so that it's a little bit easier. I'm going to append these sphere, so append sphere. Select the sphere, and then we're going to import the OBJ. Let's remove the unused vertices. It actually imported the whole mesh as well. That's a no-no so let's go to poly groups. All the groups. Grab this guy right here. Then delete here, and we should be left with this one. Now we're going to use our magic here, the C modeler to do some stuff. First we're going to jump into C modeler and I'm going to go into face mode, and then we're going to select poly group. We're going to poly group, all of the faces that are right here, like this. Now, I am going to duplicate this guy. I'm going to say Subtool, Duplicate and this new guy, I'm going to select this guy's, invert the selection. Let's go into visibility and delete hidden and we're going to have these guys right here. You guys know what I'm about to do. I'm going to poly group and press Alt, click, Alt, click, Alt, click, Alt, click Alt. Every time you click and press "Alt", you're going to get a different poly group color. That way, we're going to be able to do what you guys know we're going to do, which is of course the edge loop. We're going to edge loop. We're going to do a panel loop. Let's add a little bit more thickness. Wait, so the problem here is even though we're trying to do the panel, yes, we have different poly groups, but they're not separated. We're going to go to the edge right here, and I do believe there is one thing that separates this on wealth. We're going to select that one. We own wealth. That's weird. Is there aim? I'm going to show you another one. This is a little bit annoying, but we can do this. We're going to go Subtool, select this guy, Split and we're going to see groups plate and hit ''OK'' and that's going to split every single piece into different subtools. Then we just grab this one and we just start merging down. So merge down, merge down, merge down, merge down, merge down, merge down, and merge down. Now technically, each one should be a different subtool. Let's try the panel loop again. Oh no, it's not working. That's really weird. We can do it in this other way. Since we're already here and we have really clean topology, we can just go to the QMesh and say we're going to do a Qmesh. We're going to do all polygons,. Actually let's do an insert first, and we're going to do an insert on all polygons. There we go. We're going to look really, really small insert, barely touching like that. Let's isolate. There we go. Now as you can see, we have the separated. So let's go to "Delete", and we're going to delete all poly group of that color. There we go. Now that's what we want. Now, we should be able to do a panel loop. That's really weird, no worries. We can do a panel loop with just a Qmesh or polygons, and just get this up like this. That's going to give us the facet of the fact that we want. I even like those lines. They look kind of cool. So yeah, of course we can do a division here. Well, what we could do, is we can do a DynaMesh. Well, let's first, all the group H. So poly group, auto group, turned polish on increase the resolution and DynaMesh, that keep groups on, I can really increase the resolution. There we go. So now each one of those groups is a single piece. We can do a little bit of inflate for instance. You will want the plates to be like closer together. That could be an option. I think it's a little bit too extreme to be honest. But if we go like lightly, we can create. Now we do have the base underneath. So I'm not too worried about leaving open spaces. That looks very nice. There we go. That looks pretty cool. Nice. So that's one of it. Now, this guy right here, of course, this other piece, the border itself. Let's go to this one right here. If we smooth this out, it looks very ugly. So we need to, of course, add a couple of bevels. So again, we're going to go into our C modeler, and I'm going to go into edge mode and we're going to bevel, and we're going to bevel like this, corners like that. Just click on this one to get the same amount of bevel. Click on this one. It's going to give us some nice bevel and probably click on this one. There we go. Now, if we divide, as you can see, we're going to get a nicer effect, nicer looking effect. I still want to harden these things a little bit more. So again, going into poly frame. Well, in this thing I think we can go into the creasing options. So if you guys remember, we have the crease options here in geometry. So we're going to go Crease, Crease All, and then we're going to bevel all, and of course, reduce the bevel with quite a bit. When we smooth, we get a really nice and clean effect. That's it. That's our clean shape, and on top of this clean shape is where we're going to have the splits right here. Now, this one, we don't need anymore, so we can just turn this off for just a second and select Mesh Visible, and this is going to create a new mesh object right here, which is the mesh shoulder path, and I'm thinking about adding a little bit of curvature because right now it's a little bit too straight, and it looks a little bit weird. So I'm going to turn on local symmetry transform, and let's turn on symmetry on the c-axis. There we go. Okay, yeah, this piece right here, and it's a little bit more geometry. I can try again another groups, high resolution poly, well actually, let's do all the groups again, and DynaMesh. Does that work? Yes, that works. Cool. So now that we have a little bit more geometry, we can add a little bit of curvature here. A little bit of [inaudible] here. Maybe even a little bit of a flare effect. I can count like wings. When seen from the side I'll also like to add a little bit of geometry here. Skip the silhouette, really, really straight. That's it. Now it looks a little bit better, and let's bring this into the main body now. Let's jump here, and we're going to say sub tool append, and we're going to append this mesh effect. Now as you can see, this one is really close to the final position. So that's great. Let's just center pivot point. Let's get rid of this and center the pivot point. Let's isolate this, and that's weird that it thinks that that's the center of mass. I'm just going to move the pivot point. I think it's because I have symmetry turned on. There we go. So this one goes there. Size-wise, we shouldn't have to change the size because it's supposed to be really close to the size of the element. Let's turn off the head dress for just a second. So there we go. So we can see the shoulder because this thing should be aligned to the shoulder. A little bit higher. Oh, that looks really pretty. Again, just make sure that there's touching. At least at some point it needs to be touching. It's going to be important for the 3D print. It's going to again save us from having to add too many supports. Yeah, that looks good. Let's duplicate this. Mirrored on the x-axis, centered at the pivot point. The angle is a little bit off, but that's fine. We can work with this, and this one's the one that's going to be the the weirdest, because the the position of the shoulder completely changes. That's just a great circle there too, and the little arrows, remember this arrows that we have right there, the gray arrows and the gray circle. Those are cameras based movement and rotation. So if you know that you have your rotation right, where you want to rotate based on your camera, those are the ones that we're going to be using. Now pretty much impossible to, what's the word, to make this thing match perfectly. Let's reset the pivot point, bring it down so there's a little bit of overlap right there. Now, this is going to be covered, of course, by the headdress. So let's turn on the headdress again. So you can see the overlap there. That's perfect. That's more than enough, and if you want to be like super super pro, which I know you guys are, we can go into the headdress and actually push this thing up so that we see the little border of the headdress, like going over the shoulder pad. That way it looks like this thing is actually on top of the other thing. Yes, there's going to be a little bit of overlap, but it looks way more realistic because of that like little shadow. Over here we can do the same thing. So for instance, this little spiky thing on the head dress, let's move it around so we can see part of the effect right there. I think it's a little bit too thick. So I'm just going to start pushing it. So the border that we see, it's not as much. Touch the skin there. There we go. Those are the pauldrons. We can see a little bit of her arm right there that looks, I think that looks pretty cool as well. Now, she does have these wings. I've seen some pharaohs have that sort. I'm not sure if we want to add that, so I'm going to stop the video right here because we're already at the 20-minute mark guys. But in the next one, we'll talk about the details here for the shoulder armor. So hang on tight and I'll see you back on the next one. Bye bye. 40. Neck Armor Forms: Hey guys, welcome back to the next part of our series. Today we're going to continue with the neck armor, we're in the final piece. We just need to decide whether or not we're going to connect the cauldrons of the character to the rest of the body. Now I think this one we can actually rotate a little bit more. That's a little bit closer to the body. Something like this. Let's just be careful with the overlaps. That looks good. We are touching the skin in a couple of points, so that's good as well. As we mentioned, we have this scarab, this scarab is connected to those things in a little bit of a way. We can just give it a little bit of rotation. I'm not sure what that is, to be honest. But I do think that we need to add something to hold this scarab. I'm thinking about having this golden. I'm going to go with mask pen here. Like a golden band, similar to what we have on the legs. By just connecting the scarab to this underside of the elements. We're not going to continue this all the way to the back. I don't think it's necessary, but I'm a little bit hesitant about whether or not this is a good idea because I really like how this looks. Let's turn off the head dress again for just a second. Let's actually turn off the hair. You guys know what I mean? We're trying to add this color or a necklace holding this scarab. But I'm not sure if it's going to break or add too much complexity to that area. Let's give it a go. You guys know how we're going to do this. Of course we're going to extract this except is a dynamic solo this thing, super ugly geometry. Let's go back. I don't like this one. Let's delete it. Let's go back here. It's probably a piece of hair that I turned it off but we had like a manor. It's a shoulder pad actually. There we go. Let's fill all of that gap in. There we go. Now we should be able to extract a little more properly. That's a lot better. Let's go to the formation. Polish by features. Then we're going to ZRemesh to create these stripes. Let's half, let's do another polish by features. There we go, because we're going to hide this. Now we go ZModeler and we can just QMesh our polygons to give this thickness. Cool. Let's bring back all of the SubTools. Where is this one? There we go. I move brush to hide this thing a little bit closer to the center. Again, here's where we're going to decide whether or not this works. Let's push the scarab a little bit out so it's not having that much conflict with that band right there. I can again hide that one right there in the body, can I go in there? I don't know. What do you guys think? Let's do a quick BPR. It doesn't look bad, but it doesn't look great either to be honest. Maybe if it's thinner, like a really thin necklace. Let's push some of these polygons up. [NOISE] Sorry that my dog is barking. He's supposed to remain quiet, but dogs are going to be dogs. I'm smoothing a little bit here. That could help because I don't want to have this curve just on top of it. It makes little sense and it might break some of the possibilities. Is that better? Let's give it a cute quick render here. Yeah, I think that's better. I like it. We'll keep it for now and later on, once we hit the printing stage, if we feel like that's too much or it's not working, then we'll just get rid of it. Now, we're just missing, which is of course one of the most important pieces of the armor, the hip armor. Which is a really complex like scarab looking shape. Yes, we're going to be modeling that just shortly. But before that, I just want to go back here to the legs. You guys remember this thing that we talked about, the kneecap. I think we're going to recycle and I'm going to use this video to just utilize that effect. If you remember, we have the shoulder pads right here and I do believe we did save the stage here for this one, yes. We're going to switch this stage. I am going to duplicate this SubTool. There we go. Then one of them, I'm just going to switch it back. This is going to be my kneecap. We've talked about this before. Let's get rid of home stage and targets stage. That's really weird. That's not letting me reset. There we go. Let's set this as home stage again and this is going to be the perfect thing. What we mentioned before, is the fact that we want things to look like they are part of the same world. By keeping this kneecap as the same motive for both parts, I think we're going to make sure that it reads like it's part of the same thing. Now we definitely need to add something here for this knee cap because it can't just be floating around. We need to join it with something. On this side, we're going to have the bandages, they're going to serve that function. But for this leg, we're going to have to find something that makes sense. Maybe again, like volleyball athletes, where they have that sort of thing. Or maybe we can just add bandages on that section. That could also work. Let me set this as targets stage. I am going to say SubTool, duplicate, and then just move this one to the side. Because we know that this already the same scale and we already have the same back home stage. There we go. That's it. Now, both the arm and the leg have bandages are going to be part of the same pattern. They share the same pattern and that makes the whole figure feel more, again, part of the same processor, part of the same thing. Now, I'm even tempted, I think we can just delete this one maybe. Let's try, what happens if we don't have it? Does that look good? I think that looks good. That way we have a clean knee over here. There we go. I really like this shape. It's again, a little bit more conscious, so completely free leg and then like bandage synth and armor leg. That works. I know again, the word deviating a little bit from the concept. Usually when you were working for a client, of course, you can't do this, but since I am my own client in this case and this is my own character, if I see things that I don't feel like are working for the figure, we can change them as well. That's it, guys. I'm going to stop the video right here and in the next couple of videos, we're now going to jump into this super complex shape, which is the main scarab element. It's like some hip armor that we have. There's one belt here that we're going to use to hold that hip armor and then we're going to do the skirts. I think that's pretty much it. With those two things, we're going be done with all of the armor. I know that this chapter has been quite long. But after that, we're going to be able to jump onto the main base, which I think you guys are going to love. Hang on tight and I'll see you back on the next one. Bye bye. 41. Hip Armor Analysis: Hey guys, welcome to this next part of the series. Today we're going to continue with the hip armor and we're going to be doing a little bit of analysis because as I mentioned in one of the previous videos, unfortunately, we don't have another view on these armor pieces, and it's a little bit difficult to understand what's really going on here. I'm using this software called Krita, it's like say Photoshop but free, so if you want to do this in Photoshop or if you don't want to do is don't worry, I just want to show you this technique, which is really, really handy. If we take a look at the element right here, we can see that we have of this whole shape like it's all of the shape, all of this and then we have these are wings right here, very important and can be easy to miss. Same for these ones right here. There's another little element right here. This is the whole armor. What I'm going to do is I'm going to draw a quick sketch over here of how I imagine this armor to be. I'm going to use a couple of lines here, try and get the same height. Doesn't have to be perfect, just as close as possible, and I know that we have this like shield shape, coming from this area right here and then like a round effect like this. It's going to be like my symmetry line and then add roughly this height right about there, we're going to have a big crystal similar to what we've had before in other parts of our element. We're going to have another little crystal right here , and then the wings. This round effect of the wings going to the center of that gesture like this. Then the wings are going to have a couple of cuts so 1,2,3,4, and then one there in the middle, so 1,2,3,4. Of course, this is going to be going into like a point, same for this one, so they're going to be pushing up. Then here it changes a little bit because rather than having this or like rhomboid shape around the element, we're going to have a border down here, something like this, and then like a hood like this piece right here it's like a hood, that's going to go in a very similar way like this. Like an arrow, so I had this arrow going here, this piece right here is the crest of that arrow with three divisions like this. You can see that the shape, it's round, so I'm going to have like a topology that line right there to make me remember that this thing is supposed to be round, and again it's like a hood going on top of that area, there we go. Then from this point right here, we're going to have these little winks coming out, which is nothing more like those like diamond shapes that we've gotten before, so something like this. Finally, we have the big wings like this. Quite long, it's pretty much like a straight line and then this round shape here on the wing-like this. Finally, we have this extra little thanks here, again, creating this sort of like shape. This right here is roughly the shape of this element. If we were to see this from the top, like imagine this are the hips, like seeing them from the top which we know they're relatively like an oval shape. This is the front view of the hips. This thing right here, you can see that the wings are pretty much going across the element, so I would imagine the wings going like this. Then this main shape, it does have a little bit of curvature, but maybe not that much. I don't want to have as much curvature because it couldn't make it look like a little bit weird. This is roughly the curvature that we're going to have. What's the best way to approach this? That's always a question like, how would we approach this? I think the best way is to model this in a front view inside of ZBrush, just create like this whole shape, and then just transfer them to the character and post it so that we can have it nicely. That means that this diamond piece right here, the wings are going to be like three separate pieces, this main body shape is going to be another piece and finally, this like a little hoodie thing is going to be another piece. We can even have the crystal another piece as well if we need to. But that's pretty much the thing and we're going to be using a lot of similar for this one so just get ready. One thing that we can do here, and I'm actually going to include this file for you guys in case you want to like follow or not in case you're probably following. I'm going to use my snipping tool, so the snipping tool here instead of Windows, it's just a really nice tool that we can use to like copy and paste something, so I'm just going to save this real quick. We're going to go here to reference and let's call this hip, there we go. We're going to be using this one, and that's it for this one guys. Hang on tight and I'll see you back on the next one, bye-bye. 42. Hip Armor Block In: Hey guys. Welcome back to the next part of our series. Today, we're going to continue with the block in of the hip armor that we were just analyzing. You can see that right now, our outliner here inside of ZBrush is a mess. I've been working all day on this guy and there's so many tools. There's two ways to do this. We can close ZBrush and open it up again, and then just reload the tool that we're just working, which by the way make sure to always save constantly. We don't want any, what's the word? Tragedies. If you want to get rid of all of these things, the only thing you need to do is you need to go to each individual one, and just delete the sub tool that's active. Just hit "Delete" there, it's going to be replaced by just a normal sphere 3D. For instance, this one right here, we can just hit say "Delete", hit "Okay", and that's going to be eliminating all of these pieces. For instance, all of these polymers 3Ds and stuff, this is just if you want to keep things organized, but I do recommend cleaning up your stuff every now and then. I'm going to go with a new form, so I'm going to go into, let's grab our PolyMesh3D cube, which is just the basic cube and we can use a little bit of this see-through thing to get an idea of how this thing is supposed to be looking. The main piece, the centerpiece of this whole thing is going to be, of course, the crystal. Let's rotate these 45-degree angles. Let's make it smaller. Let's reset the pivot point. There we go. Don't move it because we're in the central line and it's important that we remain in the central line. I'd rather just go back or out into like a Krita and move this thing. Let's make this diamond shape like that. Now, what I'm going to do is of course I'm going to convert this into a diamond shape. To do that, I am going to go into ZModeler. Let's get rid of this thing for just a second, the see-through thing and let's move this face first. We could just scale the whole thing, I just don't want this thing to be super high. There we go. Then we're going to go into QMesh, single poly and we're just going to push this thing up. There we go. Then actually, no, before doing that, let's insert first. We're going to insert this single poly, there we go, like this. Now with my move brush or my move tool, we're is going to move this thing up like that to create the crystal shape, probably about there. We're going to go into Face, Delete, delete that face. We're going to go into Edge, Collapse, Hole, and Close. That's it. We got our basic shape, that's the cornerstone of everything. From this piece, as you can see, we're going to get this diamond shape going out. I mainly am looking for these two lower polygroups. I'm going to go into face, polygroup, and this polygroup disguise. Let's do a different color, like that pink. That's easy to follow. There we go. Then we're going to use QMesh, of course, so QMesh, and we're going to go Polygroup All and we're going to push this out like this. How far? Of course, it will depend on the size, but that seems quite right. That's a really good spacing there. I don't like these guys being all the way up here to be honest. Since we're working with very little polygons, one thing we could do is just delete them and move them but I think we're going to keep them for now. One thing we can do is we can go into the Edge mode, go in to Move, and try to move these guys down. Make sure that symmetry is turned on and there we go. That's a little bit too much, just bring them up. Let's move this out. There we go. Now, that's the basic shape. Now, we know that we're going to have another one of these crystals down here, so we're going to have to create another one. Then we have these wing things which we already know how to do the wings. But before that, we have a little border here on the inside, so we're going to go Edge. We're going to go Insert, and we're going to insert an edge loop. Non-multiple edge loops, we're going to do a single edge loop so that we can decide where this and it's roughly about there as you can see, that section there, it looks good. Now we're going to probably QMesh the whole polygroup, and then we're going to go into QMesh and just push this out a little bit. I am tempted to go into a bevel as well. So let's add some bevels. Going to add the bubble, not everything, and let's do bevel. Actually complete, there we go. That line right there, that line right there, definitely this one right here, a little bit bigger and there's one on the back. There we go. That looks a lot closer to what we're used to. The vertex here on the back, got-like screws, so let's push them out. There we go. We're ready to convert this into a workable geometry. I'm going to say geometry, crease, let's crease first. I'm going to CreaseAll so all the edges are going to be creased and then we're going to bevel, and of course, reduce the bevel amount. There we go. When we do DynaMesh with a high enough resolution, 500 and polish, maybe even higher like 1000, I hate when this happens, for some reason it resets. There we go. That's our clean-looking hard surface shape. Thickness-wise, we're good, maybe a little bit too thick, so let's bring this down and that looks good. Now if we take a look at the see-through again, we have another crystal and the little wings. For the crystal let's just do it very quickly. I'm just going to say append a new Polycube3D, which is the one that we have here. This one we created a while ago, we're just recycling it. Let's do 45-degree angles. Let's reset the pivot point. Some more little crystal which is going to go right about there. It's going to be the base of the crystal. Let's go into ZModeler. We're going to go Insert. We insert this lineup. Let's turn on this thing. Let's turn this off for just a second. Insert, there we go. We're going to go to Move this up to create a little volume for the crystal, and that piece we're going to delete. Delete that guy and then on Edge mode, we have the Collapse, Hold, click. There we go. This one, since, since we don't have any other shapes, we don't really need to bevel. I'm just going to leave it like that and eventually when we 3D printed, that's it. It's just going to be a nice and solid object right there. Now, we're going to do the trick for the wings. I'm going to say Append, and we're going to append again our polycube3, just like polymesh3. There we go. Make this bigger because it's going to be like our compass. To use the Cut tool on, we're going to turn this thing on. Maybe not that big, roughly about there. I'm going to use my "Control Shift" and we're going to go into KnifeCurve, we're going to cut half of it, and then we're going to cut that little section right there and we'll lower that for a curve. We're going to cut these guys right there. Let's DynaMesh first. Let's polish in DynaMesh so we get a nice little amount of geometry. Something like that I think looks good, that's nice. Let's go through our usual process. If you see, this we do have a nice polygroup right there, let's delete hidden and now again, let's turn this on a little bit. It's a four. We're going to say "Control Shift" we're going to go to Slice Curve. It's one right there, two and three, four. That's it. Pretty cool. We are going to go, of course, to our polyloops, so we're going to go to geometry. Edge loop here we're going to panel loops this. We got double that's fine. Let's just go select Rect, and delete all of the ones in the back. Let's Panel loop now and there we go. That's what we want. It looks pretty nice, pretty clean. Let's Panel Loop. Maybe normal bevel and a little bit more thickness. Now actually, let's go to 0.01 thickness. That's fine. Let's just delete these guys in the back. Delete hidden. Now, you can see that the top one has a little bit of an out thing. Since this is just the last one, we can actually use the Knife Curve again and just straighten that line. There we go. That's it. So now just move this thing back and give it a little bit of thickness as well. Let's reset the pivot point to the center, and that's going to be our nice little effect right there. We can DynaMesh with groups turned on, and of course, lets go to other groups and DynaMesh. There we go. DynaMesh is fine, but we definitely want to get them a little bit closer together. There we go. Yeah, that looks good. Now we're going tom mirror and weld, just like that. That's going to give us both sides of the element, and that's the little sketch we have right there. Let's just keep moving. The next area or the next part is a little hood that we have up here. It's tricky. It's tricky because it seems like it's flat, but then the curve that my friend added here throws me off for a loop, literally. I'm not really sure what that shape is, to be honest. It definitely seems to be like a replica of this thing and I do understand this upper part. Let's start with the other pieces first and then we'll get back to that form after we got the wings and stuff. These little triangles right there, those are super easy because we can just use the same square technique that we've been using, so "Append." Let's do another Polymers 3D. There we go. Rotate this 45 degrees, reset the pivot point. Make this guy thin. Go into C modeler, just turn on poly frame. Let's insert. That's the border. However, the border, see that line right there, it seems like it pushes up, so I'm going to QMesh, polygroup all. Just push this up and I'm going to go "Delete." We're going to delete the edge loop complete, this one. There we go. That's a lot closer to the shape that we're going for. They're definitely like rhomboid, like this. Again, we don't need to give them DynaMesh and stuff. Well, actually, we do need to give them DynaMesh. I'm going explain why in just a second. Well, no, actually, no, we don't. I was thinking about using the bend tool, but I don't think we need the bend tool. Maybe we do need the bend tool for this piece right here. For these guys and these guys, but not for these guys. This guy, I'm just going to bevel. Like manually bevel, like that line, that line and a little bit of that line, maybe back here as well and that's it. Because I know that this one is going to live right here on the middle. It's going to be there. That's one of the shapes. Then I'm going to "Control Alt", "Duplicate" this one. It's a little bit sharper. This one's going to be coming from the bottom part here. On top of this we're going to have, of course, the wings poking out as well. This's going to be one shape and then the wings are going to be coming from the inside, they're already like at the base of the wings, which is like a cube as well. This one's a little bit above the sky. But it's underneath, so this piece right here, it's going to be there. Let's do one other group. Polygroups are the groups. Grab this guy, just push back a little bit. That's it. Those are the levels that we have here. Like one thing is on top and then the other things are going to be in the bottom. We're adding a little bit of overlap there to help with the 3D printing thing and that's going to be the wing, pretty much. Now again, since this is are solid pieces like this three guys, we really don't need to bend them once we have this thing bent, it's just about rotating them. That's why I'm not duplicating them just yet. Because if we were to duplicate, it's going to be a little bit difficult to rotate. But they are in a good position. I'm going to stop the video right here, guys, because we're approaching the 15-minute mark. In the next one, we're going to work on this wing strips, similar to what we did here and the other shape that we're still missing, so hang on tight and I'll see you back on the next one. Bye bye. 43. Hip Armor Forms: Hey, guys. Welcome back to the next part of our first series. Today, we're going to continue with the hip armor, so let's go. This is where we left off. It's looking good. We have the base of the wing. I do want to bevel this thing to be honest, so I'm going to go here and we're going to bevel the borders in both areas just to give it a little bit of a nicer look. Now we're ready to create the little wings here, and we're going to use our same strategy that we've been using. Append, let's append the new cube. It can be any cube. I know that I use the polymers 3D cube last time. Here, what I can do since everything is a single polygroup, remember, that here instead of the Polygroup section, we have this thing called the Groups By Normals. Depending on where the faces are pointing, we're going to get that. We can already just delete the back faces because we know that this thing works a little bit better, so let's increase the resolution. The Polish DynaMesh. We get a really clean edge right there. Let's scale this up. Let's put this back, and you can see that it's a really straight and then curved effect, so that's what I'm going to do. I'm going to press "Control Shift" and I-V curve, we're going to look here and then we're going to go into a start. There we go. That creates a nice curvature and, of course, delete all of the upper part. That's it. Now, we can do what we mentioned before, which is scrub this guy, delete hidden, push this guy back, make sure that we don't have any other faces, and we start with the cutting of the slice. We're going to have one slice right there, it's like a pizza, and then one more, and then one last one there. We're going to go into Geometry, Panel Loops, and that's it. Sure it doesn't look quite nice like that, so I'm just going to leave them like that because they look really pretty. I am going to center the pivot point there and give them a little bit more thickness. Again, try to get some overlaps. Overlaps help with the 3D printing process, and makes them look nice. There we go. That's the main shapes right there. Now, we need to do the upper part right here, this section right here. Again, I'm not really sure what my friend intended here. I see like a round thing, so I'm going to do a little bit of a different approach that way I can also teach you guys other methods here instead of ZBrush, so I'm going to sculpt this area. Of course, we're going to turn on symmetry with the mop brush, we're going to start sculpting this thing in a hard surfacey way. You can see that this thing goes up like this, and then there's a cave in here right where the word crystal lies. We're going to create the hoof there for the gem. I do see the gem going inside, which gets a little bit weird because we've been following certain shape language throughout the whole process, and now we're doing something a little bit different. But it's okay. This also can add a little bit of contrast to the whole thing, and the hips tend to be really round because of their glutes. Having a round shape there helping us with the silhouette might not be a bad idea. I am going to use my knife brush here, knife curve, just get rid of the back part like that. That's the first section right there. Let's check the proportions. Now, from this section, as you can see that the upper section is really straight, so again, I'm using my knife brush here to really cut in there. I'm going to cut right there. I know I'm going across the border and geometry is not working, but if we do mirror and weld, we're going to get the geometry. That works nicely. I do see a line, so I'm probably going to increase the resolution here, Polish DynaMesh, and we're going to add that line there under the sign. Let's DynaMesh again, definitely increase the resolution a little bit more, there we go, and then with a pinch brush, we can pinch that line to give a really nice clean cut right there. This line over here, I want to bevel it, to be honest. It's a little bit sharp, so again, with my trim dynamic, we can create this nice little thing. This is a little bit more like traditional hard surface where you would sculpt things. Usually, if I was doing this for production, I would go through a re-topology face to recover and create a really nice transition into the elements. But in this case, I think we're going to just leave it like this. Here we go. It definitely adds some sort of interesting effect. From this section, that's where we're going to get those little nice plates. I'm going to say append, and again, we're going to append the cube. At the end of this, you guys are going to be experts at using the panel lobes function because we've been using it so much. Haven't we have fun all this time? It's been quite a ride. Let's rotate to the other side. That's going to be my Canvas right there. There we go. Polish hybrid solution DynaMesh, and then we're going to have this curvature going up. I think I'm going to go with the shape language that we've been using so far, where the upper part is discovered like that, and that little triangle there I think it helps. Then like that. Cool. Scale this down a little bit less. Well, it really doesn't matter because we're going to grab this face, delete hidden, makes sure that we'd select rect, we also delete the back part, we only want the front part Delete hidden, let's turn on polygraphs, Control shift where you're going to go to our SliceCurve, and we have three. It's 1, 2, and 3. Simple. We go to Panel Loops. There we go. I like the shape. Let's just keep it like so. Increase the geometry or the thing that's a little bit more. We get some interesting ugly pieces right there. They're going to be overlapping. No, not that much of a bomb, but if we want to be clean about this, we can just cut that. That is it. Let's give it a little bit more thickness. That's it. We're going to mirror in weld and that way we create a nice little hit armor. It didn't take us that long. Again, the cool thing about C version, pretty much every software is if you know the tools, then it's relatively easy to create all of the things that you can imagine. Hopefully, with all of the techniques and tools that I've been showing you, you're not going to feel challenged by any things that you might see on the constant and stuff. Now, before we bring this into the character, I do want to give it a little bit of twist like curvature, and to do that, I'm actually going to go here to Gavalla, one of the much of Gavalla that we have, this one right here. I would just need the body, this one. We're going to go back to our construction here. This one. I'm going to say sub tool append. We're going to append the body. There we go. I'm not going to rotate the plate. I'm going to rotate the body 90 degrees. We can actually just cut everything on the top because we really don't need this, we only need this guy right here. Let's go to the side. This is where the armor is going to go. Now, in regards to size, I do think this is a little bit small compared to our current size for Gavalla, so here's the trick. I'm going to control-click to mask this thing, and then I'm going to jump to any of the other pieces. I'm going to click this little icon right here and that's going to scale everything. It's just like using transpose master, but without actually going into transpose master. Let's bring this up here. That looks a lot better, that looks a lot nicer and closer to what I would expect. Now, what I want to do is I want to bend this centerpiece because as you can see here, there's a little bit of a bend and then from that bend is where we're going to have these straight lines going into the body. How is that going to work? Very easy. We're going to select the main shape and we need to merge it with the other shapes right here. Let's go to the first PMD, that's the crystal and then this is the second crystal, that's fine. This is the third crystal and not this one. This one is, let's push them down. What's this? Let's push that down. Let's go for this one. Let's push that up and let's grab these ones and let's push them up, so it's 1, 2, 3, 4, 5 because these ones are the wings. So it's these ones the ones that we want. I'm just going to start merging from this point down, so I'm going to say merge down, okay. Merge down, okay. Merge down, okay, and that's it, so now all of these shapes together. Then press "W", going to the little gizmo here, bend arc, and if we go here and we use this little green element, we can give it a little bit curvature. I don't need to be super intense but just a little bit of curvature, so it goes around the leg a little bit like that. That's pretty good. Cool. Now, we're going to go to these guys, we're going to reposition them. Let's turn this off so that we're not moving all of the sub tools, and of course, I'm going to have to rotate them so they're going towards the center of the character. Because as you can see, these are going to be like the anchor points for the cloth. Let's go here. This one, I would definitely want to merge them with these guys. There we go. Let's push the point down here. Let's push this back and rotate. This is like the armor. It might be a little bit of uncomfortable to be honest, but it's a cool design, so we're going to keep it. That's it. That's pretty much it. We can maybe push these guys again just to get a little bit more overlap. Makes it a little bit easier, makes them more resistant. There we go. Now both of these guys, since we're in the x-axis, even though the pelvis is not, we can just mirror and weld and mirror and weld, and they're going to be going in the direction that they're supposed to be going. Perfect. We grab this guy, we're going to say, delete. We're going to be left with this thing and we're going to say merge visible. This is going to combine all of the sub tools into the nice hip armor right here that we're going to be using. Now, here's one cool little advice. Save this one as hip armor, pieces that are a little bit more specialized like this one. I do recommend having a backup in case you want to modify certain elements or pieces or whatever, and yeah, now it's just a matter of going here to Gavalla, say append then merge element, and we should actually be really close to the proportion. Let's move this to the side. Again, the trick here is we want to place this things in such a way that they look cool and that they follow the shape of the character. For instance, this one right here, it's going to go right there. Look at that, beautiful. A little bit of overlap, which is super helpful. Need to modify things here a little bit. Maybe push them a little further out. There we go. That looks good. Perfect. Look at that beautiful armor. Oh my God. She is looking amazing. I always find it really inspiring when you're finishing a piece and everything just comes together. Because when I saw the concept and I loved it, I was like, ****, I'm not sure if I'm going to be able to really create something amazing, but this thing is looking great. I'm really happy with how this thing is turning out. Let's duplicate this thing and let's just rotate this and position it on the other leg. Now this one should be a little bit higher because the leg is supposed to be on this contrapposto shape. I will expect to see this guy a little bit higher. That's it. Amazing. It could render here. Yeah, that looks really good. Now we're just making the skirt. This one right here. She has a skirt on the front and on the back. On the posts of the skirts are flying like this skirt is flying to the side and to the front, like here, to the silhouette and the other ones flying to the other side. We're going to see how we manage to incorporate those aside. But as you can see, nothing is really collapsing in a weird way or anything and she looks really cool. Yeah, that's it for now, guys. I'm going to stop the video right now and in the next one we're going to continue with the skirt, so hang on tight and I'll see you back on the next video. Bye bye. 44. Making Skirt: Hey, guys. Welcome to the next part of our series. Today we're going to continue with the skirt of Kabbalah so let's get to it. I'm really happy with how she's looking. I think it's looking quite nice, and now we're going to add the skirt. She has this skirt going on the front and along big skirt going on the back. We're going to be using some of the dynamic features inside of ZBrush. These are relatively new to simulate the cloth in a really nice way. Now, technically, these hip armors that we have right here are the ones that are pushing the skirt. I'm actually going to push this skirt a little bit higher, just that bit higher. I get to be careful there with the overlaps because the skirt is going to be hanging from this section and I do want to cover a little bit of the underwear. We don't want to be censored or anything later on. In the concept, my friend had these things hanging from one of the triangles sections. But I'm actually going to have probably hung them a little bit higher from this upper section so that they cover just a little bit more. How does this work? Well, we're going to use a plane in this case. I'm going to hit "Subtool" and append a plane. The reason why we want a plane is cloth is really heavy or really difficult to simulate. It is always advised that we use a simple geometry to generate the cloth. First, I'm going to do a little bit of just traditional move tools and stuff to get this thing as close as possible to where I would imagine this thing to be coming from. As you can see this one, this corner [NOISE] is going to be coming from this side. I apologize for my dog. His name is Thor. He's a big Bernese Mountain Dog and I know why he's going crazy. Let's push all of this there behind the skirt or behind the armor. There we go. Then in the concept or in the final pose, this skirt is being raised because there's heat coming from beneath, so air gets a little bit light and stuff. I'm just going to again use my move brush to push this thing up into the side. This is important because we do want to see a little bit of the armors that we just did. There we go. Something like this. Now, this is going to be a little bit heavy. Make sure to save before starting this because we have a lot of geometry and technically we don't need all of the geometry, we could hide a lot of stuff, but I'm just going to keep it and see how it works. We're going to go to Dynamics and we're going to select this option called CollisionVolume. CollisionVolume will calculate the collision volume of the object. Make sure to set the inflate to zero. Inflate is set to zero and we recalculate the volume and it's going to calculate anything that's not selected. Now, if I were to set Dynamics and just Run Simulation, the cloth is just going to fall. It's going to fall and it's going to look like cloth which is pretty cool, but it's not what we want. First of all, I'm going to grab my brush and I'm going to mask the corners here on the cloth. I'm going to click and soften that mask so that's not as intense. Now when I do Dynamics, if I hit Run Simulation, it should try to keep it there. Let's get them a little bit darker. Dynamics, Run Simulation, and there we go. The thing falls like normal cloth. Now, I don't want this thing to fold super heavily. I'm actually going to turn on an option here that's called Liquify. Liquify will make it seem like there's water on the element. I'm also going to increase the simulation iterations. I'm going to reduce the gravity to something like a two. It's going to go a lot slower, but it's going to make it a nicer effect. Look at that. See how we get that nice pull. Let's go back to Dynamics and let's bring the gravity strength to 0.5. Let's increase the simulation even more. There we go. That's what I want I see. Those are the wrinkles that are really difficult to get manually, so having this thing work is really nice. Now that we have this, we're not going to simulate anymore but we're going to use some of the cloth brushes such as the cloth move that we have right here, that's going to allow us to move this cloth in a more dynamic way. As you can see, it wrinkles up and it collapses on itself. Now, if I see that there's a little bit too much, we're going to simplify it, of course, we don't want to have a lot of wrinkles, but we do want to have some wrinkles going back and forth. I guess as it flares out we're going to do this. Remember we're always looking at dynamism. We want to pose in the cloth and everything to look really dynamic. In this case, this is the stuff that we're going for, like that. Let' push that in. Now, some of you might be wondering, well, are we supposed to have thickness when working with cloth? The answer is yes. We need thickness. We can't leave the cloth just like this because it's not going to work. Let's just push this. As you can see we're creating another nice S curve right here. Every single thing is an S curve. That's amazing. We're going to go into Geometry. We're going to say Dynamics Subdivision, we're going to turn this on and it's going to give us a soft preview which is really good. But we also want to turn on Thickness and we definitely want to add a little bit of things. It's not that much, that's a little bit too much. But we definitely want to leave with a thickness. You never want to have something like cloth not have thickness, especially in 3D printing because it just doesn't work. There we go. Now that we're ready, we can just hit "Apply" over here and we're no longer in Dynamics so we can start fixing some of the elements right here. I'm going to use my move brush and this is just going to be traditional modeling. I'm just going to push this in, push that in, push that in, lower that. See that bundle of cloth right there? Push it in. I'm already thinking about how we're going to be organizing the cuts for 3D printing. If you have a big enough 3D printer, you can print everything in a single piece. But usually, people like myself, we have small 3D printers. Well, not so small but just a little bit more minimal or smaller print areas and that means that we need to divide this a couple of times. Probably the way we're going to be doing this is we're going to have the torso and probably the hands as one piece, the legs as another piece, and then the head and the hair as another piece. It's probably going to be three pieces for the printer. Now, I'm going to use my clay buildup here with a round brush and you can start adding a little bit more life to some of the wrinkles. Since we already have a little bit of a guide, because we did the dynamics, it's a little bit easier to just push some of them to get them a little bit extra life. We can even use the Damian Standard, that's another really good brush for clothes , and that's it. Let's throw in a quick smooth everywhere. We'll still keep in the thickness but we're fixing some of the areas that are a little bit funky, and that's it. Cloth you don't need to worry too much about. What I mean by this is of course make it look nice but since it's very flowy and stuff, people are usually very forgiving. It's not like someone's going to say oh, the wrinkles there don't look realistic. As long as it looks nice, we're in a good position. That looks pretty nice I would say. There's a level of a problem here it's getting a little bit too soft. I'm going to use a little bit of Inflate. We don't want walls to be way too thin. We always want there to be enough thickness. That's it. Now, technically if you want to clean this border a little bit, we could also do that. Now, she's supposed to be coming not from the dead, but she's supposed to be not super nice. We can go for instance with clay buildup and add a little bit of jaggedy edges. I'm going to give it a couple of subdivision levels, Control D, Control D to add subdivision levels to the thing so we can sculpt these things. It's like a torn cloth, just a couple of details here and there just to add a little bit of visual interest. We're also going to do that detailing on the bandages later on. There we go. That's the front skirt. Now, I'm always again looking for silhouette. Trying to get that nice S-shape. It looks nice on the front, I really like it on the back, even on the back looks nice. We can maybe push this a little bit more. See that nice shape? Those are the little details. It might take a little bit extra time, and I know we might be already really desperate to jump into 3D printing but it's part of the process. There we go. That's the front skirt. I'm going to stop the video right here guys and in the next one we're going to do the back skirt and we're pretty much going to be done with the back skirt. That's the last detail that we're missing from a Kabbalah here on the 3D sculpt and we can start on the base. The base is important. I want to finish all of the sculpting before we jump into 3D printing, just so that we don't have to go back and fix anything. At this point, if you're still following along, make sure to get all the way to this point. Don't let any other area be abandoned if you are still missing the bandages or the hair or something. Just stop the videos for a while, go and do it, make sure you get it as close as possible, and then continue. Because sometimes when we abandon things and then try to come back to them later, motivation is just not there. Try to get a little bit more disciplined in that regards and make sure you finish something before you jump onto the next thing. That's it for now guys, I'll see you back on the next one. Bye-bye. 45. Back Skirt: Hey guys, welcome back to our next part for our series. Today we're going to continue with the back skirt. It's just the final part, the last part before we jump onto the base and after that, finally, we get to 3D printing this. The way we're going to do this in a very similar way to how we did the front one, so we're going to append a new plane, append a plane 3D. There we go. We're going to grab this guy, make sure to turn on the split properties double so we can see them both sides and we're going to move it to the backside here. Now, again, in a very similar fashion to how we did the initial one, we're going to be using a little bit of more brush and stuff first. Then we're just going to use our dynamics to get a little more flow. [NOISE] You can see here on the concept that this thing is supposed to be flowing back. Like creating a curve going up again. We can think about the wind and stuff like that or why this thing is pushing up, so that's what we're going to do and going to say bmv to go into move brush and we're just going to start like pushing the main shapes right here. I'm going to go with a really, really big brush and start creating this like nice effect down here of this thing. I wanted to bundle up the other way around, so I'm going to go like this corner right here and try to push it up. Again, we don't want to contaminate the silhouette. We want to support the slow. We wanted this thing to look and feel like it's part of the whole body of the whole process. That's why we're being very careful in getting this thing where it's supposed to be. There we go. That tushy, of course, it's going to be giving us some volume here. Let's make sure that we're pushing it out. But we do want the corners to be inside of the hip armor. It's holding most of the cloth, so all of these points, let's get them here. A good alternative. There's this software called [inaudible] Designer and it's also a good alternative because that one will give you a realistic clothing as well. But in this case, the dynamics change inside of ZBrush are not bad. That's pushing this in, tucking it in and here, since we do want to see a little bit of the underwear, we're going to move this thing to the side mainly because I wanted us to have a nice curve shape to it. There we go. This back skirt is bigger than the front skirt. This one is like thin and this one's a little bit thicker and that we can actually flare it out a little bit here on the outside as well. Again, we always wanted this to be pushing towards something. I'm going to mask, Let's go back to mask pen. We're going to mask the corner there and the corner here and we're going to go into dynamics, recalculate the volume. Dynamics. Everything should be fine. Just run the simulation. [NOISE] As you can see, this thing is going to be falling down and it looks like it's falling into water, which is fine. Just stop this and that's it. We have a nice little simulation right there. I'm going to use my move brush here again to work on the skirt little more because again, we always want to have a nice read on the silhouette from every point, so we see it from the back. If we see it from the front, doesn't really matter where we're seeing it from, we want this thing to read nicely. So that curve right there, amazing. It supports the shape of the foot really well and it gives us this very, very nice effect. Yeah, I like it. Cool. Now we're going to go into a geometry, then that makes up this and we're going to give it a little bit of thickness as well. A little bit more. There we go. [NOISE] We're going to hit "Apply". As we've mentioned before, this is just traditional, normal sculpting process. We're just going to start pushing the borders in so we don't have as much overlap. Overlap's fine, as we've mentioned before but we went hide all of this overlay. Like we want to make sure that it looks like this cloth is coming from underneath this section right there. Now, we can actually add a couple of extra wrinkles. Usually when you have a tension point like this guy's right here, you're going to see the like curvatures, arcs going into the cloth. Again, just using what we already have, we're just going to add a little bit more detail. Some at the south. Another one over here. Yeah, I was just scared that that wasn't going to happen. What's happening here is the backface masking of the brushes. Make sure you go to brush. Then down here into auto masking and you turn on backface masking so that we're not actually pulling or pushing geometry from behind the cloth right there. I do recommend adding a little bit of a folds down here as well. Folds are really, really fun to paint on miniatures and on sculptures, because you can very easily place some highlights and stuff in them, so don't neglect them. Just soft folds. There we go and that's it. Gal Valla is ready. Our sculpture is looking really, really nice. I really like the overall feel and look of it. These two right here, we can now delete it. We no longer need it, or we can save it on another piece. It's a simple shape, so I'm not too concerned about that one. Yeah, there we go. Let's select the face so that everything else is selected. Let's bring this to the other side of the screen. Well, congratulations guys. If you've made it this far and you're done in the same way as I am, then you have a really, really nice sculpture. This is a great piece by the way for your portfolio as well. May just showing that you can sculpt at this level is going to open doors for you that are going to be amazing opportunities. But now we're going to treat the printed. Now comes the second part of this course, the technical aspects of it. Well, we still need to finish, of course, the hand and stuff. But the main character, which is the centerpiece of the whole project, it's completely done. Let's take a quick look at the flat colors so we can see the silhouette and look at that interesting silhouette, those tangents, those negative spaces, like all of that complexity, that's what makes a character pop when you're seeing it from afar. Because usually when you enter a room and you'll see like a statue, like this is a silhouette that you're going to see and it looks really interesting, so you approach it and you'll see more and more stuff. Your brain starts registering more of the details and eventually you get to appreciate every single detail that went into it to create this amazing piece. Yeah, that's it for this one guys, we're finished with Chapter 4. We're going to jump onto Chapter 5. We're going to be taking a look at the base. Hang on tight and I'll see you back on the next one. Bye bye. 46. Making the Base: Hey guys, welcome back to the next part of our series. Today we're going to start with Chapter 5, and we're going to start working on the base. This is the final result that we have with Gavala 45 sub tools, definitely need some clean up there to make sure it's a little bit more organized, but it's fine. We're going to clean everything up before we jump into 3D printing. But right now, we do need to have a base of Gavala to work with. We're not going to be working with 10 million polygons, which is what we have right now with Gavala, we're going to do something a little bit different. I'm going to go to sub-tools, and I'm going to say merchant visible. This is going to combine Gavala into this, which is everything just as a single mesh. I'm not sure why we have those lack elements, is a little bit weird. Maybe it's like a color or something. I'm just going to say MRGB and say color fill object. There we go, it was just like a color. Cool. We want to simplify this character into a more volume right now, and one thing we could do is we can just try and decimate everything, but we really don't need to. What they're going to do is I'm just going to have a, let's say, a relatively high sub-division level here and then just DynaMesh everything. Right now what's going to happen is everything is going to be pasted into a single objects. See this right here and yes, this looks super, super ugly. But the only thing that we need right now is we just need the shape of Gavala, to be able to create the base around here so this is more than enough. Remember this is not going to be the final result. This is just to keep the performance of Z-brush a little bit better, so that we don't have to be loading in all of the millions of polygons that we have for the whole character. Now that we have her, we need to take a look at pure ref real quick, and just a check how the images of course. Let's load our recent seen, there we go, and then we take a look at the base. You guys are going to see that we have a hand iconic hand bandages. Like all of these thick bandage is going up giving support to the base, and then there's like fire going towards her. It's three main elements, the fire, the hands and the advantages. But they should be sitting in some base. Now, if we take a look at this, the height that we're going to have, it's going to be relatively close to what we have right now with Gavala. What we're going to do here, well, I'm going to do here is I'm going to go into my light box, and if we go into the Z-spheres, I do believe we have a, hence the Z-sphere that we can use as a base. Let's see in the mannequin, I do believe, there we go. We have this human hand ZPR. The only problem with this is this is a ZPR projects, so what we have right now is going to get lost. I'm going to save this a tool, this guy volatile, as let's go here to see tools. Let's call this MERGED_GAVALANOTCLEAN. There we go. We're going to open the human hand. I'm going to say no and since the project is going to change, everything changes. Before we import Gavala, I want to use this hand and just rotate it, so that we can get everything to look the way we want. I'm going to hit R, and we're going to go to this cell 2, actually let's just rotate the camera so it's going to be a lot easier. I'm going to hit here R, and just rotate this, this is roughly the inclination. Let's grab this guy, and rotate. It sounds like it's not letting me rotate the whole hand. No problem, we're going to rotate the bones. This term is going to be on this side. This one's going to be on this side. This one's going to be on this side. This one's going to be on this side, and then this one's going to be on this side. Probably going to have to push this one a little bit more, same for this one. We want to create a flat surface where Gavala is going to be sitting. That's going to be the flat surface, and then of course, we're going to grab the bones and we're going to close them, in a very similar way to how we closed Gavala of bones. It's really weird that it's doing this rotation. Trying to keep this on that camera based rotation. There we go, now remember the index finger doesn't rotate as much. I think this one should go a little bit lower, and this one a little bit higher, and then this one let's bring it closer there. There we go, and this is just the pinky fingers. Let's really push him down. There we go, so it looks a little bit weird. Let's start fixing a little bit. It's all about posting, we're posting this and of course it's going to save us quite a bit of time, because instead of having to wait until are just like do it from scratch, we're going to be able to save us quite a bit of a process. There we go. That's the hand. Maybe the thumb is to come a little bit closer, like this. Now, if we go down here to adaptive skin, similar to how we did all the way back at the beginning and we preview, this is the skin that we're going to get it. As you can see, we're already getting the nice divisions of the fingers and everything. The proportions I know are going to be working fine. There we go. That's all we need, I'm just going to hit and make adaptive skin, and this is the hand. Now of course, this is like rotate it the other way around. No worries, we're just going to rotate it like this, 180 degrees, and like this, we need to decide that how Gavala is going to be. Let's load tool very quickly. There we go. This is the proper Gavala like position. Let's append, and we're going to append the skin hat. Now we're of course going to scale this hand, and we start finding the proper proportion for her. It's probably going to be a little bit bigger, because we want the skull to be inside of the helmet. I don't want the hand to be super big though because the bigger the hand, the smaller the sculptor has got to be thinking about this 15 centimeters that we've been mentioning, or 18 centimeters, That's the height, so if the hand is like super, super big, then yes, we're going to have like a super humongous hand, but she's going to be only like five centimeters. However, if we make this really, really small like this, that means that she's going to be like really big. We're going to be able to appreciate more of her details. Again, I know that in the concept, the hands a little bit bigger, but I think I'm going to go with something like this. Now on the concept, the hands, it's grabbing her like this from the side. Which doesn't look bad, to be honest. I'm not completely against. I'm watching the silhouette and seeing what works best. This silhouette also looks really, really nice, especially from the side. Like see how we can complete this circle around here. Really like this site silhouette, to be honest, something like this. Now, the hands should be coming from the floor, something like this. I really like this post. Maybe like rotate this around a little bit, so we don't touch the cape. Center the handle a little bit more. That looks good. We're not touching anything. Forms are flowing. I think I'm going to go with this pose right here. The hand coming from the front. This also gives us a nice balance. Her weight is going to be pushing down and that's going to go through this area. Because another thing we could do is we can rotate the hand like this, but then we're blocking a lot of the stuff from her, right? So we want to see her in all of her splendor. All of the details that we sculpted and everything, we wanted them to be visible. That way, this open front area and side area. Side areas are going to be super clean and the back areas are going to be a little bit more dirty, but they should be perfectly fine. There we go. That's going to be the position of the hand. Now for the base, I'm going to append a cylinder, because we do need some sort of base. Let's turn off perspective. Here we go. I don't want the base to be super big, but we do need a little bit of surface here. Now, here's one thing. I hate printing bases because they waste a lot of resin and they're nothing more than just a flat surface. Even though I am adding a little bit of a base right here, I'm probably going to be buying just a simple wooden base and pasting or gluing everything on top of it. It could be metal, it could even be like a block, like a square of wood. There's so many bases that we can use. Yes, I'm going to add this base because we need to find where we're going to be cutting everything, but we're not going to be using it later on. Something like this, I think is working fine. That's going to be roughly the size. Again, I'm looking for this triangle shape and it should have a nice enough big base on the bottom part so that it supports all of the weight and it doesn't topple over. That's going to be my basic of base. Then we have the fire. The fire is a really important thing, so I'm going to append a sphere and we're going to just sketch up how we imagine this fire to be coming from the ground. Since this hand needs a little bit of support back here, I'm going to say that most of the fire is going to be coming from the back here. Now very important. Her leg, and we've talked about this before, all of the support is going to be coming from her leg. Her leg is going to be pretty much touching this thing right here. One of the best ways I can explain this to you guys, let me go real quick here, David Michelangelo. Michelangelo's David is a massive sculpture. If you guys ever have the chance to go and see it, I strongly recommend it. It's an amazing experience. There's a tour actually it goes around the world with a really good replica. If you see this, there's a lot of marble up here. A lot of mass, a lot of volume, a lot of weight and what a lot of sculptures do is they add these supports so that there's not a lot of pressure on the points and that they flow a little bit better. Here what we can do is we can create this fire that's going to go across her leg, supporting her, with a little bit of overlap of course. That way, the main shape, everything here, is going to be supported on top of this fire. This is the actual thing that's supporting everything. Now, we can also tuck in the cape so that it touches something else. But I think this fire right here that we're adding, something like that, should be more than enough. For some reason this is not a polymesh 3D. That's really weird. I'm not sure why this things are not polymesh 3Ds. Make polymesh 3D, that's really weird. Let's do something here real quick. I'm going to say merge visible. There we go. Then make polymesh 3D. Then we're going to go polygroups, other groups and then we're going to go sub tool and split, group split. There we go. Now we can keep on working with DynaMesh and stuff. For some reason the skin was not behaving properly. That's really weird. It's still not a polymesh 3D. Wow. Why? I guess we're going to have to do this manually. Let's select this guy, make polymesh 3D and this guy, and make polymesh 3D. Let's go to this PM 3D and just start appending, like the hand, append. Append the fire and append the gavala. There we go. Wow, what the **** is going on here? It's really weird. It seems like I lost my configuration mainly. It's weird. That's weird. Just Preferences, Config, Load UI. Where is my UI? I hate this. Well, whatever. Let's just go here. I'll fix that in the next video. Again, this is going to be the support that we're going to get. So all of this area, are going to be holding my feet. Now this is important, since we want this to be like fire. I'm going to use my snake hook here. I didn't even have sculptures turned on. It's really weird. We're eventually going to have to create a division here on the fire because we're not going to print everything. As we've mentioned before, we're probably going to divide the character here at the waist level. This is going to be like one section of the element and then from here, we're going to have another section of fire. The fire and the hand are going to be coming from that side. Let's just move brush, and again, just think about silhouettes. How do we want this thing to look? Let's bring the fire in, and I want the fire to be coming this like spirally way, rising up, creating this pillar. I do want to flare out a little bit on the base here. There we go. May be something like this works. We're probably going have to divide the fingers as well. Each individual finger is going to be a different piece, and then we're going to have that thing right there. The last part that we need are the bandages and for the bandages, I am going to be using zspheres, because if we take a look at PureRef, you are going to see that, yes, we do have some bandages that go on the hand. Where is PureRef? Sorry, it's over here. We do have some bandages go on the hand itself. Actually the hand has this armor piece as well. But there's these bandages. Some of the bandages are coming from the ground and going into the thing itself. That's what's going to make the whole thing really pop. I'm going to grab this guy right here and let's insert a couple of base meshes. Actually, you know what guys? I'm going to stop the video right here. Let's call this Gavala_Base, hit Save. Let me fix my UI and in the next one, we'll continue working on the shapes. Hang on tight, and I'll see you back on the next one. Bye-bye. 47. Bandages Base Forms: Hey, guys. Welcome back to the next part of our series. Today, we're going to continue with the bandages of the base. Let's get to it. This is where we left off. It was just my UI that was not working properly. You probably already know this by now, but I will be saving my UI in case you want to use it on your Ztools folder. Let's custom interface. I'm going to call this NT. Hit "Save". Here we go. In case you want to load the UI and have it exactly like I do just check that file. I probably have mentioned this earlier in the videos, of course. Now, the bandages. For the bandages, we're actually going to be using a ZSphere. I'm going to insert a ZSphere right here and then I'm going to select the ZSphere. I'm going to move it down. What we're going to do, let's scale this down a little bit. Move it, and we're going to start drawing. We're going to create the shapes of the bandages. The bandage right here, one of them, for instance, goes across. I'm going to go Q again, draw another one, and then it goes to this section right here and then another one. Here, we can't probably use the fire to hide some of the fact here. I want to go here and then go across some of those fingers, for instance, with a little bit of overlap, that's fine. That's going to be one of the bandages going into the character. Then we're going to say, of course, make skin, so adaptive skin. Make adaptive skin and we're going to go subtool, append and we're going to append that dynamic skin. We're going to be sculpting from there. We're going to go back to a ZSpheres and then we're going to move them. They're going in a different direction. I still want them to follow this direction spiral effect. This one's going to go probably about there. At that point, it's just going to blend with the rest of the elements so something like this. Again skin, make adaptive skin. Go to subtool, append, and we append that new skin. Then these ZSpheres, you can keep or you can delete. That's fine. I'm going to go for these ones, for instance, trim dynamic and I'm just going to start flattening them to create the bandage effect, just a base mesh, just an indication of how this thing is going to be working. There we go. Because the important thing about these bandages is they're coming from the ground, so they're keeping the hand restrained if you wish. That's the effect that we're going for. Now, we do need to be careful about the volume of printing because I'm not sure if I'm going to be able to print all of these pieces in one go. Let me isolate this. Here, I do want to have a little bit of emptiness. For instance, this back part here on the bandage, I'm going to start flattening all of this area. It's more like a square bandage. Even if it's thick, I don't really care if it's thick, but we do want this to be squarish. What this squarish effect is going to give us is we're going to have some empty spaces like those crevices from where the fire is going to be being burned. Now let's go to the hand. Let's isolate that real quick. Before we do any sculpting or anything, let's do the bandages that we would expect to have here. I'm going to use the same trick that we've used before. I'm going to use my MaskLasso. Let's mask all of this area right here and just extract. Extract with a thickness of zero, extract, accept. There we go. Now let's create some bandages. Well, let's ZRemesh first. This was good geometry, ZRemesher, ZRemesh. Let's do half. There we go. We're going to use our SliceCurve. I want one line that goes through the fingers like that, a little bit shorter, something like this. Then I see that there's one that goes through the thumb like this, then probably another one there. Let's just do another one there and another one right there. There we go. We're probably not going to be using all of them, but just it's good to have the option. Panel loops definitely a little bit thicker. Probably a little bit more, probably a little bit less. That's good. We're just going deisolate this, and there we go. Now we can play around. Let's go into polygroups, auto groups and let's use our move topology. For instance, this one right here. I really liked this effect of this little thin effect there. We can play around with this one that we already have, this one. Let's push it up on top of it. Then this one looks to be going in this direction so we're going to hide it underneath this one. I really liked that one, but I'm not sure if we're going to really need it. Let's move topological again and play a little bit. What I want to play the most with is these empty spaces. The bandages, for instance, here, maybe might hide the connection of that bandage inside this other loop or maybe this one right here. I'm just going to delete that one. SelectLasso. Maybe that one we don't need, so I just del hidden. I do like that pink one. This blue one is fine. I like a little bit of a bandage right there. It's not bad. Maybe I bring this one. Now, I like going like that, and then let's use this other one to go over them and create this interweaving effect, train dynamic to flatten them. Let's turn this off. There we go. Now, of course, we need to sculpt the hand to make sure it looks as nice as possible and then we get a better idea of how this whole thing is looking. But I really like this effect that we're getting right now. I like it, looks really good. There's this extra one, that one right there. I don't like that one so let's delete that one. Let's push these guys closer because I do want to see skin and I want to see the fire, so it's a combination of a lot of things going on here. This probably going to be the biggest part. Again, we need to think about the way to properly split it if it doesn't fit our printer, but I think we can manage. I do think we can fit it on the plate. It's going to be tricky. [LAUGHTER] I'm not going to lie. That's pretty much it. Now, I want to do a quick test right now. I know we're not done yet with the whole thing, but I just want to give it a shot to get a rough idea of how this thing is going to look once it's printed in regards to size. What I'm going to do here is I'm going to do a MergeVisible. We shouldn't have a lot of polygons right now. We're at half a million polygons so I think we can decimate. Let's go Zplugin, decimation master, and let's just try to go to 150 k. Let's see if we can get it. It worked. I export this. I'm going to export this on the desktop, I'm not going to include this on the files. It's not necessary, it's just a quick test that I want to do. Let's call this DecimateTest. There we go. I'm going to open Chitubox. Chitubox is the app that we're eventually going to be using for all of the setup for our 3D printing. This right here, this is the base plate off my printer, which is the Marsh 3. We'll talk about this in more in-depth. But right now, I just want to see the size of this thing because as you can see now, the size or the scale is completely off. This is one millimeter. I'm going to go to scale. You can see that right now it says that on the y-axis, which is the tall axis, we are measuring 9.93 millimeters and we said that we want 18 centimeters so we're going to go 180 right here. I'm going to say that one. It fits. It is going to fit barely, but it is going to fit. Let's rotate this to minus 270. Technically, if we're going to be printing an 18-millimeter statue, it almost fits this. As you can see, we barely feel like we took away the element. We could even try and print it in a single go. I just wanted you guys to see a reference. Let me show you here. I have this animator armor. This is what a normal D&D miniature measures, as you can see there. This is about 30 millimeters and this one is going to be quite big. I'm happy because that means that, yes, we can fit it. I actually will like to increase the scale a little bit more. Let's try 25. At 25 if I can fit the hand and the base into 25, then we're good to look at that. Perfect. There's going to be a lot of resin, but we can actually make sure that this thing measures almost 25 centimeters in height. It's going to be a really cool statue. In my case, my printer will be able to fit the hand and everything. Hopefully, we going to be able to get all the way to this point and print it on a big size. But otherwise, even if you were doing this for miniatures, if you want this miniature to be 10 millimeters closer to D&D game, this would be the size. As you can see, that's like a normal human, so she's a little bit taller, but it works. Let me show you another one. This is by another artist called Artisan Guild. They have some like humans. For instance, this girl right here. There we go. These are the actual supports of the character. You can see that's the normal, heroic size. We'll have to scale this down to probably 80 centimeters for her to be close in size. The proportions on these ones are, of course, even more stylized, more cartoonish. We're going for a very nice realistic proportion. Everything seems to be working fine. I'm going to stop the video right here, guys, and then now we're going to jump onto the sculpting side of things. We need to sculpt the hands, we need to sculpt the flames, we need to sculpt the bandages. I would say probably two more hours of sculpting at the speed that we've been sculpting so far. Hang on tight, and I'll see you back on the next one. Bye-bye. 48. Hand Primary Forms: Hi guys, welcome back to the next part of our series. Today, we're going to start with the base shapes for our hand. But there's one thing that I want to do before we do that. I realized when we're doing the tests that I still think that the hand is getting a little bit too much attention and I want the figure to be bigger. If this is going to be the total height, I want the figure to take most of that height. What we're going to do is we're going to go to the figure. We're going to mask it out, we're going to go to any other piece like the hand, for instance, remove that mask, hit "R", and select this guy right here. We're just going to scale this down a little bit more. That way if we print this at a really high size, we're going to get a very nice effect overall. We can even rotate this a little bit there. We'll still hogging the foot right there. That way, again from the 18 centimeters that we're going to get, the figure is going to get the most out of it. Because even though the hand is important, we don't want the hand to take away all of the work that we did on the figure. In this case, we are deciding that we want the figure to have the stellar effect. Going to inflate the flame here around the foot. Even if we need to maybe cover some of the foot there and see the rest of the foot over here, that's fine because we definitely need the support. Now that the hand is going to be smaller, we definitely need more support on the figure. Let's just quickly tweak that there. Let's go on the hand. The cool thing is, this hand is really close to what we're looking for. It's this like a bony, evil-looking hand. We need to add the claws, which it's missing. Right now, these are the phalanges. We need to add the claws. I'm going to do those real quick. I'm going to grab the cylinder, make the polymers 3D, and let's quickly sculpt the claw. I'm going to rotate this around, make it a little bit longer like this. I'm going to use my trim dynamic too, it's DynaMesh, turn on symmetry. Actually did the wrong side. There we go. So that's the front. Rotate this around, DynaMesh. We're going to trim dynamic this thing to create the round effect of the claw and then like this. Let's just move brush and just push this. There, it now looks like a tongue. That's fine. Just big brush, big move brush right here. Trim dynamic again and we're just going to start giving it the chunky sharp effect. There we go. We can keep it quite pointy, that's fine. Let's add a little bit of volume here. I do like babbling the border of the claw. I'm going to hit "R", scale this down so it's more like claw-shaped. Use our move brush and just fix the claw there a little bit. Trim dynamic again, flatten this out, get rid of all of the lines from the cylinder. Since we're going to be repeating this, it might be a good idea to already detail this a little bit. We can add just like some lines right here. I'm just following the general shape of the element, and then trim dynamic just flatten some of those details so they're not as repetitive. There we go. That's it. We go back to the hand. Actually, let's make a brush. I'm going to go here, just "B", "Create InsertMesh", "New". That's it. So we go to the hand and we're going to insert this guy right here. That's going to be one claw. Make it smaller, get it where it's supposed to go. Let's get rid of that one. That looks good. Then draw another one. Let's rotate this. Get it in there. That looks good as well. Mainly focusing on the direction. Let's go for the next one. A little bigger. We're going to add a little bit of volume there, of course, to those fingers. Let's go for the next one. The cool thing about the insert multi-mesh brushes or this insert brushes that we're using right now is that they follow the, what's the word? They follow the normal of whatever point you're selecting so it makes our jobs a lot easier. Cool, that looks nice. Finally, the thumb. It's a little bit thicker. Hit "R", maybe make a little bit thicker and get it in there, rotate it forward. That's it. Now we definitely need to see how everything else is looking, make sure that we're not touching or just affecting anything. Nope, things are fine. Now since we still have DynaMesh, we definitely want to turn on groups, and the resolution is definitely going to have to go up or we could just split them. I think that's better, I think. I'm going to go into "Polygroups". Let's "Auto Groups". Select the hand and then say "Subtool", "Split", "Split Hidden" and that way the nails are going to be in one element and this guys are going to be in the other one. Now with the clay build up, we can start adding the border here on the fingers. I would definitely need to start building. I really like the form that we get, so I'm just going to use a really small line here. Now since this hand is a lot bigger than Gavalez hand, we do want to add a little bit more detail on the hand that we did on her hands because we're going to be seeing this a little bit more or in more detail. We're going to see some more wrinkles and some more stuff. There we go. Just widening the union there with the nails, the claws. There we go. Now we're just going to start filling all of these guys in. Again, we're going to keep the shape. The shape is amazing. The shape looks great, but we definitely need to fill in those gaps so that doesn't seem like a traditional or just like a mannequin hand. All of these things we're going to fill in with a little bit of volume following the main forms that we talked about like the tendons and stuff. We're keeping those things in mind. Let me hide everything else except for the nails. Just filling all of these gaps, again not trying to get rid of the nice silhouette that we got like this skeletical looking or skeleton-looking shape. It's more about just like blending it in. Now I'm not too worried about this inner site or the inner parts because of the bandages and the fire and everything, it's just going to be covering most of that. But all of this, we definitely want to add the volume. Let's DynaMesh real quick. It's going to give us a little bit more geometry. That's it. Let's hide some of that area right there because we got the bandage or we can go into the bandage and just push them out a little bit so they follow the form properly. Both options work. There we go. Now remember, on the inside, we usually have the little paths of fat. Let's start adding some of that paths of fat right there. I'm going to use my dim in standard. I mean, we do have knuckles, so I would expect there to be some marks on the knuckles like this. Just adding a little bit of details here, we're going to be polishing this thing even more on the next couple of videos, but we want to have a nice little form right here. Yeah, it looks good. I like it. Of course, we're going to be adding the divisions on the parts. Here's where we definitely need a little bit more geometry, so let's just push the resolution up and DynaMesh, and now we're really talking. Cool. I like it. I really like it. It's going to be an amazing piece. I'm going to stop the video right here, guys. In the next one, we're going to keep polishing the hand, so hang on tight and I'll see you back on the next one. Bye-bye. 49. Hand Secondary Forms: Hey guys. Welcome back to our next part of our series. Today we're going to continue with the hands, we're going to keep on sculpting. This is what we have right now, it's looking good, but we definitely need to clean this up, and start creating something a little bit more interesting. I was looking at some reference, let me show you real quick, and I think we're going to go for some dragon hand right here. I really like how this looks, and I think scales are going to give it a little bit of a nice effect as well, so this concept right here, I think it's a really good concept. The one thing that I'm noticing is that we're going to have like little small plates here, coming on the size of the element. Now, do we need to have this like plates be another piece like another sub tool? Not really, we can just like start sculpting them right here, and they should look quite nice, so something like this right. Right now we're still working with DynaMesh, which is fine, but in just a couple of minutes, we're probably going to jump into subdivision levels, so that we can add a little bit more detail to the whole thing. Now, one thing that is really, I would say, helpful is to add a little bit of a transition points, we've mentioned this before, we'd like see breaths, and stuff, like when, when you have stripes, as a stripes gets smaller, and smaller you go into smaller areas of your character, you definitely want to add something that helps you just like transition from something that's like very uniform to something that's a little bit more intense. I'm looking for another reference here, because even though I really liked that one, it's a little bit difficult to see, there we go this one's a little bit better. It's similar to what we had on [inaudible], like armor. We're going to have these plates covering each other. Now here on the knuckles, this one's going to be quite important, we want the silhouette to really change. When we see it from the side, we really want the reach of this one to be a bit more prominent like this, and then we'll just keep going so one more here, and of course, as we go like further down, I will expect them to become a little bit bigger. When they reach there as well, we want the silhouette to really change how this looks a little bit more like fatty tissue here, and with [inaudible], we can start finding the defaults right here, on the finger. There we go, I like that texture, I think it looks interesting. Let's go to the next one, so there's going to be like the final plate on this middle section of the finger, and then here we want another like big plate. Did again, breaks this silhouette and covers the whole like knuckle. I'm going to use Trim Dynamic to flatten this out, my chair looks, and rates as a scale. There we go. Let's keep pushing here, a little bit of them in a standard. Before I forget, let me turn this on. There we go. The folds here on the hands really important to give you this skin, a very nice fleshy look. I'm going to add this little like again, fatty tissue with these lines, I really like using the collegial group as a sketching brush, that allows me to project the direction of the form flow, in my characters. Because once you smooth things out you're going to get some nice stripes, and nice elements right there that can really push things into a nicer place. I'm going to add a couple more transition points, just said it doesn't look like an isolated thing. In nature there's rarely like an isolated elements, you're usually going to have this things like, again, transitioning from one type of element to another. Now remember this thing is going to be big, it's not going to be like super big. Again, I can be a little bit more rough with the elements here. I'm going to do another like big scale, down here it's going to be covered up by a little bit bad the bandage of course, there we go, then in stander again, and that's it. For this fluffy areas, I do like to add a little bit of volume, and let's recover like the nice little fold right there. Always look at your own like hand, and look how things are shaping up, this one of the best reference you can have for like wrinkles, and everything, so use it, use your reference. Again I'm going to be a little bit more aggressive here on the division of the little scales, and stuff. Just so we get those nice crevices, those nice elements are both trim dynamic to find them out, and there we go. That looks really nice. Now we can clean a little bit here, that's a great secondary form, great secondary form. Cool. We're going to jump onto the fingers , and the same thing, so we're going to start with like a big scale, second scale, it's going to be like the third big one. That's the silhouette changing one because we want to keep the knuckle effect that we had there, so I'm going to carve in a little bit there, to create that effect, and we're going to have another one here, another silhouette changing one, change dynamic again, and we just push like this. There we go. Quick buildup here, here, and here. [inaudible]. Now we have the basic shapes blocked. We can start carving in the actual plates. As you can see, since we're building this on top of the fingers, like on top of the form, the primary form are really up, things make sense. They flow nicely into the finger shape. If you try to do this before having your primary form, things might look a little bit too thin or too flimsy or something, and that might not be the best result. But in this case, not freaking bad, of course we need to add the folds, so we're going to have one of the folds right here, and the other fold right here. The thumb only had two folds of course, but fingers are going to have multiple, three, and we can do the same trick that we did with the clay buildup to just add a little bit of texture to the whole finger like this. It's going to yield this scaly look as well. Again, they mean a standard to really push the elements right here. Look at that. Was really cool. Again, you got to see it from the distance that we're usually going to be like looking at. I know how this looks. There we go. A little bit more texture here, and here. I'm going to add a little bit more for volume there under the section holding the claw. Look at that. Pretty cool. I'm thinking about like against shaped languages, and the like, just cleanliness in general. I think the bandages we're going to leave quite simple, I don't want to add a lot of detail because we're going to have a lot of noise right now here with the drawing claw, and I don't want to have noise everywhere. Remember how we talked about like rest areas, and stuff, so definitely I want to take those into account. Again, transition elements here like some bigger or smaller plates, fading into the finger plates. Something like that. There we go. We'll see it from the side. We're going to see those transitions and elements. All of that is going to break up the silhouette, break up the forms, and gives a nice visual interests. Cool. That's finger Number 2. Now, since most of these fingers are really similar, technically, we could just cut this one out and duplicate it a couple of times. It's an option. I'm not sure I want to do it though, because that would mean that we're going to have very similar scales. In this case, even though it might seem like a little bit more time-consuming, we are going to be doing all of the fingers separately. Let's add one plate there, second plate, third, fourth, fifth, sixth, and final one here. Then another one here though it's going to be covered by the bandage a little bit. That mean the stand again. Work like this. This is my way of working. I know that there's people that are very cautious about how they approach different parts of the sculpture. They're really careful. They would sculpt the first plate or the first scale in a really nice way and then go back to it, or just keep moving to the next ones. I was taught and I had learned throughout the years to work in the fast sketchy way first, and then polish. Because you can move forward faster of course, because you're a lot looser on your strokes and everything. I think one of the most important parts with this process, especially in production, not so much for portfolios, but I found this very helpful in production. When you do this and you show it to the client, sometimes what you do is good enough. I had one teacher that said sometimes good enough is just that, it's just good enough. That doesn't mean that we can't perfect things, but it means that sometimes due to time constraints or other types of limiting factors, it could be money, it could be an emergency or something. You just need to finish it. Even though we could make an amazing work and spend an hour on each scale and make sure it looks amazingly perfect. Sometimes it's not necessarily, sometimes if you just do a good enough job. Then well that's it. That's good enough and the client is happy, everyone is happy. You get paid and that's it. That's why I like to work in this loose fashion because I can show the client more quickly, the progress on a piece. They're like, "Oh yeah, that's perfect, I love it. We need it right now, asap, so send it our way, finish it and send it our way." Then even though I know you could of course, use more time and polish it even more. That's it. You're done, you're job is done, you're going to get paid and you're going to be able to move on to the next project, and just keep on learning. That's why I like to work this way. I'm not saying that's the best way to work. I'm just saying that's the way that works really well for me. Of course, you are going to have clients and I've had clients where they're like, "Yeah, it looks good but it's still a little bit rough. I need you to polish it more" and well, you're going to spend a couple of hours polishing it until it looks amazing. But at least you already have a good, what's the word, a good view. People are going to start seeing the work and they're going to be like," Yeah, I like it, I like the direction that this is going." Because one of the worst things that can happen to you when you're on a job, is that you spend too much time on something, let's say you invest five hours on this scale. Then you show it to a client and they're like, "oh, no, sorry. I did not communicate properly. I didn't want the dragon hand. I wanted a vampire hands looking at death, like skinny and then blisters and stuff like that." You are like, **** seriously? I just spent so much time on this and that's not what the client wanted because the customer was not clear. That's of course two mistakes by the client for not having a proper concept, but also for you as an artist for not asking questions or showing progress or just clarifying things before moving on with whatever you thought was the way to go. Be very careful with that. Again, show your client progresses. Whenever I'm working with a client, I have a policy. I tell them that I'm going to be communicating frequently. I try to communicate at least every couple of days when it's a big project. I show them progresses. For instance, let's say I'm doing a commercial for a taco stand here in Mexico. Very stereotypical. The guys want a taco character or something. If I'm modeling the character, once I'm finished with the modeling section before jumping into a texture, I'll send them a message, and say, "Hey, I'm finished with the modeling. This is how the character looks. He has no color yet, but I need you guys to imagine and think that it has the colors that you previously approved. What do you think about the model? What do you think about the proportions? What do you think about the hands, the feet, the eyes, everything?" If they're like, "Oh yeah, yeah, he looks really good. I like them. It's looking nice. Thank you very much. Perfect." Then I'm very clear and I tell them there is no going back. I'm going to start texturing. If you see something that you don't like later on the modeling, we're going to have to charge you extra to fix it because it's not easy to fix a model that's already been textured. Same for rings, same for animation, same for everything. At the end of each of the 3D stages, usually I will tell the client, "Hey, I'm finished with this stage. What do you think? Do you like how it's going?" Some clients don't have the ability to imagine elements without seeing them finished. That's a little bit of course complicated to work with later on. But if they do, they usually are going to be clear enough to say, "Yeah, we'd like that. It's looking okay." Then you just keep moving forward and warn them, of course, "Hey, if there's a change later on, I'm going to need a little bit of extra money and extra time because I had already bounced this idea with you, you had previously approved the work, and now you're not happy." It happens a lot with clients that are in a chain of command. Let's say there's Bob, and Bob hires you to do a taco guy. But then his boss, Adam. He's the one who's going to be paying. Bob is really happy with the result, and he approves everything that you show him. But then once the product is completely finished, he shows it to his boss, to Adam. Adam is like, "No, I hate it, the eyes are too far apart or the head is too big or this or that or whatever." Well, it's really complicated. Those situations are really complicated because unfortunately, since he was not the final guy on the production or on the command line. Well, that's just like communication errors. Unfortunately, a lot of times you're going to have to do rework. But you should definitely ask for a compensation because that's extra work. That's not your fault. It's whoever was not communicating on the company or on the client side. That's their own fault. There we go, guys. I'm going to stop the video right here. In the next one, we will continue with the other two fingers. There's not a lot of new information that I can share right now, but I think it's a good idea to talk a little bit about the industry. If you want to hear a little bit more about that, well, I'll finish sculpting this finger. Move to the next video. Otherwise, I'll just skip to the video after that one and we're going to be working on the details. Hang on tight, and I'll see you back on the next one. Bye-bye 50. Fingers Details: Hi guys, welcome to the next part of our series. We're going to continue now with the fingers, we're in the last two couple of fingers that we're missing. We're talking about the importance of being able to negotiate properly with the clients. Here, I'm just going to be using the same technique that we've been using, the clay buildup and stuff, but I do want to make sure that you guys understand, or at least I want to give you a little bit of an overview of how to deal with all of this stuff, because a lot of people learn 3D, they know how to do cool stuff in ZBrush and Maya Blender everywhere. But once it comes to the business side of things where something was left abandoned pretty much. Like there's not a lot of content out there that can teach you how to be a good entrepreneur or whatever. For instance, with the things you're learning here, you could be doing this thing right here, like you could be doing a statue for someone, and of course you need to charge them, and then you need to recover some of the costs that you're going to be investing into these kind of things. It will be really difficult for me to give you guys a specific amount of dollars or money that you should charge for things like this, because it will depend on where you live, your capabilities, how fast you are, etc., but what you do need to try and understand is that this thing that we do, this skills that we have as 3D artists, they're not common skills, so that means that you can charge, of course, more than a normal, regular, traditional job would try to charge for. The other thing is you definitely need to take into account all of the tools that you need to be able to deliver things like this that we're doing. If you're going to 3D print that, you need to cover the rest, you need to cover the printer, you need to cover your licenses, you need to cover, of course, all of the time that you invest in doing the sculpture and doing something. One of the best devices that I can give you, I had to learn this in a bad way, always ask for an advanced payment on your projects. It is sometimes not possible. There are certain clients, especially like big companies, they don't work that way, so they expect to be delivered the full thing and then they will give you the money. But if you're doing something for a particular client, like someone who has got a private business, small business, try to always ask for an advanced payment because unfortunately, there's a lot of conflict in the delivery of the art world. The reason I wanted to explain this to us is that when you think about something, if I tell you guys, think about a purple elephant on top of a tree, everyone's going to think of that concept in a different way. Some people might imagine the pine, some people might imagine an oak, some people might imagine a palm tree, there's a lot of different things. The problem is, if a client says that they want something and then you deliver that something and it's not what's on your mind, you're going to have a hard time charging that client for the job enough. I've had that experience several times throughout my career. It's very uncomfortable and it's very unfortunate to get there. But yeah, one of the best ways to try and avoid that, or at least protect yourself a little bit is by asking them for an upfront payment. Usually, I charge between 30 and 50 percent depending on the complexity of the projects, and that's pretty much a commitment from the client saying, okay, I trust you as an artist and I trust that you're going to be able to match what I want be created or what I see in my head. Once there's that level of trust, then you need to deliver, of course, you need to be sure to be a great artist and deliver something that they really like and that they're going to be happy with. That's where a really clean and clear concept helps a lot from the beginning. That's where having weekly or bi-weekly reviews and works in progress is also really good because they're going to be seeing how you're moving along and then how the thing is looking before you jump onto the main areas of the production. You need to be very careful with this guys, so I encourage you to ask for advice if you need to because unfortunately the business world, I would say it's very mean. It's a very competitive world, and people are out there just to get the best profit for them. You are going to find clients that are going to abuse the trust that you might place in them and they're going to be like, yeah, I'll pay you $100 for this and then you finish the job and they only gave you $10 and they're like, I'll give it to you later this week because we're waiting for a payment and then you never hear back from them. It happens and it's again, very sad and very unfortunate that we live in a society that's like that where people don't respect the artistic world as much sometimes. But you're also going to have amazing clients that are going to value. They're not going to ask for changes, they're going to love every single thing that you do. Those are the great clients that you need to keep. But in order to get there, of course, you need to get your name out there. Make sure to again, always ask for an upfront charge and have a little document. Whenever I'm working with a new client, I send them a little word document. I convert it to a PDF, pro tip, before sending so they can't edit it. There I specify all of the things that we're going to be working on, the amount of marbles and we're going to have, the deliverables, things that they're going to receive. Like for instance, if it's a writer, I'm going to say, okay, you're going to receive a movie with this length at this resolution, at this format. If it's like a model, I'm going to provide the C2 file, or just the OBJ file, or just the rate apologize file with UVs. You need to specify all of those things. The more things you have in written, the better. Now, I'm not sure if in the country where you're watching from it happens the same as it does here in my country, but here in Mexico, people are really scared of contracts. They feel like they're like signing a contract with the devil or something. I don't know why there's so much fear about contracts. I think it's because they know that once there's a contract, they are bound to follow the contract, and they are scared of that. They're scared of something happening and then being left abandoned or something. But if you can, if your country supports the use of contracts, even really simple informal contracts, that's always a good idea because those are going to protect you. It is very rare for someone to get you to court or to sue you, because we usually, at least as a freelancer, you're usually going to be working on smaller size projects, you're not going to be working for, I don't know, like Disney doing the next Iron Man Armor. You probably might work for Disney, but it's not go to be the main piece of the movie that you're going to be doing and that's why people are scared of contracts. They feel like it's too much formality, at least here in Mexico, that's the general consensus. The contracts is a really good option, upfront payment is a really good option to protect yourself. Then of course, making sure, this is another rule of mine, whenever I deliver the final image or the final render or the final whatever, I deliver a preview version of it. Let's say they ask for a render or like this sculpture right here , I would send them screenshots. Here's the model, the model is ready. The fonts are ready for 3D printing. I did my test, here's the result. Now, send me the final payment and then also I do the final files. Because again, it's very important that when you deliver the final product and then they take forever to pay you, sometimes they don't. I have a good friend of mine, I loved him very much, but he's a really bad client and he asked for a commission a couple of weeks ago, and I told him, hey, that's fine. I won't even charge you what I normally charge, I'm just going to charge you for the material that I'm using and that's it. It was a small quantity and he hasn't paid yet. [LAUGHTER] I'm hopeful that they will eventually pay because I do need to recover that cost, but yeah, it happens. The way you can protect yourself is to have everything in written and be very clear, just to be very assertive, communicate quite a bit on why you need all of the things that you need, and that's should give you a nice way to protect yourself. There you go. You're not only learning about sculpting, you're also learning about [LAUGHTER] how to approach clients. There we go. I'm going to add some texture here and these areas that we're seeing so that the hand looks a little bit more like fiberish. A lot of fibers right there, and then we just need to add a little breakup scales that we have here and there. These areas are usually airbrushed, so that's why I'm not being super careful with the details, because I do know most of these things are just going to be airbrushed and all of those details is going to be covered with gradients of paint. Instead of painting individually each skill, they're going to be more general sections. Let me isolate this real quick so we can, there we go. Now if you want, you can again, just give a little bit more texture here. We're not going to see it, but if there's a little bit of peace from the bandages that show, it might not be a bad idea to have this shape right there. There we go. That's it. We're pretty much done with the forms of the hand. Now, one one I definitely want to add a couple of offers to the hand, so I'm going to be adding those real quick in just a second. The next video we're going to talk about those details because I do think we can benefit from having something like crazy looking out for us on a couple of areas. I'm going to flatten all of the skills. You're going to get rid of some of that banding that we have from the clay buildup. Let's flatten it out. There's no need to have as much. I do like that rough effect that we have that always looks, I don't know, I always like a raw sculpture feeling that we can get on elements. But yeah, that's pretty much it guys. I'm going to stop the video right here and I'll see you back on the next one when we continue with the final details on the hand. Hang on tight, and I'll see you back on the next one. Bye bye. 51. Hand Alphas: Hey guys, welcome back to the next part of our series. Today we're going to finish up the hand with a couple of offers. I wanted to show you a very nice trick. There we go. This actually involves an external software, but I just wanted to mention it in case you do have the software. It's not necessarily for the course, don't worry. Of course I'm going to be giving you the, the finalized Alphas. I want to create a little bit of texture here on the scales because right now, I mean they look cool. They look like blobby and stuff but having some scratches and just like visual interests, I think will really push the hand into a next level for the skin, it's actually very simple. I'm going to grab my standard brush. I'm going to select a spray. I'm going to select this Alpha channel called the Alpha 60. That's going to give him skin looking effect, as you can see right there. It's just a matter of getting this to C sub, lowering the intensity a little bit, and adding all of this detail. Now, depending on how accurate your 3D printer is, all of this detail will actually turn out on your final print. Some 3D printers, as I've mentioned before, they bleed a little bit like light bleeds a little bit. All of this detail is not as sharp. I am fortunate enough to have a marsh at three, which has a four K screen. It's a really, potent or they're really good. I'm going to be able to get some of that detail into the sculpture. But for the back part right here, we don't really have anything l. There's not specific element that we can utilize. There's no specific Alpha here instead of servers. I'm going to show you how to make a proper Alpha. The first thing we need to do is we need to look for a nice texture. I'm going to look for bark texture. I want to have some interesting like fibers, interesting effects. Something like this. I think it's going to work just fine. I'm going to grab this guy. I'm going to save this image, I saved on the desktop for now. The problem with Alphas, what people create Alphas by going into Photoshop and then just converting this image into black and white. But that really doesn't extract the information that we want from the image. It's just getting random values. The proper way to do this is we need to get what's called the height map. There's this thing called the substance 3D sampler, which is the software from the substance family. Again, you don't have to have it. I'm just going to show you how it works in case you want to use it later. Now I'm going to be providing the Alpha for you. With this one, we're going to be able to generate textures. This software cement to be used to gather information from images and create the titlable materials. We're not going to do exactly that, but it's similar. I'm going to say, I'm going to go here and we're going to use , where is it? Here. We're going to click here to start. We're going to select our image right here. From desktop, we got this one, hit Open. Now what's going to tell us, okay, what do you want to do? You want to do an image to material, multi-angle to material, texture import? I want to do an image to material and I definitely want to use the AI powered options. I'm going to hit Import. What's going to happen is it's going to do it's magic. It's going to use all of this artificial intelligence thing to realize where things are. It's going to give us this, which is the depth. As you can see, we're getting some nice depth information here on the element. Now I'm gonna go down here to the viewer settings, and I'm going to change the texture title into just one so that we only have one section. This is what we want. This is the information that we want to extract from the elements. If you want, you can go here to the image to material nodes and change some of the things here like geometry equalizer, we can increase the intensity. For instance, if we want like a really, really intense effect, we can push this. We can change the micro details. Like if we want a little bit more micro detail, a little bit more medium detail, or large detail, this changes how we see the whole texture. Once you're ready, let me see if we can. There we go. That's the shadows enabled so we can see how this thing is going to shadow, those were the depth things that we're going to be finding. Once you're ready, once you like how this is looking as an Alpha element, we're going to go here to share and we're going to export S. I'm going to say cost of material. Technically the only thing I want is the displacement. This is the only thing that we need. Right now, let's bring this all the way to our Z tools. Let's go to, I'm going to have this on reference. I'm going to call this BarkAlpha. We can to select that folder. Let's go back here and it's the reference. There we go. It's going to go there. I'm just going to say export. What's going to happen now, if we navigate to that folder real quick. Just wait a little bit for this to finish. Come on Windows. There we go. We go to the reference. This is what we have. This image right here with whites and blacks is a lot better than just getting this information from like just translating it the image into black and white. This actually is getting the information of where things are supposed to be. I'm going to go now into ZBrush right here. I'm going to go to the standard brush again. Let's go to drag wrecked. I'm going to change this Alpha and going to import the image. We go here to reference, we can import this image right here. Now, when we displace this, as you can see, we're going to get some details that will be pretty much impossible to get in any other way. I'm going to get rid of DynaMesh and hit "Control D" to give it a level of salivation. We're now at full meal and polygons for this piece. But that's going to allow me to get a really, really nice detail there. I'm going to get this into Zadd so that we get this thing's going in. I definitely want to add a fade. I'm going to go here to the Alpha element and we're going to go to modify. We're going to add this thing called a radial faith. It's going to soften off the elements so that we're only seeing it on the underground. That's it. Now it's just a matter of using this new texture that we just created. Which one of the great things about using a texture that you created is that no one else in the world is going to have the exact same texture because you made it yourself. That's going to give your artwork a lot more like a visual interests as well. It's going to make it more unique. There we go, We'll just start repeating this pattern throughout the nails or the plates of armor right here. I'm going in the direction of the plate armor. One thing again, that's some details that we're gonna be able to see once we get into the 3D printing part of the process. Let's just keep adding these things right here. A little bit more. Just general details like the main forms of armor, this is like the sprinkles on the cake. The main form is already there. These are just supposed to be extra little details that we're adding to make sure things look as nice as possible. This finger looks a little bit broken. I'm going to use my more brush to straighten them up a little bit more. That's it. Our hand, our draconian hand is ready. It's looking quite, quite nice. Now we just need to polish the bandages a little bit more. Make sure that they flow in a nice way. Finish the fire and we're ready to go, ready to jump into the 3D printing stage. That's it for this one, guys, hang on tight and I'll see you back on the next one. Bye, bye. 52. Bandages Base Details: Hey guys, welcome back to the next part of our series. Today, we're going to continue with the bandages, so let's get to it. Before we jump onto the bandages, I would like to cut the hand a little bit. I'm just going to go Control Shift. We're going to go into our knife curved brush, and using that basis or reference, I'm going to cut the hand right around there. We have subdivision levels, no problem. One easy way to fix this because we really don't care about the subdivisions right now is just delete lower. There we go. Now, we'll just cut that, and it's gone. We're going to go to the bandages. One thing I don't like about the bandages is they look nice. I like this one right here. I'm not completely so though. I think the fires might be more than enough to get a nice shape and form to the whole thing. As you can see, I created some bandages there on the character. We need to be very careful in how we play with the shapes so that everything looks like it's part of the same element. Because right now, it looks like the fire is being bandaged as well. I'm not sure if that works. For instance, I think I'm going to bring this bandage in like this. The fire is going to be going over that bandage and then we have a little bit of the bandage over here. The other thing I like or I don't like is on the back here, this bandage as well, this other piece, it's really close to the first one. I'm just going to move this. It's coming from further back. Again, we can see the fire going in-between the bandages like this. That to me looks a little bit more interesting than what we had. We're, of course, going to have to go into the fire and modify this. But see these shapes, these accelerating shapes going up. That's the stuff that I'm looking for. That gives me a good result. I'm going to go to the bandages of the hands themselves, these ones. I'm going to give them a couple of subdivision levels because I do want to have a little bit of detail. Let's go, for instance, clay buildup. I'm going to start adding some folds here, like this. Same here because these are bigger bandages, so I would expect to see a little bit more detailed than one we were seeing on Gonzalez bandages. There, and this visual interest. I'm not even sure if that's the [LAUGHTER] right word. I've been using that phrase for so long. In Spanish is [FOREIGN]. It's an interesting visual. Interest sounds like money interests. But this visual representation of things going in and out of the elements, those things are going to be visible on the final product on the statue, and not only is that going to make the whole thing look more interesting, it's also going to help with the painting process. There's a very common painting process called washes. I've talked about this one before. But there's another one called dry brushing, where you use a very dry brush with very little paint on it, and only the high points of the sculptured get pigment on them, and it looks really nice. These bandages right here, all of these high and low points that we're creating to add a little bit of texture [NOISE] that's going to be captured with that technique, with the, what's the word, with a higher dry brushing technique, and it's going to make it look really cool. [NOISE] Something like this. There we go. Let's go here. That's it. Like those lines, simple lines. Again, keep it simple. That's all we want to do, and that's what we need. That's looking good. I'm going to turn off or get rid of the cylinder for just a second. Let's turn that off. There we go. I'm going to go to the fire, and I'm just going to cut the fire. It has the same distance, and same for these guys. Let's make sure everything is as flat as possible. There we go. It might not be perfectly flat, but it's quite there. That's the base. I don't think we could have this statue be like this. We definitely need the base for support because since she's leaning forward, the weight of the statute is pushing forward. Even though we do have a big base down here, the density of the material, it's not as much like resting is actually really light, so it would topple over. Now, one thing we could do is we could carve a hold in here [NOISE] and add some weight like a ball bearing or something that has a steel thing, and that could work. But right now, I don't think we need to do it. Now, we still have some time. I'm going to start working on the blocking here for the fire. There's something really, really important that we need to do here. That is we need to create the separation between that foot [NOISE] and the rest of the base. Because eventually when we print this, I want this to be a little thing, like an indentation that we can just like take in and out. The way I'm going to do this, is I'm actually going to create this triangular-looking shape here, like this. That we're going to be taking out of the fire. [NOISE] That's my line. That's my indication of where this thing is supposed to be colored. We need to split that too into two twos. What I'm going to do here is I'm going to mask out that section that we have right there. That section is going to be printed with the rest of the character, of course with Kabbalah. Then it's going to fit, we're going to make it fit on this other section of the fire. I'll show you how to do that in the nicest way, don't worry. But the first thing is we need to separate this chunk of flame. There we go. I'm going to say "Split Mask Points." There we go, DynaMesh. That's not going to be the final one. Let's go to the other one. This is the one that we care about. Let's turn everything off except for to Gavala. There we go, DynaMesh. Now, this is the one that we're going to work. As you can see, the DynaMesh here created some really ugly things. I'm going to inflate those. Inflate all of those, and DynaMesh again. We're going to add a little bit more mass to all of this lower section. Like all of this section. [NOISE] Let's actually inflate this even more. There we go. Because we do want a solid chunk of fire holding Kabbalah. Something like this. Now, I'm going to use thermodynamic to start polishing this into this like fire shape that we're going to have. Now, the best thing I can tell you about this, since we're going to be combining or we're going to create a slot for this fire thing, you want to keep the shapes as clean and as nice as possible so that when they lock together, they fit nicely. Because if you do a very intricate detail in flames and stuff, yes, we can make it fit, but it's going to be a little bit more difficult. As you can see here, I'm trying to keep their curvatures really clean so that it's an easy feat. Really smooth, really easy because all of this, we're going to be fitting on the other section. Now, after we're done with the fitting section or with the fitting part, now we can actually start playing around with the fire and stuff. For instance, here with [inaudible]. It can be fire, it can be magic, it can be whatever you want. I think I'm going to go [NOISE] for a little bit more of a magical spirally look like tendrils. Just so that it looks like magic, like magic energy. DynaMesh and all of these flows down. I've seen some people do clouds or water. You can do a lot of different things with the base, but the important part here is that it looks nice. I think I'm going to follow a similar approach to what we did with the hair, creating these chunks, and then just adding a little bit of volume to those chunks. For instance, here I like this shape, the shape could maybe go create different direction. We can create a nice interesting triangle right there. You know what I mean. This thing flowing from the back. There's this little like, let's just our move brush to maybe push this up a little bit. Always going for these S shapes. I'm actually going to turn on polish. I think polish is going to work here. That looks really nice. There is a little more resolution. There we go. [NOISE] Like this. DynaMesh, and there we go. As you can see, that piece right there looks really nice, really organic, really flowy. Now, let's turn off or on everything else. We're going to go to this one. I'm going to stop the video right here because I do want to have one specific video talking about this fire thing. In the next one, I'll show you how we're going to create the actual fitting section for these things. Hang tight, and I'll see you back on the next one. Bye-bye. 53. Fire Details: Hey, guys. Welcome back to the next part of our series. Today, we're going to continue with the fire. Yeah, we're going to go to this main shape right here. I'm going to show you how we're going to create the actual hole for the rest of the elements. Now, one thing that I'm noticing here is if we were to select this guy and turn on transparency, you're going to see that this thing is touching the fire block and some of the bandages. We're actually going to have to combine everything before we do the proper positioning, but I'm going to show you a quick little way here. Let's start with this guy first. Let's DynaMesh of course so that we get back the information. What I'm going to do, is I'm actually going to inflate this a little bit. I'm going to create a blob here. The blob is going to be the place that we're going to eventually intersect with our element. Actually, I think I went a little bit too much. There we go. Just a little bit of an intersection there. I just want to make sure that there's enough space touching every point of where we're going to be actually colliding. That looks good. Now that we have that, we can start playing around with the elements as well. Sorry about this. You know how Photoshop is. I hate it. I hate that this happens. I've been doing some research on why it happens and it seems to be some conflict between the drivers. Photoshop wants to use Windows Ink and [inaudible] does not. Anyway, we're going to add some of these effects right here. Again, on the base here, this is where we really want to push these magical shapes and create some interesting effects. Always taking or thinking about the silhouette, for instance, on this side view that looks really good. But on this front view it looks horrible. That means that I'm going to have to push this and create something that looks a little bit more interesting. Maybe push this like this. You know what I mean? It's very important that we always explore our statutes from every single angle because we don't know what angle people are going to be seeing them from. Let's keep this rising line going up there. Again locks of hair. This one we can keep really simple, no need to overthink it. Then here, I would definitely like to create some holding thing, like this thing where the flames are or the magic is going over the element so that we don't see the transition as cleanly. We're going to push some of this, like holding or just creating a little bit, this is an overlap at the end of the day. It's DynaMesh. The main standard and make sure we have enough intensity and we start carving these lines right here. We need to remove some of the elements here to show a little bit more of the bandage. That's fine. I'm having a little bit of a curvature there again to add some visual interest. This thing is going to be rising in this direction as well. Make sure it flows nicely. It interacts with the other piece. I'm going to use my move brush again to give you this loop, but we don't want to hug it as much. I'd rather have it a little bit more separate because then it's going to be really difficult to make it fit. Something like this, like that thing right there. Let's get rid of that one, DynaMesh. Careful in those holes right there. We don't want any negative shapes or anything. That's pretty much it. As with everything, we can polish this until we have no more time. I really like how this is looking right now. A transitional best way to take this or check this out is with a render. Just take a couple of renders so that we don't see any weird shadows. As long as the materials read differently like the bandages and these things, then we're in a good position, and of course the paint job and the ventral paint job would make it so much more easier to see. There we go. Now we're going to jump onto the preparation of this thing. We know that this element right here is going to be pasted to Gavala. It's going to be one with the leg. But we don't need Gavala right now anymore, so I'm going to delete this statue for now. I'm going to hit "Save As". I'm going to save this as base, of course. The most important thing is I want to remove the section of this piece from everything else. We are not going to use this either, so let's delete that one as well, the base. There we go. We're only going to be using this one. What I'm going to do is I'm going to turn off the main flame right there. I'm just going to keep this one right here and I'm going to say Merge, MergeVisible. That's going to combine all of them into a single merge tool, which is this one right here. First thing I'm going to do, is I'm going to use my knife brush to again flatten everything, make sure that we don't have any extra polygons. We probably need to DynaMesh. So I'm going to turn the resolution quite high, like 1,000 and DynaMesh. Let's see if we can conserve most of the details there. Let's keep ZBrush a couple of seconds. There we go. Everything's closed. Most of the details are there, and we're ready to do the change here. What we're going to do is we're actually going to create the live Boolean. I'm going to turn on live Boolean. I'm going to say append and we're going to append a little flame from this one right here. Let's just select a little flame, and here we're going to append the little flame. Then what I'm going to do, is I'm going to subtract the little flame. As you can see, that's going to give me the place where the little flame is going to go. Technically, that's it. We don't need to do anything else because this hole right there matches perfectly with the shape of the flame. However, in my experience, there might be a little bit of tolerance problems. I'm going to go here, and what I'm going to do is I'm going to bring the pivot point down to the center about there and I'm going to scale it just a tad bit. Almost nothing, just a tad bit. Now we're going to remove the element. What this will do is it'll give me a little bit more wiggling room that can lead or fill in with other things, and that's where this thing is going to fit. It's maybe just a little bit less. There we go. Now, some people like to trim dynamic, these guys right here, to soften the elements, but then the fit is not as perfect. I'm actually going to run the risk and keep it like this just so that we can work a little bit better. We need to convert this into an actual Boolean mesh thing. I'm going to say Boolean, make Boolean mesh. Once this is done, there we go. Up here we're going to have this UMesh, which is now the actual element. Now I did forget to soften this up a little bit, so I'm just going to use my trim dynamic to sculpt. We still have enough geometry. The only place where things are really wonky are on the borders of the thing. That's where all of the triangulation is going to be happening, but everything else should be working quite nice. Now as you can see, this base is really heavy, 4.57 million polygons, but this is what we need. This is the piece that we need. That's the first piece. I'm actually going to load Gavala. Let's load in the main tool, which has 11 million polygons and everything. Now it's time. Now that we have this base mesh here with a hole in it, we have the little flame over here, let's turn everything else off. We have the little flame, which is going to go in Gavala's place. Actually, the best idea would be to append this little frame right here. This is the main Gavala statue, if you wish, and this is going to be the base of Gavala. We're pretty much done with the sculpture, guys. We're going to have two more videos in this chapter, which is going to be the preparation for the files. We're going to start preparing these files and we're going to get them ready for the 3D printing process. Hang on tight and I'll see you back on the next one. Bye-bye. 54. Preparing the Models: Hey, guys. Welcome to one of the final videos here in this chapter. We're going to be working now with the final preparation of the character, but we're just going to start working on how to properly prepare this model for 3D printing. As you can see here, I added the little flame color to the character down here and that we already have the base. This is going to be the base. The base is looking nice. It's already been Boolean as we saw in the last video and this guy is ready for 3D printing. That thing that we need to do is we need to decimate this guy because right now this guy is just way too intense. I'm actually going to give it a smooth here as you can see that we are seeing a little bit of the quadric related stuff like the polygons. Again, if you have a really nice resolution on your 3D printer, you're actually going to be seeing those points, it will print that fascinated look. Let's just move some of that out so that we don't have to see it. There we go, that should be good. Now, the only thing that we're missing is we need to decimate this because we can't take this 4.5 million points into any software. I'm going to go here into Zplugin. I'm going to say Decimation Master, and we're going to Pre-process Current. Pre-process will analyze the surface of the object and they will see where most of the detail lives, where are the points that we have the most detail. After we do this, we can designate it to a specific percentage. I recommend going for 20 percent, 20 percent will keep your details really nicely without making the thing super big. We're still going to have a really big elements like it's not going to be super simple, but it's going to be working nicely. We're going to do this at the 20 percent. Let's just wait a couple more seconds for this to finish the analyzing process. Be patient, especially if you're subtle and being really dense or really big and topology, this process might take quite a while I've had tools that take up to 30 minutes to process. Of course this will depend on your system on your computer and everything, so the more powerful computer you have the faster this is going to be. Let's do a 20 percent decimation. As you can see after this thing reads it, we're only at 915,000 points. I think we can go a little bit lower. Let's try 10 percent and say decimate current. There we go, that's a lot better. That's a million polygons, pretty much have like a million polygons. We can still softened up a little bit there just to lose some of the triangulate or quadranglate things that we have there. But that's it. This is the decimation thing doing its magic because you can see we are using triangles to save all of the details that we have and create this amazing thing. Now we're going to export this. Of course this object is going to be available for you on your Objs folder. I'm going to call this GavalaBase_Decimated. That's not the final STL that we're going to be printing, but it's the final Obj. Now we jump onto Gavala and of course this is going to be the tricky one because there's a lot of things that we need to do to make sure that this works as nicely as possible. The first thing I need to do is I need to decide where we're going to be dividing her for the 3D printing process. We mentioned that it will be a good idea to have her in separate pieces. As you can see here I already started deciding where most of these things are going to be. Let's start with the face. If we start with the face, we know that the face is going to be there, the eyebrows, the eyes, the hair, head dress, the crown, the two little hair things right here. The main crystal. Not those. Those yes. This one right there, and then we have down here the actual all of the wingth crown that we have. Now make sure once you hit this process, the hair and that as well. Make sure once you hit this process that every single object that you have is properly smoothed out. No dynamics of the vision. Should be either DynaMesh or just like normal subdivision levels, because what we're going to do here is we're going to say geometry or a subtool merge visible. When you merge it visible, you're going to get a new piece up here. If something was not properly smoothed out or something, you are going to see it here. You're going to see something not working properly. For instance, this head right here, this is again perfectly fine for what we need for the element. We're not going to be done yet because we need the body to properly create the keys for the head, but this is a nice little base mesh with everything together. As you can see, these are separate subtools we're not messing around with the original one because we want to keep that one as clean as possible. Now we go back here and let's go for the body. I'm going to start here with the body and what we're going to do is now we're going to start turning off things. Again, we turn off the head, all of this information, the head dress, the crown, these pieces right here, all of these guys , there we go. Now we're left with only the body of the character. Here I'm already noticing some overlaps which if you want to be super critical about you can just move it. Now see how this is fragmented. Control D give it a couple of divisions so it's really smooth because otherwise we're going to see that element on the element itself. Same for this one. Let's give it a Control D, so that's smooth. I think this one as well, Control D, so that's smooth because otherwise we are going to be seeing those squares. You don't want that to happen under element. That's it. This is the other piece of character that's going to be ready for the process. Same deal we're going to say Merge Visible and we're going to get this. Technically I do think we can print this whole body a single piece. However it might be a good idea to actually divide it into a couple of pieces just to make it a little bit easier to work with. I think one of the best places to cut this would be right around here at the torso level or maybe down here at the legs level. I think the legs are going to work a little bit better to be honest. What I'm going to do and this is going to be really crazy. I'm going to press Control W to make all of this guy's a single poly groups. Control W. Then we're going to use the slice brush Control Shift and we're going to go here to the SliceCurve. Usually you want to have this on a place that's going to be either easy to hide the seams or easy to feel in the gaps in case we need to. I think the legs there's nothing, there's no armor, there's not any elements, that's a good place. If we do that as you can see now, the legs have a different poly group and it's completely straight. That's also going to be really helpful for what we're about to do. We're going to say group split over here. You can say split, the group split. Hit "OK". What's going to happen is now the legs are going to be here and the other elements are going to be there. One thing here of course that I don't like. We can't go back because this is not undoable. Let me go back here create a new copy. I made a mistake there. Merge visible, there we go. We've got another one. Perfect. Yes, I'm going to create the line right here on the legs, probably a little bit higher like there. Why higher? Because I want two big chunks instead of one small one. This is going to project the line. Let's try again Control W and then we're going to go right there. Cool. The problem is the lines being projected all the way across the element, which is fine because it's a very easy way to fix this. We're just going to go here, go into SelectLasso. We hide this piece of skirt and this piece of skirt. Invert the selection I hit Control W again, and now everything's a single poly group. This is going to be the body. It's probably going to be the biggest piece aside from the base of course and we're going to say Group Split. We're going to go split and say Group Split and hit "OK". There we go. Now, we need to combine everything into a single mesh into a watertight mesh so that there's no holes, there's no negative areas, no nothing. Because right now of course if we take a look at this guy, there's a hole there and that's not what we want. There's two ways to do this. The first and easiest way to not modify any topology is to go here into geometry and then if we go into modify topology, we can select this option called Close Holes. Close Holes will literally just close the holes like that. It's not DynaMesh, but it will close the holes. If there's any hole anywhere on the character, it's going to close it and as you can see, that just fixes it pretty perfectly. We're going to do the same thing for the legs. We're going to go to the legs here, and then we're going to go down to geometry, and we're going to say Close Holes as well. Perfect. Now we want to create something called a key. A key is like positive and negative shape that's going to help us align things, because one of the worst things that you can do is try to paste two things together and then not fitting together. If you have two sections right here, what we can do is we can create a cubical shape right here and a cubical hole right here so that both pieces match perfectly and then we just get a nice seam line that we can very easily fill in and remove. What we need is we need Light Booleans. I'm going to go into Subtool. I'm going to hit "Append" and we're going to append a cube. Let's turn cube on and we're going to bring this cube. Let's turn off the legs for now or the upper part of her legs and we're going to bring this cube to the center of the mass of the element right here. Right there. Something like this. Make it a little bit smaller and make sure that it fits inside of the volume. We don't want any overlap outside of this element. This is just going to be a guide. Now do not keep the cube completely straight because it's going to make it very difficult and it can deform and then things are not going to fit. We're going to do is we're going to place W, and we're going to go to this option right here and there is this a taper, the former that we can use to taper the cube towards the inside. Actually this curved effect I really like it because it gives us a nice result. There we go. That's my first key. Let's go back to Gizmo 3D. Now what I'm going to do is I'm going to duplicate this thing and I'm going to scale it slightly bigger. Just slightly almost nothing like that. As you can see it, this one is slightly slow as this one. If we turn on transparency, you're going to see that there's a little bit of wiggling room and that wiggling room is important because again less and expands a little bit and therefore, if you do these things too tight you're going to have to send them up and the increase a little bit of a different piece. I'm actually going to spend just a little bit more to have a little bit more tolerance. There we go. Now this one right here I'm going to rename it. I'm going to call it positivekey. This one I'm going to rename it and I'm going to call it. Now, I don't want that. There we go. This one I'm going to rename it, I'm going to call this negative key. There we go. We're going to go to the positive key, and of course, we're going to duplicate this. Just Alt and click and drag to the other side like this. We're going to go to the negative key. Actually, no. Sorry, my bad. Let's go back here. We can't do that, because if we do that, what's going to happen is that, there we go, we're going to duplicate over here. Duplicate, and then we move it, and place it where it's supposed to be, right about there. Then we're going duplicate that again. This one we're going to scale a little bit as well, because otherwise things are not going to match. There we go. Now we're going to turn off both negative ones. Let me see them. There we go. We got enough space, perfect. This is the first positive key. We need to scale this down. There we go. This is the first positive key, and this is the second positive key. These two are the positive keys. There we go. We're going to merge them down, so merge down, hit "Okay". These are the negative keys, which we are as well going to merge down. There we go. Now we have the positives and the negatives. Hopefully, that's not as confusing. But this is just the basic shapes that we're going to be using. Now we're going to turn on the Booleans. I'm going to say, "Live Booleans, turn on." Since this is the negatives, and we want to cut this out from Gavala up here, what we're going to do, is we're going to move this guys up. We're going to move up, move up, and these are going to be subtracting. Technically if we turn this off, as you can see, we're subtracting that shape from Gavala's body. Then on Gavala's legs right here, we're going to start a new Boolean operation, and these ones right here are going to be adding. Again, if we were to turn this off, you're going to see that we have the keys right there. There's two Booleans operation going on, that's why we have this star thing right here. These keys are subtracting, because these are the negative keys, and these are the positive keys which I'll add. Now we're just going to go here and say, "Boolean, make Boolean mesh." What should happen, is we're going to get two Boolean elements, two substitutes. That one is going to have the positive key, and the other one is going to have the negative key on it. Let's just wait for this to finish. There we go. If we go up here, Umesh_Merged. We can see that indeed. This one has the negative pole, and these ones have the positive key. Now technically, once we print both of these pieces, they're going to fit together perfectly. Now this leg, I'm a little bit worried about, because it's being held by just a very, very tiny place right there. It's not that big of an issue. Even if it breaks, we just paste it back, and it's fine. But just keep in mind, one thing we can do though, is we can use a little bit of inflate there to just bring the geometries a little bit together on an area that people are not going to really notice. That could be quite helpful, just a small little help there on the geometry side of things. There we go. My legs are ready. Now let's start bringing things together. I'm going to append, and let's append the base ready just to make sure that things are looking good. That looks good. Let's append the head. I'm going to bring in the merge Gavala head. There we go. Now, the only problem that we have, is that this head right here, we need to make sure that it's cutting the exact shape that we need from the body, so that it just goes right in. Actually, I'm going to delete this head, one second, and we're going to go back to this one right here, to the original element. I'm going to delete this one. We don't need it right now, we just need this piece right here. Oh, no, actually it's not that one. Where is it? This right here. I'm going to clone this one. I'm going to clone this body, there we go, so we only have this one. Here we're going to append the head, which is this merge Gavala head. Now what I'm going to do, is I'm going to set the head to just take away. As you can see, we're going to get this really, really interesting shapes. It's a really weird shape. It's really difficult to see, but this is where the head is going to fit in case we want to print the head in a separate position. I don't see any weird super thin elements. Yes, this is a very weird shape, but that's the actual crown merging with the rest of the elements. Sometimes that's the way it's going to look on your prints. This is what we want. I'm just going to say here, "Make Boolean mesh." Let's give it one second, because we really don't want to modify the head. Enter, there we go. That should be working. Let's take a look. We have this U-mesh, there we go. Let's go back here. I'm going to delete that one. Actually, before that, let me save this one because it's actually in a good process. We're going to go have a huge subtitles. I'm going to call this Gavala pre-headCut. There we go. Now we delete this one and we're going to append the new Umesh, which is the one that has a cut. Now we're going to append as well the head. There we go. Now we have the four pieces that we need. We have the head, we have the hands, and everything else. Now, the head is the only piece that's not Boolean meshed, so it's single element. As you can see, it's quite heavy on the polygon side of things. But usually even if it's quite heavy on the polygon side of things, we can still, what's the word? We can still soften it up or just decimate it, because right now we're at nine million polygons. We've already exploited this piece. Let's go for this piece, for instance, this one right here, 955 point whatever. I'm going to try and go to 250K. Those are presets, by the way, the ones that I show over there. We're just going to select that preset, and see if we can bring this down there without losing detail or anything. Because sometimes when you do this process, if the geometry is not prepared properly, it's not going to work. That did work. Let's export this. We're going to export this to our Objs. This is going to be Gavala, let's call this legs. Now let's go to the body. Same deal. This one is really heavy, 4.4 million polygons. This one, I'm going to do manually. I'm going to pre-process first. Then once the pre-processor is done, I'm going to decimate real quick. I know that this video is going a little bit longer than usual guys. We're probably going to go over the 20-minute mark, but this is a super, super important video. I want to make sure that everything is in here, because otherwise just things are not going to work. After this, don't worry, we're going to jump in to Chapter 6, and we're going to finally start talking about 3D printing. We're almost there. I'm going to pause real quick while this does the decimation. There we go. The decimation work. Let's try 10 percent this one to decimate current. Let's see if it works. Perfect. As you can see, we barely lose any detail. It's still everything there. We just export this, and this is going to be GavalaBody Decimated. Finally, we go to the head, and we're going to do the same thing. We're going to say, "ZPlugin." That's pre-process, and wait for this to finish. Almost there. It's a lot easier to pre-process multiple sections than to pre-process the whole thing. However, if you are the proud owner of Elegoo Saturn or Photon Mega X or whatever, there's some printers that are really big and you can print a whole figure in one go, then you don't need to do this. But usually for production, this is what we normally do for small printers. Let's decimate as well. Now this one is losing quite a bit of detail with 10 percent. I don't want that, so let's go to 50 percent. Let's try that. There we go. That's a lot better. I do see a little bit of fragmentation there on the head, so I'm going to smooth it out. But we don't want to see any weird effects or anything. There we go. We just export this as GavalaHead Decimated. There we go guys. We are done. Our little sculpture here is ready. As we know, everything is working perfectly fine. We're just ready to start working on the scale. We need to set the scale properly, and then we're going to jump into tool box. We're going to talk about the principles of 3D printing and everything. Hang on tight, and I'll see you back on the next one. Bye bye. 55. Introduction to 3D printing: Hey, guys. Welcome back to the next part of our series. Today, we're going to start with Chapter 6 and we're going to jump into 3D printing. We're going to talk about the introduction to, of course, well, 3D printing. I'm here inside of the Blender and I imported all of the OBJs into the software so that we can see the character. The first most important thing that you need to understand is that we need to make sure that the scales from our 3D softwares match these scales that we have in our printing software, which in this case is going to be Chitubox. I'm going to create a cube right here, Shift A Mesh. I'm going to create a cube. This cube right now, if I were to grab the cube and just move it to one side or the other, that cube right here, it says that it should be measuring two meters. This is a two-meter cube. That's the default size that they have. Right now as you can see, this means that the Gavala is humongous. She's gigantic. She's going to be 10 meters or something. That does not work, of course, and just to show you, I'm going to press "Shift A" again, create another cube. Let's say one meter. One meter, there we go. That cube is one meter big, this cube right here, Cube 1. By default, when you create a cube, it's going to be I think two meters. This one's one-meter tall. That's perfect because I want the units to be one. Because I'm going to grab this cube and I'm going to say File Export. I'm going to export this as an STL and I'm going to call this STL [NOISE] CubeScale1meter. I'm going to export the STL selection only. I'm going to hit "Export." There we go. Now if we go to Chitubox, which is the software that we're going to be using for the support and everything and we open that cube, one very ugly mistake is going to happen. The cube is extremely small. It thinks that this cube is one millimeter or something like that. If we go to the scale, you're going to say that it thinks that this cube is one-millimeter height. That means that even though the units inside of Blender are meters, when we export Chitubox thinks that they are millimeters. If we make a quick note here, [NOISE] you remember, we want our statue to be 20 centimeters, which is 200 millimeters. We need to make sure that our statue measures in Blender, 200 meters. It's 200 meters if we keep the units as they are. Now, if we go to the options here and we say "File", "Export", "STL", and we turn on this thing called seen unit and we call this Cube 1 meter. Let's call this a B2 [NOISE] and export the STL. Now, technically, we should be adding the information of the units into the file and if we were to open that one, it should work. However, Chitubox does not care about the units, so that's why you need to check with each software. Maya does a little bit of a better job, but I'm using Blender just to keep everything in free software and just make sure that you understand that. Again, this cube is supposed to be one meter tall and it's not, it's like super small. That means that we need to change the scale of our object and offer cube so that it's 200 meters. I'm going to delete this cube. I'm gong to press "Shift A." I'm going to create a new cube and this keeps going to be 200 meters tall. Humongous cube. Humongous. I'm going first Number 1 and I'm going to select all of these elements right here. I'm going to turn on a wireframe so that we see the wireframe. I'm going to hit "S", and S is going to scale my statue so that now I'm going to hit "G" and "C." We can push this up, S to make it a little bit bigger, just a tad bit and then G, C to go up there and there we go. We're almost at 20 centimeters tall. That is the proper size that we're going to need for Gavala. Again, we can make the test, if we grab this cube and we export this file, "Export" "STL" selection only. Let's get rid of this and let's call this Cube20centimeters, this is supposed to be 20 centimeters, and we bring it here. Now the size is proper, as you can see, of course, it does not fit my printing volume, which is going to be a little bit of a problem, but it is the proper size. I know that this cube's going to be the proper size. Now we can start bringing things into a Chitubox. Let's start with this guy right here. I'm going to export. Well, first of all, I'm going to grab all of the elements right here. All of the pieces. I'm going to hit "Object", "Apply", "Scale", so the scale gets back to one. This is going to be the basic scale. I'm going to say grab this guy or this guy. "File", "Export", "STL" and we're going to export this as Gavala [NOISE] base and hit "Export." Now, why is the scale is so important? Well, again, we're restricted to whatever size your printer can print. If you don't know what size you're going to be printing, then things might not fit here and you're going to have to cut the piece a lot more times. But in this case, I do think that we're going to be just fine. Let's import this guy right here. There we go. As you can see, the hand, we are going to be able to print the hand in one go. In one single session of printing, we should be able to print this hand right here. It's going to use a lot of resin, we're going to talk about all of the settings here inside of Chitubox in just a second, but the hand is ready. Let's go for the body. I'm going to say "File", "Export", "STL" [NOISE] GavalaBody.stl and export. It's going to take a little while because it needs to export all of these polygons. Let's do the head. Let's say "File", "Export", "STL". Have the Gavala head right there. Let's export that. Finally, we're going to need the legs in just one second. "File", "Export", "STL" and that's going to be GavalaLegs. We export the STL. There we go. Now again, we can go here into Chitubox and start importing everything. That's the body, that's the legs, and that's the head. As you can see, all of these four pieces that we have right here, these are the four pieces we're going to assemble our character. Eventually, if we join everything together, we're going to have this piece right here. Technically with all of the cards and things that we did, things should match and just work freely pretty well. Now, of course, we won't be able to bring everything in a single go. Even if we move things around. Well, actually, we might. Let's see, can we fit everything? We might be able to fit everything. That will be a great thing for us because it's going to save a little bit of printing time. Instead of doing a lot of cleanup and stuff, we're going to be able to just have one tray and print everything. I still don't think we're going to be able to do so. We might need to gos, but two gos is probably even more than enough. We're probably going to do the legs and the head in one and then the other two pieces in the other one. But yeah, these are the four pieces that we're going to be printing for our character and now it's time that we talk about 3D printing. I'm going to turn on my camera for just a second. Just give me one second first. There we go. Hey, guys. How are you doing? Hopefully everyone's doing great. I'm going to explain just the basics of how this 3D printing system works. I'm going to [NOISE] jump into this camera and print section because I need to show you the two types of 3D printings that we have. There's two main 3D printers in the market or the ones that are a little bit more available to the public. The first one is the filament 3D printing. Filament 3D printing is very cheap, it's a lot cheaper than resin. It makes it less of a mess. But unfortunately, it won't give you the best detail because the precision that it has is not as good as a resin 3D printing. However, for big chunks, if I wanted to print Gavala one meter high or something, this 3D printing would probably be better because with big surfaces, you can send the surface a lot easier and it just becomes a little bit easier to manage. The way this works is pretty much like a silicone heat gun, this one right here. There's this extrusion thing that gets really hot and it starts drawing the shape of the object and moving up and down until it creates the whole volume. Here's the first difference and all people get this wrong. The 3D filament printer will print from the base up. The resin 3D printer is going to use this thing right here, which is called the leveling plate and it will print from the base down. That's why there's a couple of things that we're going to be talking about when adding the supports for our element to make sure that our prints come out as nicely as possible. But how does this work? How does a resin 3D printer [NOISE] works? A resin 3D Printer, I have one like this. I have the ELEGOO MARS3, which is a newer model. Actually this one right here. The way this works is very simple. You have this little black thing which you're going to see once we go into the printing area, you have this black thing which is like a little pool with the resin, it's just liquid resin, and this base goes down into the resin like this, it touches the resin and it goes all the way down until it touches a plastic screen that's covering the screen. The screen lights up with the information of the model that's want to print, and the pixels that light up are going to harden the resin on top of this build plate. Then the build plate will go up a couple of millimeters. It will have a new layer of hardened plastic here on the plate and it will go back, and a new layer is going to be exposed. We call that exposure. We expose the layer and we push this thing up and down, up and down, up and down. I'm going to show you a real quick here instead of sheet walks. I'm going to delete everything except for the base and let's imagine that this is the base right here, like this. If I hit "Slice," what this is going to do is it's going to prepare this hand for the 3D printing process, and if I lower this thing over here, you're going to see these are the pixels that are going to get, what's the word? They are going to get exposed. As we start here on the base, all of these layers are going to get exposed and you're going to start building on top of this layer. What becomes a little bit unintuitive is the fact that here we see the hand like this. But when we print it, the hand's actually going to be like this, is going to be coming out of the pool like this. Now, why is that important? Well, because one of the things that we need to take into account is that the weight of the resin is going to be trying to get out of this plate, and that's one of the most common mistakes or problems that you get in 3D printing with resin, the things are going to fall down off the plate. There's a whole bunch of reasons why that can happen, it will take me hours to go over the single problems. But one of the most common problems is the weight of the piece. If, for instance, [NOISE] for whatever reason, I tried to print this thing like this, what's going to happen here is most of the weight of the hand is going to be up here. Eventually, on the 3D printing process is going to be all the way here. That's going to pull too much strain on the supports, and that could make the whole thing fall. Again, we're going to talk about the main things that we need to take into account when working with Chitubox and the support placement. But that's one of the things, the weight of the thing is going to be important. Other than that, you guys must remember that all of the details that we have here are going to be visible. That's why it's very important to analyze. Here, I'm analyzing and I'm already seeing a couple of things that could become problematic. I don t think they're going to be that much of a problem. But as you can see right here, all of this section, that's perfect and then there, there's a little bit of a pocket of air. See that pocket of air right there? Now, I'm not worried about that pocket of air. We don't need any support or anything because it's being built up nicely and it only lasts for a couple of frames. But all of these layers that we have here are going to create a little bit of suction and suction could again rip the object from the build plate. That's another thing that we need to be careful about. I'm going to show you how to reduce that effect as well. Then we go here, here, here, and then I'm a little bit worried about this point right here. Because again, we have two suction cups right there, like bloop, bloop. They disappear fairly quickly into the main area. That means that they're only going to be affected for a couple of layers and after that, pretty much straight fingers, so no problem at all. Now here you're going to see a preview of the amount of detail that you're going to be able to catch and as you can see, we're catching pretty much it. Really nice effect of the whole 3D printing process. This is it, guys. I'm going to stop the video right here and in the next one, we're going to talk about support placement. I'm going to turn off my video, of course, you're not going to see me again until the actual 3D printing process on this, I have something important to say, but all of our pieces are ready. If you're having issues with the scales or anything or if you want to scale them down, grab the STL files and once you're here inside of Chitubox, just go here into the scale options and do a percentage of scale to make it smaller or something. Yeah, that's it, guys. I'll see you back on the next one. Bye-bye. 56. Chitubox Overview: Hey guys, welcome back to the next part of our series. Now we're finally going to jump into the 3D printing side of things, and we're ready to talk about Chitubox. Chitubox, it's a Chinese software, and this is a software that works best with Elegoo Mars printers. One of the most common questions I get is, what printer should I get? Well, I can tell you that there's two main brands or two most known brands. One of them is Elegoo, which I personally really like. I have an old Elegoo, like first-generation printer, and now I upgraded to one of the newest, which is this Elegoo 3 printer. However, there's also the Anycubic Photon or Anycubic 3D printer. These ones are really good as well. I've heard good things about both brands. Those are like the most well-known brands. There's a couple of other brands. There are some knockoff brands, some off brands. I do recommend getting either at Anycubic or an Elegoo Mars because there's more support with them. There's more spare parts. There's more, what's the word, like forum support and people working with them. If you have an issue, it's a lot easier to get it resolved by having one of this ones, of course. Now, one thing that I must warn you guys, this is a very, I would say, intensive hobby or intensive production thing. Since we're dealing with hardware now, it's not software, it's hardware, it's actually like machines. Things are going to break, things are going to fail, things are going to fall apart, and you need to have the patience to research and do anything that you need to do in order to fix it. What are the most common problems? The most common problems are the screen is failing, the c-axis failing, the resin are not working properly. The FEP film, which is the one that's on the little pool thing, coming apart or breaking, resin are spilling all over the place. We're going to talk about materials and stuff later on. But yeah, there's things that you're going to have to figure out. Unfortunately again, we can't just cover every single troubleshooting thing. I'm going to talk about the most common issues, but that's part of the hobby. Now, no matter which software you're using, the first thing you need to make sure to do is to set up your workspace correctly. In the case of Chitubox, if you go here to, where is it? I always forget, here settings. If you go to the settings, you need to make sure that the machine that you have selected is the proper machine. As you can see right here, I'm working with my Elegoo Mars. This is the resolution, so 4K screen. This is the size of the printing depth. As you can see, I have 143 millimeters, so 14 centimeters on the x-axis, almost 90 centimeters on the y-axis, and almost 18 centimeters on the c-axis. That's why even if we want to print the whole thing at the same time, it would have been a little bit difficult, besides the point that it's really heavy and it can fall and things like that. Splitting in two parts is usually the best thing to do. On the resin part of things, you can select which resin you're using. I'm using a standard resin. For me, it costs $50 a bottle of resin approximately. Sometimes it's a little bit pricier, sometimes it's a little bit cheaper, one liter or one kilogram of resin. This is just to get the calculation of how much it's going to cost you on product. Now, even though thing says that, I don't know, it's going to use like 100 milliliters of resin, it's going to use some more because you're wasting a lot of when cleaning the thing and there's just more and more stuff that gets wasted. But just keep that in mind. Here on the printer, we're not going to move anything just yet. We're going to talk about the lifting speed later on, but you don't really want to move anything. One of the most important things is this one, the layer height, which is how thick each layer is going to be. I'm going to leave mine at 0.05, which is a really good distance. But if you want to have like a super crisp layer, you're probably going to bring this down even lower. But I do think that 0.05 is perfect. The bottom layer count, we're going to talk about this ones as well later on. But this is how many first layers you're going to have. Usually, these layers have a bigger exposure to make sure that they really stick to the build plate and the sculpture does not fall into the little resin bad thing. Five again is usually the way to go. These are actually stuck numbers. I have not changed any of my settings. But depending on the resin that you're using, the ambient as well like if it's really cold or really hot where you are, you might need to tweak a couple of these things every now and then. Finally advance, nothing really want to change here. Everything looks good right now. This is Chitubox. We move with the middle mouse click. If you middle mouse-click, you're going to pan. If you right-click, you're going to rotate like this, and if you have normal click, you're going to just move around as well. We have the move option here to move the actual thing. We have the rotate option to rotate around the axis, very easy. We have the scale option really useful. I recommend keeping log ratio turned on so that if you change one axis, everything changed proportionately. We have the mirror option, which you can use if you want to flip something, which in this case we don't. But if you have an another model and you want to have the mirror version of that model, you can flip it here with the mirror option. Now, supports. This is where things are going to start getting interesting. One of the most important things about 3D printing is placing supports. Nowadays if you want to create your own patron and cell models with pre-supports and stuff, you need to know how to do this properly to make sure that people get as much success as possible. Now you can't guarantee that everyone is going to be able to print this in a single go. Sometimes, even if you have the perfect support, things are going to fail, and you of course need to troubleshoot and see what's going on to make sure that works the next time. Just keep that in mind. We're going to be placing supports on this section over here. This is the support section. The support section will allow us to play supports for the whole element. Now, when we enter the support section, the first thing you're going to notice is that we lose all of the movement, translation, rotation things, and we get this red color. The red color are the areas that Chitubox is detecting that it's going to need a support to print onto. Imagine that we eventually will reach this layer right here, like this one right here. If we reach this layer, we're going to need to print this section right here. But this section is really far apart from the main body of the element. You can see there we have something called an island. That thing right there is called an island. An island, it's a piece of pixels that we're going to be exposed. They're really far away from the main mass. Therefore, there is a risk of this thing failing and not printing anything that's on top of it. Now, I was actually a little bit smarter. I did this on purpose without telling you guys because I wanted to get to this point. I modeled this thing in such a way that we don't get as many islands. You can see that everything converges into a single position. But for instance here, right there on the little corner on that point right there, that's an island. We're going to need a support right there. We're going to need to place supports in a lot of different places. Now, before we jump into actually placing the supports, one thing that I want to talk about is the base of the object. As you can see when we're here, the object is straight like on the plate. But when we press this button right here, it gets elevated five millimeters up into the air. Why is this? Well, usually you don't want to have everything pasted onto the build plate because this creates a lot of pressure. If you solidify this resin on the bottom of the butt and then bring the build plate up, you're going to create a lot of suction forces. That's the things that's going to rip the element of your build sculpture from the build plate and your print is going to fail. That's why one of the first advice that I'm going to give you is try to never have super big shapes like this, like super flat shapes on your build plate because there's a lot of suction forces that are going to be happening here and that could cause some damage. What's the best thing you can do? Rotate your objects just slightly. It doesn't have to be that much. Just slightly like this for the first few plates or layers. Now when we push this up, as you're going to see here, when we start building, we're not going to be building the big shape at the same time. We're going to be building small shapes, and this makes it a lot easier to build the whole thing. That's going to be like the first thing that I'm going to recommend, like place your object in such a way that there's as little suction as possible so that we have a small layers at first. Once we get to the big layers right here, that's fine. These big layers, you can actually work with this. Now, if you want to be super precise, you can also try to move this thing and get the least amount of cross-section possible. Then this case again, it's fine. We can work with this. Now, resin 3D printing works in a very interesting way. In the filament 3D print, you have those little hothead moving around and drawing your figure. If you have seven or eight pieces right here on the plate and you have a filament through the printer, it will draw one and then move, draw the second one, move, draw the third one, and so on and so forth. They will take a long time to draw all of the first layer and then move on to the second layer. With resin 3D printing, one of the big things is that everything gets exposed at the same time. Every single object that you find here on the first layer is going to be exposed at the same time. That means that if we can save a little bit of time by adding more models, that's usually what we want to do. For instance, here I think I'm going to add the legs. I'm going to do the arms and the legs in a single element. Now, I usually like to keep the biggest volume close to the center because that's where there's going to be more strength from the build plate. If you bring this to the side, you're going to have a lot of suction on the side and that can also cause some failures. I'm going to keep it something like this. Now, do we need to rotate the legs? Not really. The legs are in a really good position actually. But one of the things that you want to do is you want to rotate them so that you get the most distance on the c-axis because that's the axis that you're going to get the most detail from. Now, you can see that here on the legs, we actually have a very obvious island. This one right here. Look at that. See? It's like an invisible pieces starts forming right there. What does that mean? That means that we're going to have some very long support coming from the ground to support that little section. But there's going to be a moment right about there where that section is going to join with everything else, and now we're not going to have any problems. Look at that. That's how all of these pieces are going to be built. Whenever you see these things combined together, that's perfectly fine. But when you start seeing the islands separate, during all this time, this island is still a separate piece. It's not until this thing hits the little element that they get all combined. Now, you can also see here that we have, what's the word, the overlap. It is actually detecting that this are two objects. But it doesn't really matter to us in the filament department because if we quickly slice this thing, even though here in the preview it looks like solid, on here on the screen, all of those pixels are going to get exposed as you can see there. It doesn't really know that they're different pixels. Everything, all of this pixel certainly is going to get, what's the word, exposed. We're going to combine both elements. Now, I definitely do want to add a little bit more support to the feet. You can also see that the feet, this another island. Right there, the toes are just going to start there. They're going to be born in that way very interestingly. That's another area where we need to be careful about. You can see this. That's the red that I mentioned. That's the suction places like, hey, careful there, we've got the suction and that could cause a little bit of extra tension to the objects. Just keep that in mind. That's it. We are going to be working with supports with these two guys. I'm going to click here. I'm actually going to stop the video right now, guys, because I want to show you in a separate video how to properly set up your supports over here. Hang on tight and I'll see you back on the next one. Bye-bye. 57. Support Setup: Hey guys, welcome back to the next part of our series. Today we're going to continue with the support set-up. Supports are one of the most mystifying things about the 3D process, because everyone has their own way to place and play around with supports. Unfortunately, there's no a golden rule for how support should be. However, there's a couple of advice that people give whenever we're building supports. First of all, we want supports to be hidden, similar to UVs when we're texturing. We don't want the marks of the supports to be really obvious. So it would be a bad idea, for instance, for me to place a support right there. Because more often than not, that support when we break it, it's going to create a little bit of a hole right there, and it's going to make the sculpture look bad. Now, there's three types of supports. We have this life support, medium support, and heavy support. They each have a different role to fulfill. Some people, I've seen videos around where they change the type of diameter, the type of stuff in here. There's a general tendency to try and minimize the supports as much as possible to make sure that they don't leave a mark and that you save as much resin as possible. In my personal opinion, I rather have a successful print, even if I waste a little bit more material on thicker supports, than have a failed print and then have to waste everything. That's going to depend on you of course. But let's start here on the bottom of the character. I press this thing here on CHITUBOX and we're going to start going layer by layer. We're going to see where the islands start to be born. So for instance, here we have the first island. That's the first place where our element's going to start exposing itself. This is the part where you want to add the thickest support. I'm going to select Heavy supports and I'm going to click right there. Now, this thing that's on the outside that's called the raft, This is like the base of the support. The first few layers are going to be really solid. Then we're going to get thin effects. We do want this raft because it's going to give a lot of support to our elements. Again, some people have found other types of rafts that are a little bit more efficient stuff. I like to stick with stock settings just to guarantee that my print is going to work instead of having to do it again and again and again. On the first contact point, I always like to add a couple of heavy supports. As many heavy supports as possible. Not too many, but just enough. I have a good idea that this thing is going to hold quite nicely. You can see right there. That one I know that that's not going to fail. That's going to be working perfectly fine. The supports are going to be built and then we're going to start building this thing on top of the supports. As this thing grows, the more and more sports are going to be supporting the thing. Now, you can see here that we have a really big thing, more and more islands are going to start moving. You're going to move along this line right here, and as soon as you see a new island, you add a new support. There we go. So that's a new island. There's a new island right there. That's a big island. When you move the element, you're going to see that black line, that's telling you where the main pressure point is going to be happening, where the main island is being born. I'm going to add, for instance, one right there, one right there, and another one right there. When you see more red again, that's CHITUBOX telling you, hey, the areas are getting a little bit tense right here. You've got a lot of space, a lot of form, a lot of resin. If you don't support that resin, you're running the risk of the whole thing failing. Again, since this is the bottom part of the thing, better safe than sorry. See that really intense point right there, better safe than sorry. I'll rather add a couple of more heavy supports all the way here on the base than have my sculpture fail and have to start over again. I'm going to add all of this supports. I know it looks like overkill, but believe me, again, I'd rather have all of the supports than have my sculpture fail. Let's go back here again. Let's add especially here those big black areas, those are areas where you need more support. Just to be safe for a couple more extra supports here and there. Just do it again. I'd rather have this waste a little bit more resin than have a lot of problems. Now, if resin is very expensive in your country and you want to save, then you can try and optimize this. Again, I prefer being safe than sorry. Now, everything's going to be building on top of itself, so we really don't need anymore supports. However, I do like adding a couple of supports here on the side. Even though they're not really adding any weight support, they help me stabilize the figure. They're going to be like small, simple supports here around the elements just to stabilize the whole thing, like the scaffolding of a building. Now we keep going and we keep going. All of this is building nicely. Everything is building on top of each other piece, no overlaps, nothing. Perfect so far, we don't need any more supports and loop. We got the feet. The fits are really important piece. It's really, really, what's the word. It's not only important, it's really fragile. We can't add a heavy support because if I add a heavy support, when I remove that support, we're going to lose all that details. In this case I'm actually going to use a light support. One light support for each toe. You can see when I'm at the light supports, what's going to happen is they're going to create the scaffolding between themselves. They're going to create this very nice strong pillar. Now, this very strong pillars might work, but I am going to add a couple more. Again, the light support, because I don't want to have or leave a strong mark on the foot, so that we get enough support throughout this whole piece. Now, I'm always scared about tiny, flimsy pieces like this one, so I might every now and then add just one heavy support. Like there on an area that I know that we can polish or send later on to make sure that works nicely. It's just one support right there. Maybe. I'm not sure. Let's try it with this one. I'm going to not use that one for now. Then we keep moving. We keep moving up. You can see there's a lot of weight here on the leg. The leg is a really important piece. There's going to be a lot of weight. I'm going to use more light supports throughout the whole leg to support the leg, because I don't want the leg to be just floating around. I want there to be enough support all the time. Now there you can see that it's trying to create this really crazy supports. That's fine. At that point, we should be good, because after this scaffolding gets created. Now we're going to get together with the leg. As you can see there's going to be enough support from other places. Again, better safe than sorry. I'm going to add just a couple more support to make sure that the scaffolding is working and the edges keep building. Now here also, that's another island that we got here. We definitely want light supports so that this doesn't break so much. So a couple of light supports there. This is why when we were doing the sculpting, I told you guys, always try to add a little bit of thickness, because thickness will give us enough place to set up the supports. If your is really thin, then the support is going to pretty much rip apart the whole piece and that's not what you want. Now it looks good. That looks like enough support. I'm still going to add just a little bit more extra support there. I'm going to add it on flat places like that one. Again, that's going to stabilize the whole scaffolding thing. I know that those areas we can send if we need to. Now those red areas, that's again, CHITUBOX telling me, hey, if you can afford to add a couple of more supports, I would recommend doing so because that's a really tense area that you might need some help with. I'm actually tempted to add a medium support right there. Again, just to help the whole thing a little bit more. That's it. We just keep going up. As you can see, we're not going to need any more supports because every single piece that's remaining is being built on top of another piece. So now after that little scaffolding gets created, there we go. Because at one point that little knee it's going to combine with the leg and the leg is going to be adding that extra support to the whole thing. That's it. That's pretty much it for this support piece right here for the legs and the base right there. We're going to go here. I'm going to save this. I'm going to save the project. I'm going to save this as GavalaLegs+Base, just in case anything happens and we need to go back. Now, this one, we've already rotated this, if you remember, I'm going to rotate it just a little bit more again to help with the cross section. We can move it just slightly to the side, so it's not as close to this area right there. We're going to go to the supports. Now, this one it's a lot heavier. A lot volume right here that we have. For this one we'll definitely going to be using a lot of heavy supports. Let's go to the very beginning of the islands, right there. You can see that a lot of places start at the same time. That's the first line of pixels is going to get created. We definitely need to support those. Then we get this whole thing. Don't underestimate the importance of the heavy supports on this area. Especially this first part is probably one of the most important parts of the process, like that. Now after that, we have all of this border. But it gets a little bit easier because CHITUBOX knows that we need a lot of supports. What I'd like to do with bases like this, really big bases, is I'd like to add supports all around the base, in a uniform way, a little bit more on the initial points and a little bit less as we get them away from the general thing. All around the base. Then again, starting on the uniform section, you can see how this thing is advancing just a little bit like a crisscross technique. Start like this. I know some of you, if you've done 3D printing before, you might be like, that's overkill, you don't need as much. I know. We can save a little bit of polygons here or elements. But since I'm recording this and I don't want this to fail, because again, as I've mentioned, it's more lost resin. I'd rather just make sure that this works. I'm just going to fill this whole base with all of the supports. We don't need as many as we keep going here. Like all of the supports should be more than enough to carry the weight. I guess there must be some specific formula of how many supports depending on the size of the element. But again, I rather be safe than sorry. We keep going. Here I'm going to observe, for instance, there I'm seeing this island right there that's starting. Probably needs a little bit of support. Since this is a big shape, I'll add a couple of medium supports right there, so that when that thing appears right there, we get a nice support. For instance there. This thing is also asking me is like, Hey, you might want to try adding a couple of supports there just to help the general construction of this thing. Some of my students, when I teach this information, they ask about automatic supports. They suck. Automatic supports are usually not really good unless it's a very simple model like a sphere or something. For more complex models like what we have right here, I strongly recommend that you take your time and place your supports manually, like all of those red areas where you see something there. That's again, Chitubox saying, hey, you might want add. Doesn't mean that you need to add, is just like you might want to add some supports right there to make sure that nothing fails. I don't think this is going to fail because everything is on the same mass. But this is just something that you might want to keep in mind. For instance there, I know that some of the nails will definitely need the support. Otherwise they're going to fail like there. Because if there's a pixel just floating around, that's definitely going to fail. Make sure to add something there. Now as you can see this one, it doesn't have enough time to go all the way down into the plate. It's going to support itself on another part of the project and that's fine. It's not a big deal. You might get a little bit of a mark there, but it should be working quite nicely. Let's go to that one as well. Nails always scare me, so I'd like to add a couple of extra points right there. Again, better safe than sorry. Careful there, for instance, this support, that's a dangerous support. Because if we keep that support, what's going to happen is when we take it out, we might break the nail. It might be the end of the world, like it's supposedly an undead dragon or something, so we're fine. But if we want to keep our sculpture as clean and as close as possible to the one that we sculpted then we just be careful there. That's it. That's the hand and those are the legs are ready to go into the 3D printing process. The final step before printing this thing is going into the Slice section. A slice will create the actual preview that's going to be printed on your printer and this is what you have here. Now, back in the days, we actually had to go like layer by layer and analyze whether or not there was something floating around. Nowadays there's indicators, so for instance here, as long as you see everything green, then I know I'm safe. For instance, there I see a little bit of red, that red shape is what I told you before, that's like a suction cup. It's a place that's going to create a little bit more tension. However, I do believe my supports are going to be strong enough to hold that pressure. There's another bit of there, another bit there, but other than that, we don't really see the problem, everything seems to be building quite nicely. Now, there's a couple of information here that we need to be aware and that we need to know what it is. First of all, this is the amount of layers that we're going to have. That's how many exposures we're going to have on our screen. Here we have the volume, how much resin we're going to be using. We have the weight which is how much it weighs, it's usually very close. Price based on how much it costs, technically, for me this would cost only $5 to print based on the fact that my bottle costs $50. Technically this base is only $5, but if I were to sell this, I wouldn't sell it at $5 because the time that the printer takes, electricity, alcohol, gloves and of course the investment for the printer itself, ZBrush and everything, that's not what you would charge clients this is what it costs to you. Down here, this is the exposure time that each layer is going to have, 2.5 is perfect, Lift Distance is perfect, Lift Speed is the one that we're going to change. Let me turn on the camera again just very quickly. We mentioned that we have this bill plate and this bill plate is going to come down, it's going to expose itself with the bat, and then it's going to pull up. That lift speed is how fast this thing pulls up to go and do the next layer. The faster the speed the quicker this thing is going to be. It's going to be like, exposing every single layer. But the problem is, the faster you take something out and you've probably done this when you take a Band-Aid, there's more pressure because you're ripping apart the layer. That's another point where sometimes prints and print jobs are going to fail. Because when you pull this out too quickly, there's not enough time to build up the enough force to really bring all of the exposed pieces back into the build plate. My recommendation is to bring this lift speed down to something like 40. Yes, this will increase the time, you can see here when it was at 80, the print time was going to be three hours and 49 minutes. If I bring this all the way down to 40, I'm going to say 50, it's going to be four hours 52 minutes. Yes, it's going to be a longer time. However, even though it's a longer time, it's going to give you a better result, I think it's going to fail less. Here even though I'm going to go all the way down to 40. I'd rather have one extra hour or 40 more minutes and again, make sure that this thing works. Maybe 45, let's start 45, we get five hours, five hours of a print job. That's it, we just saved this file, I'm going to save this on the STL file. I'm going to save this GavalaBase+Legs and hit "Save". It will write the file. The newest Chitubox I'm using 1.9.2, it's really fast of a couple of versions ago is really slow. There are other slicers, these are called slicers and all of them are good. However, again, I'm using Chitubox because that's the one that works the best with Elegoo Mars. That's it guys, I'm going to stop the video right here and in the next one we're going to talk about the supports for the head and the body. Hang on tight and I'll see you back on the next one. Bye bye. 58. Main Body Support: Hey guys, welcome back to the next part of our series. Today we're going to continue with the main body supports, and this is where we left off. The supports are now ready to be printed. I already saved this file, so I'm just going to delete these things and import the new elements that we need, and we need Gavala head, and we need Gavala body. There we go. These two pieces are a lot bigger, even though they're a lot less dense. They're not as heavy, we're probably not going to be using as much elements or ink or resin, sorry. But they're a little bit more intricate. We need to be way more careful with this one than we were with the other piece. Let's start with the head. I'm going to move this thing to the side. Well, now actually, let's start with the body first. Since the body is really, really important, we want to find what is the best angle to print this without having to use as many supports. Usually, you want things to be in this triangle fashion, so going from a larger area or volume to shorter volume. In this case, I think we can rotate this thing a little bit like this. That way the hand is pointing up and this fingers are not going to need as many supports as the rest of the pieces. Now, the problem here is that the skull is going to be holding a lot of the weight, so we're going to have to be very mindful with the amount of supports that we have. I think I'm going to keep this here in the center, roughly above there. The head is going to be at this position right here. Now, the head right now, this is not the best way to print the head. Why? Two reasons. First of all, most of the weight is up here, and even though we can create a nice scaffolding all around the character, that's going to create some problems. Second, we have a lot of empty space here underneath the head. Technically or preferably, I would like to print the head the other way around, like this. Now, this does come with a couple of issues. The issues here is that we're going to get the marks of the supports on the bottom part. We can try both. Now, that I think of it, it might not be a bad idea to try it the other way around, so like this. Well, you usually want to tilt things back so that the supports are on the backside of the character and we don't see them as much, so there we go. Now, let's start with the supports here with the head. I'm going to click the head and we're going to start right here, all the way down. Unfortunately on this one, we can't do heavy supports because we're going to break the braid. We're going to start with medium, or I'm going to start here with medium supports, I'm going to add one, two and three medium supports. Those are going to be the basis of the whole thing. You can see that's where the islands start to appear. Maybe a couple most like medium supports, to be honest. Now, the cool thing of this is on the border of the braid, so again, I know that if we get some marks, we're going to be able to clean them up a little bit easier. There we go. After that, we're going to try and do everything with light supports. Especially here, the dagger weapon, I'm going to add more supports all the way throughout the braid. It's our life support, so you can see the scaffolding building there. There's an island there. I totally know that there's going to be an island there. Let's add one there, one more there, one more there, support like that. Super thin area definitely needs a support. You can see how it's building there. I'm going to add the one there on that flat area again to stabilize the whole thing. Because since this is a very flimsy thing, flimsy things also tend to wobble, and when they wobble, they can lose some details well. You want to try and support this. You can see those are small little supports that we can add to the element. Those are easy to get rid of with pliers. I'm a little bit worried about that face right there, let's see how it's born. See that? It's a lot of area. Now, the good thing is since this is tilted, we should be able to insert a couple of support, they go in an angle, you can see that angle right there. That should help the whole thing. I'm tempted to add one heavy support down here. Again, just for caution, just a couple of heavy supports there to help me with the loath. There we go. We keep going. Now, this curve, we don't need as many, but then up here, you can see that we're going to get more islands. We're going to start getting some islands there. Here we definitely want to add supports, create another nice little scaffolding. As you can see, it's smart enough to go through the object. It's not actually like going into the object itself, and we're creating enough support that we should be able to hold all that weight. Then here we start seeing some of the the main parts like that part right there. I'm going to start with a medium support there, maybe a couple of mediums should be more than enough. Here's going to get tricky because I don't really want to go right there on the point because it might break it. But I guess we're going to have to. Let's go there and let's go there. Then boom, see that? We immediately get this huge part right here. We definitely need supports there, same for this. Especially on the inside part of things which we're not going to be seeing as much. Try to add your support so that we stabilize the pieces, because they're heavy pieces and they're heavy pieces that don't have a lot of support. They're just floating around, there's going to be more wobble. They can get deformed, and that's not what we want. We really want to build this really strong scaffolding around things. Even if we get some marks there, we can later on again send them, fill them in little bit and we're going to be fine. Here I see another big chunk of transition, let's add the supports. Here we start getting some new islands, let's do one support right there. Well, that's not the chin is another piece right there, fairly here or something. See, that's another big island right there. Let's add a couple of supports. Now, I'm not so afraid of those islands because I know that these islands are going to immediately or very quickly merge with the rest of the elements with all of this overlaps and stuff. All of these pieces are going to have some support and I don't need to worry too much about them. But again, the phrase that I've been saying quite a bit, better safe than, sorry. Again, I rather over support something and waste a little bit more resting that I have than not support enough, and I have to start over again. Because when something fails, it's not only that you're going to have to clean the printer and clean the prints and clean the build plate and everything, you're also going to have to go back here, sometimes coming all the way back to ZBrush and change things to make sure that they don't fall. This looks good. Now, again, most of the supports are hidden, which is great. The nose, that's a little bit aggressive, we might want to add just one light support there on the nose. That one actually, I'm a little bit unsure because I don't want to waste or I don't want to affect the face. Now we're good. There's enough geometry. Now, here we have the crowns, which again you can see all of the overlap. Right now we're seeing the overlap again. Fluorescence 3D printing, I'm not that worried. Sometime on filament 3D printing, you might get some issues, with fluorescence 3D printing I don't care that much. Now here, since these are really thin, the crowns are really thin. We definitely need to add the thin supports and we're going to need quite a bit of supports here. Especially the problem with this ones is that they are in pretty much in the 90 degree angle, so all of the pixels get exposed pretty much at the same time, like for instance, on that border right there. We do need a little bit more help. We're using light supports on all of those areas. You can also press your Up key on your keyboard. As this thing starts building that you're going to see. I hope far apart the supports are, for instance, this piece is a piece that could fall, so I'm going to add one support there. That looks good. But if we want to be safe, maybe one more there. We're going to have to be very careful, these are really small pieces. Hopefully, they don't fall. Once that support and everything emerges here together, then I'm not worried, all that things just fall or get build nicely. Let's go back here to the front crown, you can see all of the island they is just popping into existence. For each island, we're going to need a thin support, maybe even a couple there. There we go. That should be good for the crown there, let's go back here to this area right here. Again, just small supports enough so that this things are not wobbling as much. Try to get them on the flat areas. That's also going to be helpful. Let's go to the other side. I'm sure there's no red color. There may be just a little bit more support. That's what angling things really helps, because things support each other, and we don't have as many issues. Actually, this might be obvious now that we're in this final step. But the reason why I asked my friend to do a lot of these flat surfaces is because I knew that those were going to be easy to support as well. From the very beginning, the design of the character also had a little bit a couple of choices that made a lot easier to make sure this was going to be a success. Now I'm going to be a little bit more aggressive with light supports here on the hair, just because I like to stabilize the whole thing. Because again, I know that this is a heavy thing. I might even be tempted to go here to the inside, and throw in just a heavy support even if we don't need it, just to have a big chunk of resin going through the very center of the object, and that way we shouldn't be worrying that much. Now, if this fails, well , we're going to have to do it again. There's no easy solution there. That's the head. Let's save this real quick, save the project. We're going to call this GavalaFace+Body. Let's jump now onto the body. The body is going to be a little bit complicated or a little bit more difficult. Well, first of all, let's move this body to the inside. That's a very weird raft. Did I click something? Let's just remove all. There we go. That's called a raft. Sometimes instead of creating these escapes on the object, we create that raft, not something that we want. We're going to start with the skirt. This skirt's going to be the first thing, and fortunately, this skirt has quite a nice thickness to it, so it should be fairly easy to find the initial points of the skirt like this, and get our supports right there. Pretty much using the borders, the thickness that we have for the skin instead of zeros, we're going to start building up the supports for the character. These are not going to be the main supports. This skirt's going to have its own supports. But you can see this like S shape building. Now here, there's a lot of things. If we place the supports on the corner of the thing, one thing that's definitely going to happen here, we're going to break that. There's no way to avoid breaking it. Again, I'm not super worried about that because we can just sand it and make it look a little bit cleaner, it's just going to be a millimeter that gets cut, and since we have the rustic-looking cap, we're good. But just keep in mind that, yes, we're going to break a little bit of the pieces. That's one of the bad things about this method, about 3D printing, supports will damage the structure a little bit. This is where I know some people like to play with thinner supports or different cone connections. I respect that. But since this could be one of your first 3D printing experiences, I'll rather you guys have a successful 3D printing experience rather than an optimal one. Then as you get better and better, you guys can start experimenting with a better effect. As you can see, I'm adding a lot of supports here to all of the surface, and not because it won't build on top of itself, but because it's such a big surface that if we don't have the support, again, it's going to be wobbling, and wobbling can cause deformations, and then things are not going to match perfectly. Same thing here, let's just add a couple. As you can see, I'm adding them on the inside of the element, so that we don't have to deal with any problems. I know that the skirts, they're going to be built a nicely over there, all of the supports and everything. I might add a couple of supports here, I think that's going to work perfectly fine, and then the legs. The legs here, definitely, we need some supports, because otherwise, we're not going to work. Let's go for heavy supports, and that's why this cut here is also really important. Now for these ones I do recommend getting inside of the cut. As long as we touch the geometry, we should be fine, but if you feel unsure, just add some light supports on the very border. On the first little polygon, did you see there? Then the medium support is going to help you, or the big support. Let's set some heavy supports. We don't want to touch the border, or we want to avoid touching the border as much as possible, but we do want to have a really powerful bit. Especially for the body because even though there's not a lot of mass, it is a little bit more complicated. Those I'm not too worried about. Let's go here as well. Again, very close to the border, a couple of big ones, and let's add some small ones, especially for the first few pixels that we catch something, and after that, we can continue adding some big strong supports right here for the element. Like that, I can see an island there. Make sure to catch all of the islands. That's an island. I sometimes also like to go from the top, and you can see how islands appears, for instance, there. If you go from the bottom there is a filter that deletes the support. You can see, so look at that how much like islands we get there. Make sure to add some support there, because otherwise, the pixels are going to appear, but there's not going to be anything to support them and we can get into some issues. There we go. Now at this point, there are a couple of floating bits and pieces. Definitely, let's work with the light supports. For instance, that one is a light support. I'm not too worried about those pieces, because pretty quickly they're going to be combined with the rest of the elements. Also, as we've mentioned before, there's a little bit of light bleeding. The exposure will hit a lot of polygons at the same time. I'm not too worried about that problem. Because very quickly they're going to be joined with the leg, so they're not going to need as much support. Just to be safe, let's add one more support right there, and that's it. Let's keep going. Same on this other leg, let's see if we need it. See how those are immediately joined to the leg. That means that we don't need a support, maybe one for that one, another one there. Let's go back here, we already have it. There we go. We can see a couple of things over here. Now, these are a little bit heavier. So either add more polygons here. Let's see how they started building up. This is the hip armor, it seems. We can definitely tell that this is a floating piece. We need a little bit more support, so just go here on the side of this whole thing. Let's watch that. It does appear a little bit aggressively. Same thing over here, you can see how it just appears. We just need to fill all of this in. It's building up, and this is my favorite moment. When it touches something else, and then I know that we're going to be safe because once it touches another piece, all of the things get merged together. That's like DynaMeshing themselves. Like this thing, I'm a little bit worried, but then boom, right there, it touches the leg and then I know, perfect, we're out of the woods. I'm going to be certain that things are just going to work from there, because we've managed to hit the proper part. But before that, I can make sure that there we have the support. There we go. At that point, we just merge everything together. Remember, when we were modeling things and I mentioned the negative spaces that we need to be careful about. That's exactly why these are important, because all of these negative spaces, they're going to need way more supports, and not only is the process is going to be a little slower here for the preparation, but we also need to make sure it doesn't fail. Here we go. Again, I'm just waiting for the magic moment, there we go, where it just merges with something else, and then I'm confident that things won't fail. Because once they stick together, then we're fine. Back here, we have more wings, it seems. Now see how these wings are actually like they're being born from something that's already stuck together. Even though that's happening, I'm still going to add a couple of supports. Maybe not there, because that one should work fine, but everywhere else. There we go. We'll just keep going, and now we're going to see the arms. But I'm going to stop the video right here, guys, because we're already going over the 20-minute mark. You can see that the support setup can definitely take a little bit of time. Take your time, and make sure you don't miss any spot, because this is super crucial for the whole 3D printing processor. That's it for this one, guys. I'll see you back on the next one. Bye-bye. 59. Final Supports: Hey guys, welcome back to our next part of our series. Today we're going to continue with the final supports of the body. Let's go. As you can see here, we have a little bit of tension on the skirt, just a couple of medium supports there to make sure that this is not full. Now, this is where the fun begins, because as you can see up here, we have the arm, like the hand. Most of the fingers are going to be building on top of themselves. That's good. We only need to make sure that the base of the hand here gets most of the coverage first. I'm going to play with some medium supports, especially on these initial areas, because it's a lot of weight that we need to support here on the hand. Especially here on the big areas, we can go for medium supports and then on the small areas, we can grab some small supports, of course, to support all of these little pieces. For instance, that crystal right there. That crystal right there, I'm a little bit scared that one because it's floating so it's going to break. I know this is going to break. Well, unfortunately we need to get it there otherwise everything else is going to fall. A couple more supports there. That should be more than enough. Let's start getting this thing higher-up. Now all of this thing, like all of those places, I'm going to go with medium support. Again just to make sure that there's enough support on the weight, because the weight of the pieces is also one of the things that makes things fall or not fall. So all of that support is important. One thing I'd like to do is I'd like to add a couple of light supports on the sides of things to stabilize because otherwise we get a very narrow effect and that's not great. Let's go here to the finger, finger armor and I can see we're going to need a couple of light support. Let me go with my trusty arrow keys. We're going to need a couple of supports here and there. I've seen some people use super tiny supports as well. You can change the contact diameter here. I think I'm actually going to try it here. Let me Control C a couple of times. You can see here on the light supports, if we go to the top, the contact shape is none, the contact diameter is 0.5, contact depth 0.3, we can lower this to 0.25. What's going to happen now is when we add the supports, they're going to be slightly smaller. Let's go here as well. Let's go 0.15 for instance. They're going to be really tiny. That could help, make sure that we don't break them as much. Just be mindful that since these are really tiny pieces, like look at the tiny pieces here. These are definitely tricky parts. We need to be very careful to make sure that we're supporting everything. We don't want to overdo it. Because remember if we overdo it, then we're just going to contaminate the piece a lot then it's not going to look as clean. We could also cut the hands off and do them separately. That could be another option. Not my favorite option, but it's definitely an option. Again, let's just take a quick look. I'm trying to define islands that are not supported, like small pieces of pixels that are going to get exposed and they're not being caught or cached by any piece, but so far things seem to be looking clean. That looks good. Let's keep going over here. Let me just quickly check the bandages here again, make sure that there's no, there we go. I can see it right here. A couple of islands. Make sure you don't miss any island. If you miss an island, that thing is not going to get supported and it's going to fall. You're going to get a flat piece of model there and that's not what we want. There we go, see that? Boom. Let's go for a medium one. It's in a very hidden piece or part right there. I'm going to show you a nice little trick here. If you can't get a support be where you want it to be just get this one. I get one of them and then you can go to Edit support and you can just edit this piece and move it to where it's supposed to be going. Just make sure that, let's go in the middle. For instance, this one right here, I'm going to go with the lower diameter. Let's go 0.5 so that we have this long line. It's tricky but it can work. Now let's go back to adding supports. Just a couple of supports right there, small supports. Guess I'm not too worried about that one because I know that eventually it should touch the body and merge. There we go. Let's keep going. Keep going. There we go, start seeing another big support right here. Let's go with middle or light supports. Just a couple of supports here and there. Over here. That's another piece of armor That's going to be supported to its own body. That's fine. Just going to be for a little brief moment. Here we go. Let's add one more there and then we got those things get together, so that's fine. I'm just going to go down here to check if the bandages are not touching. They don't seem to be touching so just adding a couple of supports there could be helpful again it's more stability to the whole thing. Same thing here. If you see areas that you're like this definitely needs some support or something just add it. These are really small supports. You're going to see once we remove them there. They're not that big of a deal. Again, I'll rather have an over supporting model than a fail model. Looks good. There's another bandage there that needs a little bit support. See that one. That's an island. Got to be very careful with those islands. Make sure to check every single square inch of your character. Don't rush this part. Because all of the work that we just did inside of ZBrush could get lost if we forgot to support certain areas. Since that one is really close to where I want it to be, but it should be a little bit lower, so I'm going to edit this. Just move it down. Definitely, support there. Look at that like super, super thin just floating around like that thing right there. We definitely need support. I'm having a hard time trying to find the support there. Let's rotate the camera because it doesn't have any contact. Everything is going across it. This is why I mentioned that some of these pieces, it might be better if we print them separately and then just stick them together at the end. But we're already doing this, so it's going to be a little bit difficult to go back. Here, we can use the other technique that I showed you guys, which is find a support that works, like a place where you can actually support , in edit sport mode. There we go, so 1, 2, 3. I'm a little bit worried about that piece. I'm not going to lie because it's a very, very thin piece that's literally just floating around. I'm not even worried about the fact that it's going to break a couple of borders. I'm just worried about the fact that it's a super-thin piece, and it does take a while for it to merge with something else, like right there. Just for the sake of safety, I'm going to add a couple of extra support here on the inside. Again, for stability sake, even if we need to add just a couple more there because I definitely don't want that piece to fail. Then we have the same piece, but over here. There we go. One little support there on the arm, another there on the inside. The bandage, I'm not too worried about it because they're coming with the body. As you can see there, they're very quickly matching with the body, so not that much of a problem. Those are the ones that scare me. These ones, there and there, there. Those are so tiny. For instance, there's this piece right there, but it's coming from the body. It's connecting on itself and self and self. Even though it's really tiny and really thin, I'm not worried because everything is just connecting on top of each other, on top of each piece, here just to again help me with some stability. We can add just a couple of elements there because of course the arm is heavy. Everything there, I'm not worried, not worried, perfect. Don't add support if you don't need them of course. There we go. That's what you're getting some islands. That's perfect. You can see everything's building nicely on top of each other. Just one there. That's fine. I think that's the pinky finger. Since it's curled up and looking or pointing down, definitely add a couple more supports. Even if we break the little nail, again, I'd rather have that there, there, there. Ninety-degree angles are the bane of supports. Those are the most tricky parts of any support, the 90-degree angles because it's such a long flat surface. But yeah, this seems to be working fine. Let's just check back here. That one right there. That's why spiky things are always tricky. I think that one we can actually get away with. Not that one. My best advice for this part of the process, get yourself your favorite drink, put your favorite playlist, and just be patient because it definitely takes some time to get it there. Now I'm not that worried, it's just a couple of pixels and then we get this, so not the end of the day. This seems to be working fine. I am going to add just one medium like support in a couple of strategic places around the arm again, just to make sure that we have enough coverage pretty much everywhere. Same for the cape down there. I know that's going to be like a heavy cape, so I'm going to add just a couple of big supports on the other side of the cape. At this point, it's time to prepare this for 3D printing and pray to whatever God you believe in because at the end of the day, even if you do an amazing job here with the support, sometimes things are not going to work. Unfortunately, there's no easy way to say this, but you're going to have to just do it again and find where the error was. Hopefully, we don't get any errors on the printing side of things so that I can show you the whole process. But if we do, then that's going to allow me to show you also how to fix the issues. With this, I'm pretty much showing you guys how to prepare everything in the best possible way. I'm just going to slice this thing. Let's wait for the slice to finish. We're going to reduce this to 45. Eight hours is going to be the longest one. It's not a lot of materials, you can see, it's 51 milliliters, so it's not a lot of material, but it's going to take quite a while because it's taller, it's 2,600 layers. It's going to be body lost face, and that's it, guys. Now the only thing I'm going to do, every single 3D printer comes with a USB drive. I'm going to save this file that I just got from a toolbox. I'm going to save those files into the USB. We're going to jump onto the next part of the process, which is the actual hardware part of the things. I'm going to show you my workstation. I'm going to tell you which materials we need, how to prepare 3D printed everything, and then we're going to start printing. Hang on tight and I'll see you back on the next one. Bye-bye. 60. Printing Process: Hey guys, welcome to this new chapter. We're going to start now with the actual 3D printing process with the whole machine. First of all, I want to go through the components. If this is your first time using a 3D printer, you don't need to know what's going on. First of all, safety, as always. We are going to be manipulating, a resin, and resin is one of the things that is toxic. It won't kill you, won't give you cancer or anything, but if it falls on your skin and you go out to the sun, it will burn you and it's a really painful so you don't want to get it on your skin. I've also read about some people that are allergic to it and they get skin rashes and stuff so be careful with that. That's why we always use gloves. Now, you have two options for gloves. You can use nitrile gloves which are better for industrial substances, or you can use latex. I recommend nitrile. Not sure how to pronounce that one. Yeah, that's it. The camera is going to follow me and this is your 3D printer. It doesn't matter if you have an elegoo Mars or any cubic photo or any of the other brands out there on the market. You're going to have something similar to this. When you remove the cover, you're going to have your a resin but, which is the little pool of resin where the resin is going to live. Your build plate, which is going to be tightened up here and of course your menu and you're of course going to need your USB drive. Now, if you look closely here in the resin but you're going to see that the resin right now is really dark. This is because I haven't used the machine in a couple of days and the resin needs to be mixed thoroughly for it to work properly. Never, ever mix the resin with a metal scraper. You're going to have two scrapers usually; one of them is going to be metal and the other one's going to be plastic. The metal scraper is going to be to get the prints out of the build plate later on when we finish the prints, and this one is the one that we use to mix our stuff. We're going to start mixing and as you can see, we get a nice gray color over there. You need to make sure to mix very thoroughly. There's a lot of chemical agents, of course, they go inside of the resin and you want to make sure that your resin is nicely mixed. This color, this doesn't work if you try to print with the resin looking like this, some of the materials will harden, but not all of them and it's not going to look nice. Now, well, that thing is there. This is the resin. Now I'm using just a standard gray polymer resin. If it's on the button, you of course want to shake your photo really well, and once you pour it into the element, you're going to see that we get that nice little gray color. That's the consistency color that we want to have on our back right there. I'm going to continue mixing here. I'm getting this thing ready for our print. Now, when a print fails we haven't talked about failed prints. But when they fail, sometimes they're going to get stuck to the FTP, which is the film that goes between the little poll here that you're seeing, and the screen, of course. Again, if you need to get something out of the film, you're going to be using this plastic scraper. Do not, and I repeat, do not use the metal scraper because a metal scraper will damage your screen. It will damage your film and you're going to have to replace it and that's not good for us. Now the resin is thoroughly mixed. That's going to work just fine. Right now here in Mexico, it's really hot weather like 30 or 35 degrees Celsius. You definitely want to print when the ambient temperature is high. If the temperature is low, the resin tends to fail as well. I've heard people say that as long as it's under 18 Celsius, you're going to probably get some failure. You might want to get a personal heater or something to make sure that the resin is working nice. There we go. Let's go back a little bit. [NOISE] When you clean your tools, you are going to be using something called isopropyl alcohol. This one right here. This is the one that we normally use for electronics because it evaporates really quickly and it's really concentrated. It's like 95 or 99 percent isopropyl alcohol. Now, pro tip, don't buy this at Amazon or eBay or stuff like that. Try to look for your local chemical plant distributor, like the places where you get all of the chemicals for the industry, and you can get this readily very cheap. For instance, this one, well it's four liters and it cost me 10 bucks so it was really cheap. [NOISE] Over here, I have two big bowls of plastic. One of them is what I call the dirty isopropyl alcohol and the other one is what they called the clean isopropyl alcohol. If I want to clean my little spatula here to get it ready for another use later on, I'm going to scrape it here to make sure that we're using as much or recycling as much resin as possible, and then we just give it a couple of [NOISE] movements over here on the isopropyl alcohol. I have this. This is just like normal kitchen paper. You're going to, of course, dry it out, and you always want to give it another go with the clean alcohol. Now, some people are very sensitive to the smells of the chemicals, either the resin or the alcohol itself, and if you want, you can of course, use a mask to just get rid of that. Make sure you are in a place with good ventilation. As you can see, I have a window over here so that helps with others so it's not asking tense. Now that my resin is ready, now that my build plate is ready, you're going to have two set up your proper heightened within. I can't really go over that because that will be only for my specific machine, but there's a lot of resources out there so you can check out to make sure that you get your level properly set up. Once your level is probably set up you're going to grab your USB stick get it in there and you're going to turn on your machine. My resin is thoroughly mixed this things nicely tied up, everything is tied up. We have enough resin, make sure you have enough resin. That's a very common mistake, especially with big prints. Right now, for instance, I'm going to go for the, what's the word for the base. For really big prints, make sure you have enough resin and its not enough to just measure. You guys remember from our element, we were going for 100 milliliters. It's not enough to just measure 100 milliliters and get it there. Since the resin is going to expand throughout the tray you need to have more than that. So make sure you have enough resin and then you're going to go to print and in my case, we're going to go for this GavalaBase plus Legs. We're going to be printing the base and that's it. We just hit play and this is where the magic is going to start. If you guys remember, when we were taking a look at the steps for the 3D printing process, the build plate is going to go down and it's going to start with the base layers. We have five base layers, and base layers are going to be exposed at 30 seconds each. Once that layer is done, it's going to go up, wait a little bit, go down again and do another exposure. After those five layers are done, then we're going to start with the small layers. Unfortunately, we're not going to know whether or not printed successful until about an hour in or two hours in where we can actually see this basically go high enough so that we can see that the material is being printed on. However, there's one thing we can do and I'm going to try and see if we can actually hear it, but when you print and when the build plate is going up, you're going to have a little pop when the element gets taken out of the film. I'm going to see if we can hear it ring out with the camera. I'm not so sure because the microphone is not that good. There you can see the plate going in, and over here on the little screen you're going to see the exposure in just one second. There we go, that's it. Those blue dots, those are the pixels that are getting exposed right now, if you look on this side of the screen, you're going to see that the UV light is being activated. It's that purple light over there. Hopefully, it's being seen on the video. After 30 seconds, which shouldn't be that long from now, I'm going to bring the camera closer to the back. Maybe we can see the pop. Let's wait just a little bit. Just a little bit more. There we go. There you might have been able to hear a little pop. I did hear it, so that tells me that we're doing good. That means that the things did stick to the build plate and now it's just a matter of waiting. This is the general process. I'm just going to go over the things that I recommend you have for your setup before we close this initial video. After that, I'm going to let this thing finish. I'm going to print the other one and then I'm going to see you guys back for the whole clean up and preparation process. Again, of course, you need your 3D machine once it's printing, I strongly recommend you place this back on top so that nothing like particles or anything fall in there. You're going to have one plastic bond or one station to clean. They do sell like this advance at washing station, but if you don't have money to buy one of those, don't worry, you can get away with one of these guys. One is going to be for dirty alcohol. I'm using this black list to remind me that that's during alcohol. One for the clean alcohol. [NOISE] You want to have your gloves so get yourself a box of gloves. Nitrile is the one that you want. Paper to clean stuff up your spatula to scrape things from the little bat. You melt a spatula to get things out of the build plate and your pliers. This is going to be to cut the support. Most of these come with the machine, but if you don't have them, make sure to get them as well and of course, do not forget isopropyl alcohol, super important. This the salts, the resin really quickly, and this is what we're going to be using to get everything out. I also have this little trash can and every single thing that gets touched by resin goes in here because the resident is toxic. To properly dispose off this, you actually are going to be exposing this to the sun so that hardens and then you throw it away. You don't want to throw it with the rest of the garbage because this is a toxic material. Yeah, that's it, guys. Now, as you can see right here we need to wait five hours until this is done. Make sure to come back like frequently, check that everything's in order and in five hours we're going to see whether or not this thing works. Again, as I mentioned, I'm going to make sure that this prints, I'm going to make sure that other piece prints and then once you have both of them ready, I'll show you how to clean them up. That's it. Thank you very much, guys. I'll see you back on the next video. 61. Cleaning Process: Start. Hey, guys. Welcome to the next part of the series. Today, we're going to be talking about the whole cleanup process of our piece. As I mentioned on yesterday's, yeah, well, it was yesterday because I was recording yesterday, but in the last video, the base and the legs are nicely printed. I'm going to show them as soon as we're done with this one. But I'm going to show you what you need to do once you finish a printing process, so follow me along over this side. Of course, first of all, we need to get a new pair of gloves. Unfortunately, we created a lot of residue, a lot of garbage when we were doing this process. There's some people that I've seen that they recycle their gloves. I don't recommend it because as soon as you get some resin on them, the risk of getting that resin on your skin can be quite high. The print is done. I'm going to turn off the machine just to make sure everything is safe. If you want, you can unplug the USB. That's fine. [NOISE] We're going to remove the cover and as you can see, this is how the print looks once it's finished. All of the supports are coming from the base and our piece is right there in the middle. From just this visual right now I can see that pretty much everything printed nicely. You can see the little hand there at the bottom and all of the pieces are working fine. Here's the process. First, I'm going to make sure my bottles are open. [NOISE] It's a very common mistake I make sometimes when I forget to open the bottles and then when I try to open them, I get resin all over the place. You don't want that. [NOISE] We're going to go with our metal scraper. We're going to be using this one, very important, and I'm going to unlock the platform over here, so just soften the little bolt right here and there we go. Be careful with the resin that's still on the plate because it can fall down, and it can fall on your skin. There you go, look at that, the face is looking amazing. The whole body, everything is looking fine. Here's where you're going to immediately see if something's wrong, if you missed a spot or if there's flat elements or anything. Right now I don't see things. I do see that a couple of things are really thin, so for instance, the crown over here, it does look a little bit too thin. Those are the things that I will correct for other versions of this piece. But yeah, everything looks nice. Very carefully with our spatula, with of course the sharp side, we're going to go under the piece. It does require a little bit of more strength to do my thing, and some newer plates actually are really good, and they hold the print really nicely. You might need a little bit more force that you're used to, but be careful because we don't want to break anything, so very careful here. There we go. The first part goes into our alcohol bath, and then the second part, which is the head, same thing, just try to find a nice entrance point because we want to be very careful. Don't apply too much force though because you could move the platform itself and that's going to change the way. There we go. Careful there. Those into that dirty the alcohol of bath. Now, I'm going to grab a nice piece [NOISE] of towel over here, and with the clean alcohol, I'm going to dip it in there, and I'm going to clean the platform. Make sure you clean the platform every single time after you're done with a print job because if you're starting a new print job, this thing has to be perfectly clean. Using clean alcohol right here, we're going to make sure to clean this thing very tough. You guys, remember, we mentioned this, every single thing that touched a resin is going to go onto a vessel garbage can right there because we are not supposed to [NOISE] mix it with normal garbage. Dry it out. Make sure the platform is nice and dry, and that's it. We're ready for the next print. [NOISE] You just get this in here, screw it back in. Make sure it's really tight up here. We don't want any wobbling and we [NOISE] bring that head back. At this point, you can start a new print job over here. Just plug in the USB again, select the file, and off you go. Now over here, since this is a big print, I'm going to add a little bit more alcohol, so we're just going [NOISE] to fill this bottle with more. I'm also going to add a little bit more over here. [NOISE] As I've mentioned in the last video, it's really cheap if you know where to find $10 for this whole thing, so pretty good. We're going to close the bar right here and very softly, we're going to let the elements soak there. People recommend about 30 seconds of soaking so that most of the resin gets off of the elements. Don't shake it. I wouldn't recommend shaking it heavily unless it's a very solid piece because it could break. You saw that we have some fragile objects here on our element, so we want to make sure that we are very gentle. Usually, the concentration of alcohol should be more than enough to get rid of the excess resin. [NOISE] Now that we're ready, let's start with the head. I'm going to bring the head here, and we're going to give it a second bath. But I'm going to start removing the support. As you can see, we have all of the supports over there and very carefully, I'm just going to start peeling them off. For the size of this sculpture, most of the supports, as you can see here are going to be peeling very easily to be honest. But if you're working with really tiny miniatures for Indian stuff like that, you might need to be a little bit more careful and some people will recommend using warm water. Warm water will soften the supports, and it will make it a lot easier. You can see here. We got a break. That's fine. I'll show you how to fix this. This is one of the problems that we get. As you see here. it's really thin, so we're going to have to fix this one later. Let's just keep adding or removing supports there. Let's remove the supports over here as well. Very carefully. [NOISE] There we go. [NOISE] Let's go over here. Let's keep this piece. I'm going to place this piece, the one that broke on the clean alcohol, so really thin, like a film which I'm actually surprised that we were able to print it. When things are really thin, sometimes they don't even print, but in this case, it worked. I'm happy there, I'm not happy that it broke, but that's again, the thing that we need to prototype and see whether or not they're working, that tells me that the initial sculpture inside of ZBrush was really thin, and we will need to, of course, modify that. Let's keep going here. Now you can see here, the little hair tail is trapped behind supports. That's where the pliers come into play. Because you don't want to accidentally break something that it's really fragile, so we're going to break the supports right there. [NOISE] Again with my pliers get that out and that way I can remove this whole section without damaging the hair. Got to be very careful. Right now this resin, by the way, it's not completely hardened, it's not completely cured, so we need to do another extra process before we're done. There we go. I'm going to break all of this big pillars right here. [NOISE] It's a little bit easier to get them out of the inside of the face. There we go. [NOISE] The face is looking great. Look at that. Beautiful. Really nice detail, really nice proportions, everything's looking good. There's just a couple of support here and there and you can see one there in the center of the hair, maybe. A little bit difficult to focus, so just go there with pliers, break it down. Now, this whole thing goes into our bottle. Let's go for the body. [NOISE] You can just give it a nice wipe there on the alcohol, and we can start removing things. Again, as I mentioned, most of the supports, especially the big ones, they come out fairly easy. Just be very gentle with this whole process. [NOISE] Especially in the fingers, we want to be very careful because things get really bad. That's it now. On the base here, on the skirt, those are relatively easy to get out. You can see how we're getting some nice little dots there, well, not nice. Those are the supports marks that I've mentioned. We can fill them in later on with a little bit of pressing, there's no problem. Careful there on the hand, there's lots of support on the hand, so we very gently we remove them. With just your fingers, should be more than enough. [NOISE] Now this one's, the ones on the bottom, they're definitely a lot tougher because those are the heavy ones. I've seen some people, and we've mentioned this when we were doing to support process. We've got a little bit of a break there as well. See that? Too many supports in that little triangle right there, so we got a little bit of the armor. I think we can leave them like that. It's going to battle damage or something. But that tells me that those pieces were a little bit too thin as well. You can see my [LAUGHTER] globe broke, supports are really spiky, so we can get that stuff happen. Just be careful. As I mentioned before, resin is not going to kill you, but it might irritate your skin a little bit. Now the legs there are floating, so I know that we can just be a little bit more aggressive here or if we need [NOISE] just break this with [NOISE] the pliers. [NOISE] There we go. That's the key. Remember, we did this key inside of ZBrush. Just clean the key, make sure that there's no garbage inside there for all of the supports, and [NOISE] that's it. That's pretty much it. Look at the level of detail that we were able to get. There's still a couple of supports and a couple of marks that we need to clean. Now, how are you going to clean those? Well, if you need to clean those elements, you can use a really smooth sandpaper to sand those all things off. Be very careful with pliers. We don't want to damage the resins scope because as I've mentioned, this is not completely cured just yet. What could happen is that you scratch it and stuff. Now usually paint will fix those scratches once we paint the model. But again, just want to be as clean as possible. That's it. Let's just remove some of the extra supports that we got here and there and things are looking great. Those marks right there, those are supports again, just a little bit of sanding, and we're going to be good. Very carefully get that into the alcohol bath. Give it a second alcohol bath right here. This is the clean alcohol, so we are ready to finish this. Now, one quick test that we can do here is the fit of the head, so we get this head right there. Perfect fit. That's again the key points that we did. You can see that the neck lands very nicely on the whole character, and we're ready to go. Now the camera is going to wait here while I get a little thing, just give me one second. [NOISE] There we go. As I've mentioned, resin needs to cure. There's two ways you can do this. You can grab these pieces and go outside to where the sun is and just leave it on the sun for a couple of hours, and that's more than enough, or you can get one of these things right here. This's a UV lamp. They use them for nails, on nail salons, and you can use this one to just give two minutes each piece on different sides and that's going to bring the whole element together. Yeah, that's pretty much it, guys. Our element is ready, our pieces are ready. The head is looking really good. I'm just going to do a little more clean up, a little bit more adjustments. I definitely need to paste this back. How are we going to paste it? Once this is cured, we're just going to use a little bit of superglue, and we'll just get this right there so that it's there with a fulcrum. Thank you very much, guys. This is it for this video. I'll see you back on the next one. Bye-bye. 62. Polish Process: Hey guys, welcome back to the next part of our series. Today, we're going to go with just a very quick video and you're going to see me here full screen. I just want to show you the final result. Here we go. This is [inaudible] . This is the final result that we have for our 3D printing course. Now I know that it was a relatively short chapter compared to all of the other ones. Printing is not that difficult. I don't think it's that difficult. But all of the things that you need to consider to make sure your print is successful that's a lot of information that we cover throughout the whole course. Just a couple of notes here. I was able to fix most of the stuff here with [inaudible] . Super glue is going to be your friend. I don't have my little bottle right here it's over there on the working table. Let me see if I can focus her a little bit more there. I've been having some issues with the autofocus thing here. Is it working? Sometimes it's like it wants to follow my face and it's just doesn't find this culture, no it's not working. I'm sorry. You've probably seen the photos as well. One of the things that you might realize it's a little bit difficult to see, but here on the legs, there's this little white line, white banding and my keys were a little bit too small. Remember when we talked about the keys right here, like the little square thing that was going to join the legs and the rest of the elements. They were a little bit too short. When it came time to get them there, to place them there, what happened was that they didn't fit perfectly. Even with superglue, there was still a little bit of a gap right there. Now, what's the easiest way to fix that gap? Super simple. You're going to grab a toothpick and you are going to grab a little bit of resin. You grab a little bit of resin, and you use a toothpick to get the resin on those little gaps. After you do that, you use a UV light or you go out to the sun and you wait for the resin to harden, it's going to leave a little bit the full lump that's very common, but at that point, the whole figure is like stuck together. Actually, a lot of people recommend like pasting the different parts of the character, not with superglue but with actual resin. It's way, way more resistant. At certain parts, I don't like doing that, but others say it's really helpful. Once that's done, you are going to grab a sandpaper. You're going to start with a high or low grit sandpaper like something like a 100 grit and you're going to sand it down a little bit and then you're going to go to 200, 300, all the way to a 1000, I would say will give you the best result. Make sure to use sum, like a mask when you do this because there's a lot of little tiny dust of a resident that gets like sanded out and that could be potentially harmful so just be careful there and that's it. Now, this base right here, this is just a wooden base. I bought it on a craft store. It cost me like 40 Pascals, which is $2. I spray-painted them with black to get those like a very, very nice base. As you can see, we have our 20 centimeters figure. It's really close as you can see to an action figure. I actually think it's the right proportion just as this is female and this is like a male action figure. This is a perfectly fine collectible piece for selling or for collection or for whatever you want to do with it. I mean, the whole detail. I'm going to of course be uploading photos on the description of the final result of this character. It's just really, really, really good. Now, what would be the things that I will change? Because you always want to ask yourself that question like, are there things that I would change when doing another one, to make sure that we improve? First of all, I will go a little bit thicker on certain areas, like you saw how there's a little part of the crown broke when we were taking these supports out. I will definitely make those a little bit thicker. I would probably change the position of the connections of the legs either higher or lower so that it's easier to match them and make sure that we don't have to sand down and do all that stuff. But that's how you learn. That's how you learn how which things are going to be working and which things you need to improve. The next step for this girl right here is to be painted as you would spray painted with some black primer or white primer depending on the colors that you're going to use. I really like using this technique. I encourage you guys to look it up. It's called zenithal priming, where you prime the whole figure black, and then coming from the top, you prime it the white. It's like a painting light with just a primer. That brings out the colors a little bit better once you start adding the actual colors and the bowl. Yeah, that's it, guys. This is the final polish. This is your final result if you've made it this far and you were able to print your stuff then congratulations. Now some of you might wonder, well, if I don't have a 3D printer, what can I do? There's usually a lot of services. A lot of people own a 3D printers and they offer the service to print them out. Get some quotes, make sure you get a nice, cheap one with good quality, of course, resonance is the best as you can see here because we can get just such an amazing result overall. That's it for now guys. I'm going to have where I'm going to add one more video. This is going to be or is going to have to do with rendering. Then after that, we'll be almost done with your course. Thank you very much and I'll see you back on the next one. 63. Rendering a Final Image: Hey guys, welcome back to the next part of our series. Today we're going to take a look at rendering a final image. This is an important step that I think a lot of people overlook when presenting their art work. They will do amazing sculptures inside of Cbrush. But it's always good to get a nice clean render outset of other softwares as well to just make sure everything shows in the best possible way. Once you're inside the Blender to see a new scene and I'm going to grab all of the objects here and I'm going to scale her down. Because if you remember, when we were doing the proper skills and stuff, she was really, really big to make sure that she, the box read it properly. But we don't need her to be super big here. I'm going to press G and C to bring her up into the ground. If we jump here into the camera, this is what the camera is currently seeing. If we were to render, this is what we will be seeing, but note, this is not what we want. I don't like the movements here inside of a blender as much, I'm a little bit more just to Maya. I'm using Blender again because it's free and I don't want you guys to be buying anything else right now. I'm going to go into View. I'm going to press the letter N and going to View. I'm going to change this option which is Camera to view. Now when we're navigating inside of the camera by pressing this little icon right here, if we move normally like on a Viewport View, we're going to be seeing the whole thing. That's it. As you can see, we can modify it and then find the perfect balance for this object. I want to have a little bit of wiggling room. There we go. I'm going to press this button again and we can actually select the camera. If we go G, we can just move it forward a little bit more. Just because I want to have more views of the character. Now I'm going to select the whole character here. What I'm actually going to do is I'm going to say right-click and we're going to join. All of them are going to be a single object that's going to just make it easier to modify. I'm going to Control D to duplicate this or just over here just copy and paste. Then this new one, I'm going to press a G and I'm going to press X to move it in the x-axis, and then G and Y to move it on the y-axis. Let's keep it G and X. Let's keep it right there. I'm going to Control C, Control V again and G X to move it to the other side, we want three copies of Gaval. Now, what we're going do is we're going to modify or move our camera a little bit so we can see all of the copies. What we're going to do is we're going to grab the main copy. Let's go select box, this one right here. I'm going to make it slightly bigger because I want this one to be the main shocked if you wish. So she's going to be slightly bigger. Actually no, rather than making her slightly bigger, I'm going to press G and Y just to push her forward a little bit. This is the composition that we're going to go for. We want to see the whole things like this. This one right here we're going to hit R, which is rotation on the c-axis and we're going to rotate her so that she's facing forward, like on a side view like this. Then this one, we're going to do the same thing G, sorry, R and C. We're going to rotate her to the other side. I think maybe this one is going to be to the back. Let's go back to G and C. Sorry, R and C, something like this. I'm tempted to move this guy a little bit more to the side, same for this one, G, X to move them to the side and that's it. This is the composition that we're going to have, this is our final render, one of the final renders that we're going to get, we can get the multiple renders. Now we need to set up the lighting scenario. Again, there's a lot of ways to do it. I love using something called HDRIs. We're going to go to a place called Poly Haven. Here at Poly Haven we're going to browse our HDRIs and I'm going to go to the studio setup. I want a really clean, nice, soft studio setup. We're going to go with this studio small. We're going to download this file called an EXR. EXR are really important, so if you've done render before then this is not anything new to you guys. But they're really, really important, it's because there are going to allow us to work with light information inside of the image. Right here, it's on the reference folder. What we need to do is we need to go to the World setup and under Color, we're going to insert an Environment Texture. On the Environment Texture we're going to open. If we go to our reference here, we're going to have this studio small and hit "Open." Now what's going to happen is we have the studio right there. If we jump to this option which is Viewport Shading or even this one which is the Main Shader, you guys are going to see that we're now inside of the studio and the statutes are receiving light as if they were right there. I'm going to delete the light that it originally comes with. There we go. Let's go back to normal shading and let's create an infinite background. This is going to be very important to cast some nice shadow. I'm going to press Shift A, Mesh, I'm going to create a plane. The cursor is right there. I'm going to press Shift C that's going to bring the cursor back to the center of the grid. Now when we create something, Shift A and create a plane we get the plane on the ground. Perfect. Let's make this plane quite big. Something like this. I'm going to press Tab key to jump into components. I'm going to press Number 2 to jump into edge mode. To select this edge, I'm going to press E and C to extrude this edge on the c-axis like this. Then I'm going to select this edge again. I'm going to press B to bevel it, sorry, Shift B, sorry control B to bevel it. Once the bevel is done, I'm going to change how many segments I want to get a round effect for the grid. I'm going to press Tab again to go into Object Mode, S to bring this closer. Then we can press S and X, for instance, to create more of a wall. What I want to see here is when we look through the camera, I only want to see the background like this. Maybe when the camera is slightly up there we go. Now on this guy, I'm going to right-click. I'm going to say Shade Smooth so that we don't see the border back there. Now, if we hit render as you can see we're inside of the object, we're not seeing the shadows though. In order for us to see the shadows, we need to get the proper render. If I say Render and we go Render Image, what's going to happen is we're going to be rendering the actual image. Now this is what we're going to get. The first thing I'm noticing is that we have a lot of light on the scene and that's of course killing some of the shadows that we would expect to get. Another thing that we can do is we can go here to the Options and right now we're rendering with Eevee. Eevee is good but this is good for a real-time rendering. We're going to change this to Cycles, which is the pro-version. Under Device, I'm going to change this to GPU Compute so that it uses my GPU. Now if I hit "Render" and render the image again, since Cycles is a ray-tracing render, it will actually give us the proper shadows and the proper effect. Look at this, beautiful. Look at the amazing detail that we're getting that's really, really cool. Now there's a couple of settings that we can change to get a cleaner image of course. One of them is the light. I think the lights right now it's a little bit too bright. I'm going to go back to the World and on the Strength, I'm going to change this to something like 0.7. Now if we render again, there's not going to be as much light and therefore we might get a little bit more contrast. That looks quite nice. We have a very nice soft light coming from the side. It looks like this, it's made out of some clay. Now the material, I don't love the material, I'm going to stop this one. Let's close this real quick. There's a couple of things I want to change on the Render settings actually. The first thing I want to change is I'm going to change the time. On the time limit I'm going to say 20 seconds. I just want this thing to render for 20 seconds or until it hits this thing called the Noise Threshold, that it's at 0.01 right now. I also want to activate the Denoise. I'm going to activate Denoise right here. It's going to be automatic Denoiser. Now, again, when we render image, not only will we get a faster render because it's only going to take 20 seconds. But eventually there's going to be something called the Denoiser that's going to kick in and it's going to clean all of this dirty noise that we have all over our scene. Let's just wait for this to finish shouldn't take long. Once it's done right there, there we go. A couple of seconds later the Denoiser should kick in, there you can see how clean it looks now. This is what we're going for, this is what we're looking for. This is very nice, clean render. I'm going to go back here. There's a couple of things that I want to change. First of all, I want to change the material. I'm going to go down here to the material setups and I'm going to create a new material. I don't want to use white as a material because white tends to be very flat right on our colors. We're going to go for a middle gray color. I always like to add a little bit of color. I personally like this reddish clay-like material. That's it. Now, if we go to the objects here, we can go into the materials that we have and assign the material that we just created right there. Go here and assign the material, go here and assign the material. Right now we're not going to see the material, but if we go for instance to this one, you're going to see that everything changes. Now on the original plane, I don't want that material so I'm going to delete that one. Actually, I'm going to create the new material for the floor but let's go for a mid gray as well. There we go. Now, if we go back to the original material 001 we have a little bit of specularity and a little bit of roughness. If we want this thing to be really shiny, we're going to bring the roughness down. That's going to give us a specular, wet material which is going to be a little bit closer to marble or something. Let's render the image. As you can see, this is what we get. Look at that. Now, since we have a little bit of a darker material, we can appreciate the details way more and we're going to get really nice effect. Look at that. Even the little glossiness that we added, I think it really helps sell all of the details because we're picking up the detail on the advantages and on the different parts of our character. That's the denoiser kicking in, and as you can see, a lot of our detail gets resolved, and we get this very cool effect. Now one of the main things that I always tell my students about rendering, is you always want to push it a little bit more than you think. What do I mean by this? Right now, yes, we're using an HDR and it's giving us a nice result. But if we add our own lights, that's also going to give us a really cool result, and it's going to allow us to again, push the object in a better way. I'm going to press Shift A, I'm going to add a new light. I'm going to say this is spotlight, and I'm going to press "G" and "C" to move this spotlight up, and then a G and Y to move it forward like this. Maybe a little bit more because this is the centerpiece, the main piece that we want to get. Now technically, we can go here to this option and it's going to give us a real-time rendering. If your computer is strong enough, you can actually get a really nice result. For instance, here I'm going to increase the power to something like a 1000. We should start seeing maybe a little bit more. Let's increase the radius. I'm actually going to go to eve right here just to play around with the things. This is the size of the light. That one looks good. Let's see what else. The cone angle? No, the cone angle seems fine. Let's go back to rendering here and maybe we do need a little bit more. Let's try 10,000 watts. There we go. That's what I wanted to go for. As you can see, now we have this very nice light going in the anterior character. I'm going to increase the cone angle so that we hit a little bit of the other ones, just a little bit like this, and then the radius, again, it's going to be the softness of the shell. We have a really low radius, the shells are going to be really harsh, and if I increase the radius, the shells are going to be a little bit softer. I'm going to increase the radius a little bit. There we go. Let's go back to if preview right here, and then now we render our image. Our render is going to look a little bit nicer because we have an extra light that's giving you this very nice, intense look. Look at that. Beautiful effect on the whole statutes. I really like that one. Looks very nice. Again, after 20 seconds, the render is going to stop and the denoiser is going to kick in. Now then the cleaner your image, the nicer the denoiser is going to do its job. Right now you can see the denoiser is really smart and it cleans the scene quite a bit and it gives us a super cool result. But if we want to really get or let this render do a good job, we can go here to the render options, we are using GPU to compute this. I mentioned we're using the lowest threshold, but here on the time limit, we can say, "You know what, give me 60 seconds." Go all the way to one minute and sample this as much as you can to get the best possible random. I'm going to go back to the light. I think we can increase the intensity a little bit. I'm going to go to the light options right here, and let's say 1,500. There we go. What? No. Just render and render the image. Now the delight is going to be a little bit more intense and we're going to get a really cool effect right here. Like a spotlight, you can see the soft shadows there. Again, since we're letting this thing run for up to a minute, we're going to get a really nice clean image. Again, the longer we let this run, the cleaner the whole image is going to be. Let's just give this a couple of more seconds and I'll show you how to save this image for other uses. We can bring this image into Photoshop, for instance, and play around with some other elements as well. Let's just wait a little bit more. I'm going to pause real quick while this thing finishes. There we go. This is the final rendered image. As you can see, it looks really good. You're never going to see the image at this distance. This is a full HD image, so this is probably the distance at which we're going to be seeing our render. Now the only thing I need to do, is I need to go to image and we're going to Save As. I'm going to save this guys for you, I'm going to call this a GavalaRender. Save the image and that's it. Now one final thing that I'd like to do, and you can actually do this instead of Blender, but I like using Photoshop quite a bit. You can bring this into Photoshop and play around with other objects or other things. Right now I think a Levels, is going to be really cool. I'm going to add over here a Levels. It is going to allow me to push certain things, for instance, the dark tones. We can push the dark tones a little bit there and create a little bit more contrast. That way our image is going to look way more intense and it's definitely going to help the overall tone of the thing. Yeah, feel free to go here, for instance, and everything, we can use a little bit of color balance. We can go to the shadows and let's go for some cool shadows. I'm going to push the blues, and then we can go to the highlights. We're going to push the warm colors and the highlights, and then this one, let's bring this down to 20 percent. As you can see, we're doing a little bit of color correction there to give it the more punch, more life to the whole image. That's it. Now this is what I would call one of the renders. We can do multiple renders. You can see that due to the way they created the little seem here, you don't even see it. That's great for us. But we can go back to Blender and what I can do is I can go to the camera for instance and I'm going to right-click, and I'm going to insert keyframe on the location and rotation. Now on Frame 1, we have a keyframe for that camera. If we go to Frame 2, I can jump into the camera, and for instance, I can go for a different render, maybe a close-up of the face and of the head like this. Let's go out. I'm going to select the camera, right-click, Insert Keyframe, location, and rotation, and that way we want to go back, we can go back to the first frame and the camera is going to be back here for our main shot. Then on Frame 2, we're going to have this one. If we hit Render and if we have rendered this image, we are now in Frame 2. That means that we're going to be seeing the render of the face. You can get as many renders as you need for the presentation of your character, and of course, this is going to be a really good way to sell your product and make sure people like it and buy it. Yeah, that's it, guys. I'm going to stop the video right here and I'll see you back on the next one. Bye. 64. Final Words: Hey guys, welcome back to the next part of this video. Let me jump onto, there we go. I just want to thank you guys for all of your support and for watching this whole course or following along. Hopefully, you've learned a lot of important things throughout the way. I'd like to call the course or I like to think if this course also has a character creation or characters culture course so you'll learn a lot about props and the other mean proportion is all of the things that you need to create a cool character. This one was of course meant to be 3D printed so we went away from a couple of traditional production pipeline techniques. I have with all of the techniques that you've learned so far can be applied to film, to gain characters to like 3D printing characters. At the end, as you can see, you can get a really cool 3D printed piece, and believe me guys are one of the most amazing things of the career that we study is once you see something that's physical, it's not only in the computer, but it's actually here. I don't know there's a very cool feeling as well to see your work fully realized and for what was it like 10 or 12 hours for sculpting and not bad of a character. Yeah, that's it for now, guys. Thank you very much for being part of this course. Thank you very much for following along make sure to practice. Don't stop practicing because that's what's going to get you to the next level, to the place where you want to be and it's going to get you closer to the goals and closer to the dream job that you might be looking for. Thank you very much guys, and I'll see you back in the next series. Bye-bye.