Welcome back.
Let's go into making the clothes.
So I've searched for some references over here for the clothes.
I just typed Miles Morales jackets and Miles Morales shorts.
My God, this is awesome for you.
References like this, you can even add more.
There are a lot of references for this character.
I think this is from the animation, which is quite good right here.
So you have a very accurate reference of what you should look like.
So for the shorts, we also have a belt over here.
Buckle for the jacket.
It's a two layer jacket, it seems so.
The first layer is red over here and it's not going to be seen anywhere else.
It's just going to be seen in these areas and the lower parts and probably the backwards.
So you just have to do this in this area.
So this is the area that's the lowest layer is going to be.
And the other jacket is going to be the full jacket with the sleeves and all the so you can do two masking.
So as I showed you before, we do the, the clothes with my skin.
So let's just do that.
There's this surface over here is also good.
But as you can see, the I think the or here the clothes is a mesh together.
Like this is not two layers.
This is cut up as the what we're going to do.
This is corduroy.
But for the upper layer of our jacket, we need we need something like this or he has we have in our
reference.
Something like this.
Something that is more bulkier in the end.
And then later on, we can add some other stuff like the zippers and all that.
But we'll see if we're going to do that in this video or in the next few years when we're going to polish
that probably in the next videos because maybe we want to adjust later on.
All of this is better to leave these things like the buckle and the belt and all that to the later stages.
So be sure that the proportions, the adjustments are now almost complete so we don't have to adjust
these later on as well.
So let's just get into this.
So I'm just going to I just right click it, right click and show the smooth.
So because we don't want to scuffs on this body anymore right now, there's just go to a sculpting top
and we can we can go to.
Or here to box mask and go to France for you.
And now with x symmetry on.
I want to.
Mask the red layer of my jacket.
So I'm just going to do this over here until this area.
So this is how it's going to be.
As you can see, I don't need these areas as well.
So these areas can just go ahead and on, mask it with control, adults with control, withholding control.
And that area is good enough.
All right.
So I can go ahead and press M to bring on my mask and brush and just the mask, this area with 100%,
because I don't want it to be smooth and all that.
I want it to have 100%.
And this this all here needs to be always a bit.
M.C. because you're going to drag out the hoodie.
All right, so now this is too much because we're not going to see anything on here.
We can even delete these as well, because as I was saying, we're not going to see anything, but some
thickness will occur.
So we don't get into any problems later on when we have done our.
Uh, but the Naruto ball is in.
I think we actually need some topology over here on this area.
There is an these it's going to be behind like it's going to be seen from this area through this area.
So it's not to make things harder for so it is going to mask this area.
And later on, we can just delete this in the end.
So I'm just going to smooth this area with it.
Shift it shifted in a small area of the mask or you can just press a in a source mask.
But I think because I don't want salt areas like this one to be smooth too much, I'm just going to
do this manually.
That's bizarre.
All right, now we have our first layer, as you can see.
Mm hmm.
I think I'm going to do more over in this area because it's too it might be too thin later on, and
we might get into some problems, some errors.
So just go ahead and mask the whole ring around the arm or here.
It's not going to have.
Anything in the lower part in the armed force.
This is the first letter.
So now we can go to mask and go to mask.
Extract.
All right.
And then with all this option on, we can do some more iterations.
I just leave it at the default value.
I want it to be projected to the sculpt so it will be on my skull, and I want it to add a
modifier or.
So I'm just going to press.
Okay.
And now the cause has been that like this, right?
So let me fix this menu over here.
So we have our so we could have our.
References in this books were here.
All right.
Now, as you can see, if I go to modifiers, I have a simple.
A simple, different model for as to what to do first.
When I extract clothes, I go, I press slash to go to solo.
All right.
And as a consider, although I smoothed the mask and all that.
But there are these areas that are very jagged and not the same line over here as I want it to be,
as I want it to be in my jacket over here.
So what I do after extracting with the solid, if I just disables the solidify over here with this button
over here.
All right.
This is going to disable the real time I go to sculpt.
What?
And I press any pressure.
I press shift, and I'm going to smooth this as a source, which what happens when I spoke to adjust
just with smooth brush.
I'm just going to smooth these edges over here.
All right.
Now these images are much more smoother.
And then I enabled.
The solidify love for you going to see how much more how much better shape we have like this is much
more round.
All the.
She?
All right.
Now we have a much more round shape over here.
We can go ahead and switch to even more amplifier enabled to solidify.
As you can see, we have this shape.
I also set the offset to one and also set the rim to on the rim.
So we don't have actually for this with any known rim because we've got to just remeasure.
But later on, remember that will enable only rim.
You just going to avoid double the geometry.
This is just that that's really good to know.
But right now, because we are probably going to remeasure, we don't need that option right now.
So now we have this, but this is too thin for me.
I want it to be thick and then I use mesh filter, smooth filter, and this filter is going to remove
some of the thickness of my mesh.
So I'm just going to exaggerate all the bits like this.
All right.
Exaggerated like this.
I want to achieve this.
This over here.
Right?
But I want to exaggerate it like this.
Then I go to object mode because I need to be in object mode to apply modifiers.
When I apply my solidified modifier, I go to a sculpts mode and then I'm just going to go to a mesh
filter, go to smooth.
I'm just going to furthermore smooth my geometry, like with the whole
thickness and all that which how watch how it removes.
So the thickness that's going to do it simple.
And I'm very careful that if I do something like this, it's going to remove all loss, right?
So very carefully, left to right, very carefully, just eyeball.
It's how much you're smoothing geometry and removing.
Thickness.
So that's good for now.
What I'm going to do, I'm going to press on this and I have this geometry.
I'm going to press control or to rematch this.
All right.
Now what I'm going to do because this is what I'm going to shoot.
It fluttered and I want to make the hoodie.
Right.
So I'm going to go outside of the the sort of what we have some brushes over here I can use to bring
out this geometry.
I want to bring out this geometry not necessarily on the head, but we can do that like in these references
over here.
Is on the head a thing very we're going to do it on the head because it's much more color.
Like even in these it's more is on the head.
So you can go ahead and with grab brush, just grab it and bring it up like this.
Right.
So you can do that.
But I want to show you this brush over here.
The this snake brush.
It's going to do it's going to do a real better job at the.
Bringing out the geometry.
So if I pull it off, it's a snake.
As you can see, this is going to bring out the geometry like this, right?
So I'm going to carefully bring a lower my radius and I'm just going to mask this area so I won't affect
other areas.
So I'm just masking this area.
So I just mask this area.
I can go ahead and mask these parts as well.
So I only have the area that they want from my hood.
I can also really mesh check on face mask.
So another remeasure like now my mask is there.
So with the snake hook, with the x symmetry on, I can click here or actually turn off x symmetry and
then in the middle we can just pull it out like this.
More have more freedom.
So, listen, it's more the mosque here.
So it's going to be much more smooth.
They're going to pull out the geometry.
She's.
So we had this young man now eyeballing it.
And I see that there are some ostriches.
And I said before, they're all says and there was a researcher just Raemisch that with control are
so.
I pull out the geometry and the greenish.
Plus that you don't see on every machine that I'm seeing that I have supports.
So that indicates that Ray Machine is not working because I don't have enough geometry to distribute
in this area.
So I'm just going to press shift.
Ah, and I have opened seven all right now.
So I'm just going to go to 0.58 something like that with Ray machine has I can see here it didn't fix
this area, it made some holes in this area as well.
I could just go ahead and bring these areas together and so ah it's really much better it's going to
be fixed thing.
I need more geometry than that.
So let's go to all points.
All for.
And so far they have much more agility to work with.
I can grab the sneaker now and bring out the geometry like this.
Control our.
Consult our.
So ah and so on.
So I'm just going to go to wrap brush now.
This is smooth.
So we see how we're doing right now with this was a grab brush.
Now I have more control now because I have extruded enough geometry in this area and just I just have
to do some adjustments to the position of the with your over.
So this is not final words.
We can bring it in like this.
Smooth this geometry.
This geometry is now very.
Deformed.
Break it down like this.
Then it's just about adjusting to hoodie like this.
I sculpting it.
So this area has now become very thin.
We're going to fix that which insulate brush.
You can also try out the mesh filter over here.
So see what we get.
So let's go to inflate and see if it inflate this area, what we get.
As you can see, it is adding all the thickness to this area.
And because we dragged all the geometry, it lose it lost a lot of thickness.
So we can use this to add some thickness just for just to see better how it looks later on when we a
small set now it's going to remove the geometry more like this.
So this cut out references that are defined.
Rudy always work his references.
What I like about the graph brush and blender.
I use the brush and I'm using this right now.
Actually, I use the brush.
But the thing that I don't like about the grab and move brush and the brush is that whenever you're
clicking on the outside of your mesh, it does something else, right?
But in Blender, even if you are not exactly on your mesh, is going to move the mesh like this, right?
It's going to move the mesh like this.
So you don't need to be exactly on the mesh.
But in buzzing zippers, if you're not exactly on the mesh, if you're a little bit beside, then it's
going to do something else to rotate what it is or not.
That missing loop should didn't find the solution for that.
I just just have to get used to other programs how they work all the.
And speaking of zippers.
Well, if you haven't heard of it, it's one of the most used sculpting programs.
It's mostly for sculpting.
So it's not like with like Blender, which has a sculpting box modeling and powerful render tools and
all that.
But just for sculpting, it's a very great tool.
It the main thing for the is that it's it's performance.
It's it can handle a lot of geometry.
So for a character like this, we're totally fine with Blender, but it's really good.
Actually, I think it's better than zip brush my opinion for silence character because of how you can
just switch to render more the see okay so and then adjust to create an all the but for real realistic
system for like sculpts that involves multiple characters.
It gets really hard in a blender.
Blender cannot handle as much geometry as Z Brush can.
And this is because of how it is made, right?
It has a lot of lot of windows of like we have all these windows, all these options.
You re editing this ship and rendering and all that.
So let's finish with adjusting this video over here and just go to this do it mask in this.
Just smooth this area.
Want it to be more smooth.
I wanted actually to be serious this at this stage.
So it's going to seems frozen like this.
And then we can go ahead and maybe bring down a little bit like this severe stress again.
I always forget to turn this on, so let's turn it on.
And we have the first layer.
I think the first thing needs to be a little bit toward the middle points.
So let's just do that.
Let's bring it to the middle points.
And.
All right, now let's go to the second layers of the jacket.
Let's get to the references.
And now, as you can see, the jacket over here.
Let's make that.
So let's hide this, because we want to see our body and the body of our character surface.
Go to France, feel the the sleeves.
The thing over here is fine for us.
We just need to.
Musk the sliver.
Yeah.
So just to start with, control shift and clicks conversion, frankly, is going to just make it last.
Musk Bringing up the last one.
Musk for you.
And I just masked this area.
All right.
So let's go ahead, Musk.
Musk struck with all this option.
It's like a solid.
Go ahead and enable it.
Okay.
Offset one and go to Scott Smart.
Disable this icon over here so we don't see the option.
Go to solo mode with a slash button and now smooth the edges like this.
To get a smooth geometry and edges and all the in the slip areas will smooth it.
So the slip area is two parts over here.
We can we can mask this area.
What I'm thinking, like when you're making something, you have a lot of work for us to do.
We can also just end the jacket in this area and then with a sphere like quickly sculpt something like
this.
Right?
Or we can just mask this area, right?
And then just in deflated many ways, there are many ways to do that, to do this kind of stuff.
So now we can enable.
This.
And then now, as you can see, we are adding accessories.
We need to have some colors.
So let's go here and add color, random color.
So we see better how this is interacting with each other.
And we can go ahead and.
Make it big.
This jacket is very big.
It's sort of bulky.
We need a very bulky set to tell you.
The real version is not very bulky, actually, it seems this one.
But in the animation, it seems very bulky or it's very bulky jacket.
So we're going to do that with the idea of exaggerated geometry.
We've got to sculpt small.
And then we go to mesh filter.
Good to smooth and then to smooth it so we can also smooth the edges and reduce the thickness as well.
So we have the right now so we can grab the we can get the grab brush and to bring these areas a little
bit down.
So now this is all about adjusting and sculpting and all that.
So this is more just to.
Thicker now less on hide.
The things I think we can delete is for push and hedge.
Right now the proportions are now we are done with proportional so we can delete this now.
So I'm just going to delete the.
So now we have the jacket over here.
Now what's it doing?
This is I usually add color to the other accessories to better see how they'll look, but let's do that
after we add the shorts.
So let's go here.
As I was saying, I want to add this area over here.
This area.
This area or here.
So we can do that by going to scope mode and maybe we can go and.
Mask this area.
Press a smooth to swap this.
Then we can control eye to in versus mesh filter inflate.
And then from right to left to deflate it.
So from right to left to deflate it.
So as I've seen, I'm seeing that it's too small.
So I'm just going to Sharpies now.
Nice.
Try it out.
All right, that's good enough.
Let's remove the mask.
Go to Russia.
And better defined this area.
That is this area is more.
Inside.
As you can see I just something over here as well.
So be careful when you're drawing too much should change the shape of other areas and then I'm just
going to smooth it.
I am going to because this area is sown like this is too soon.
Parts.
I'm making some polishing over here.
And then I'm making some.
Look, with control.
Holding control, I'm removing some area over here to make some contrast between the surfaces.
This is smooth without.
This is mostly surreal.
Much more adjustments here.
I still don't like how it looks.
So we do as adjustments as we can to make it more look like the shape that we want.
Okay.
So doing this with alcohol or is kind of horror.
And so we can go to material, add the material to the the jackass.
I'm going to call it.
Check it.
And we should have to materials or not as have jackets and college.
I can layer two jackets there there's.
So that's a there two.
We're not going to sit in the shade a more until we go to the airport specifically and add that color
over here.
So the main color is something like green.
We can use the eyedropper, but it's.
We don't have.
It needs to be inside Blender.
So I'm just going to click on this.
Let's see if it gets something with the eyedropper over here.
So we get a color like this look and we can have that for now.
And Control C.
Well, let me just say a bit.
See, this is the materials.
If I go to over here, I sit in the room.
Well, to sit in the back of your purse, I'll go to viewport.
Display, control, seek.
I hovered my mouse on the base coloured control C to copy this color and then control it pasted over
here.
And I have this color over here.
I grabbed it from this photo here.
Quite good for now.
So I want to make two parts over here.
So this one.
So this is going to be the sleeve.
Well, it's maybe something like this.
And then, as you can see, it's going to be black, so it's going to make it black like this and then
we'll see.
So we know this area.
And because I need to know a sign this area is black
and this is going to be very, very, very I do this very, very quickly.
The reason is whenever I raemisch this scenario now is going to be changing a little bit like how it's
going to be.
So I'm just not going to be too accurate with this assigned this.
So now I have a better idea how this looks.
Let's be scientists here as well.
Let's go back because I want it to be Simone's rise.
Let's select this.
I think by going to select select mirror, we can select the mirror.
Maybe it's not.
A system like this two together.
So.
Should.
Accidently click on control, which deletes the selection.
So now we have more users, see more of how it's going to look.
I forgot to enable x ray so it didn't add others like.
That's very quickly.
Don't don't make too much time on it.
Just for visual.
For visual?
No.
We can go to sculpting and then we know this area is going to be like.
So it's just kind of going to draw on it like this.
And right now I'm going to leave it as it is, because we don't have enough geology to make those kind
of draw shops.
But at geometry, we can add a lot of of contrasts in these areas.
I don't like how it looks, so I'm just going to delete it for now.
So when we add more geometry, we're going to more adjust this over here.
But for now, let's bring it down with the bits.
All right.
Now is the color for this one.
Let's call it an Uncle Jack in one.
Well, we're going to add a red color, so we're going to steal this color again from this photo over
here.
So we're going to do that with this.
All right.
Here, control C, control we to add it to the reports as well.
Now we have the color so.
We can also go ahead and add color for the base.
So I'm just going to call it Spiderman.
And we can also steal the color from here.
So it's going to be more grayish something.
And it's over here.
So now in the viewport, we have something that looks more as a character.
It's just for, like, looking for to see how it looks.
I'm just gonna add it to the.
And that's all.
Now we better see how all.
It's not the final one when we go through rather more.
But it's it's better to work with these colors.
Now, when we are more into the final four.
Nothing.
We are much more close to the final thing with the accessories and all that.
So, so go ahead and let's make the shorts over here.
So as you can see the shorts over here, it starts this go to France view.
I'm just going to enable box mask and I'm just going to mask this area over here until the upper.
The.
The parts.
The upper part of the knee over here.
I have a mask right here.
Well, I can do I can smell things like this and just go to mask.
Mask.
Extract all options in it.
Well, and I have this, so I made a mistake.
So this is still it.
That's my mistake.
Was that.
Let's go to Solomon.
I didn't delete my other mask, which I have.
So just this is still attached with control.
So I deleted the upper parts.
But that.
Right there.
We can't increase.
The mescal is a bit more like this.
That's good.
So now that's going to be the shorts.
Mask, mask instructs.
Okay, now this is our.
Our shorts.
So, as you know, I've said one.
Solo mode for our shorts sculpting so like the smooth for us and starts.
Disable the solid solidify.
And starts smoothing this shirt because the mask was was good.
Now, we don't have a lot of job to do this.
So it was good.
Uh.
All right.
This area is good as well.
So this area needs to be swath.
All right, now let's go out of the.
The sink was the material called cold shorts.
So now it's clear the material over here.
Contrast sea control.
We to the viewport this way.
So we see it in the TV report and the increase the geometry enabled the.
Solidify.
And again, we're going to exaggerate because after deploying, we're going to sculpt more.
We are going to.
Let me add this over here.
They are going to mesh filter as smooth and then as smooth the clothes like this.
In these photos is a kind of frivolous sixth sense.
It is a very a very thin short.
Well, let's see the animation, if we can.
Yeah, it is.
It is or anything.
So let's make it.
Thing was going to smooth it.
Something like that.
Now this thing grab brush with the grab bus.
We can grab these areas and stick them out, stick them up like this.
So it wouldn't necessarily.
Stick to the body.
So now is better.
We can add some some quick wrinkles.
Again, this is not final, but we can also add some more wrinkles.
Use these references we have for wrinkles.
Maybe this one, because this is really the more realistic one.
It's going to disable symmetry and it's a drawbridge.
I'm drawing a little bit of wrinkles.
To add some variation to the.
To the surface.
As you can see, this is not far off, but just some brushes, some strokes made a lot of difference
as to how we see the character can do the same thing for the jacket.
But we should do it very quickly.
This shouldn't take us much.
This is not final.
And this is.
This will all be deleted probably after we.
We do some.
Who's apologizing and the later stage of our case.
So that should be enough for now.
Now I'm seeing that the jacket is too thick in this area, so I'm just going to bring it inside.
Like that.
And this area was extracted.
It is to.
The butts area is protected in this area.
So you can just smooth it out.
You can quickly change between object to it.
Alter.
Q So I'm just producing all here and adjusting these very easily.
All right.
So now we're quickly blocking out the access.
There is none that we were doing that we can go ahead and also quickly make the buckles.
So what I do for making the buckle, I go to the box mask.
Let's go to Solomon of this shorts or here we can also.
All right, so let's go to Fox and go here and then box this over here.
Then was I want I want something.
I want something.
Sharps select one shot to make this shot go to mask mask struct bullet press.
Okay, let's go over here to our mask here.
So that want one disable it go to Solomon's with double clicking on the slash of this thing now we are
in the sole most of this are now because the mesh already had thickness even without the so the mod
without a solidified motive for it is very.
Very thick.
So I'm going to fix that with remission.
So I'm just going to remission.
No, it's not going to fix this problem for me because I have I don't have a very good geometry here,
so I don't know if it's safe.
But if I go to my friend, I don't have the lower parts.
I don't have a lot of parts over here.
So that's a problem.
I can't use this much.
So let's go to a short order here and let's see what we can do about it.
So let's go to scope.
And as I use as a mask, this area just didn't mask.
The area inside or here it is is empty over here.
So.
All we can do.
Yeah.
We can do this mask and well, once I want only to show face so I can go ahead and with these options
on.
I can select a front face only over here or over here.
Front faces only which is optional on while I am.
Masking.
Only the front faces will be added like these faces will not be added because I was seeing the other
person as well.
It masks the other person.
I'm just going to adjust my camera color here and then maybe just delete this over here.
So I only have the front pass and over here I only have.
The front passed front faces of the pack force.
I just go ahead and with the mask, brush them for the mask brush.
And also here.
Yeah.
When the Masters were here, I can go ahead and mask this area, so I'm just only masking the first
basis.
So the aim is that I only want the surface of this area.
So that's enough.
We can also go later on in the extract that this much we can go on and do that so this I don't want
let's just delete this.
She's.
Undulating it with control.
So it's control.
You can delete mask while you are in the mask.
Brush.
All right, that's enough.
That's good mask for me.
So press a shot.
Masks, and I'm just going to sharp it.
Mask the mask, extract press.
Okay.
And now we have this.
I think it's quite good now.
So let's go to Solomon's of these belts over here, disable the geometry and we go to sculpting and
we go to smooth mask and a smooth.
The edges that we made
so we can just go ahead and smoke the whole thing.
We want a smooth surface, but be careful not to put a lot of pressure into your smooth brush because
it's going to destroy geometry and not destroy the.
Like change the shape because we extracted extractor that's on top of the the shorts.
Now we are going to see it on some of the short as well and if we change the.
We changed the colour.
Maybe.
Maybe I'll go the shorts.
Add a new color.
I copied this color.
I disable this, go here, select on builds and copy and paste over here and copy this over here because
I want to see it and duplicate this to see how it looks.
So we need more thickness over here.
So I want something that is gray so I can go ahead, make it more gray.
In the gray area, it is much the same.
It's much more toward green.
Something like that works.
You cannot do that.
So now this is my belt can go to over here and.
Increase the geometry like that.
So the problem I'm seeing is that I don't want it to be too small thing.
This is just.
It is quite good right now, but I want it to be more.
Maybe if I do that and then scale it.
Let's press right clicks that original which the geometry and then the scale is maybe they're scaling
in the.
In the edit mode with alt s.
Let's hope that's our.
So this person of this skill.
No, I didn't.
So let's just.
Skeletor.
Indulging not.
I'm just adjusting.
It's just.
As you can see in the code that in the reference below or here.
Only the transport is going to be seen.
These parts are going to be.
I'm going to be hidden away.
I have a reference for the back of the case, but I think the bolt only is going to be seen in the France
branch.
And you just you just have to care about what was going to be seen even in the in these shots from the
animation.
It is hidden.
Right.
So you can just go ahead and don't care about all the other science and just care about the front side
and we can just make it move inside here in these parts.
Another way to make a very perfect belt, if the whole belt is going to be seen, is to make it with
curves the same way I showed you.
If you remember in the last sections of a schedule with with the shoes I we actually make made the bolts
I think with coats for that character, if I recall correctly.
So this is not the final one because this is not the geometry they were going to use.
This is not the geometry that is good for us.
So what I'm thinking is that we are going to keep it for now, but this is not final.
And then we then we we apologize that this is going to be easier and we're going to get a much more
better shape over here.
All right.
Now we can also look over here.
We can add the buckle.
With a simple.
Q So this what is more modelling?
It's much easier.
It's the key over here for the buckle.
Easy.
And just for to see if that's how it looks.
This kind of curve over here
rotates.
Rotated into the y axis.
So our y 90 degree.
I wanted to be precise.
Oh y 90 degree x a g y to move it toward the bolts.
And then just adjusted in the.
The menu.
So just adjusting the belt over here.
Something like this.
Then we go to modifiers, to the properties, to geometry and to rounds.
And I'm just going to, I can add round, but it's going to be round like this.
So I can also go to geometry extrude and extrude it like this particular shape, something like this.
All right.
Now I have something like this.
I can't rotate it around.
And then adjust the curve easily.
That's the good thing about curves.
It's really easy to adjust that with these kind of shapes.
And in the end, we get a really.
Good apology that we don't need to apologize later on.
I'm just adjusting the chassis.
It's going to be straight.
I could look at the boss over here.
It's I think the offsets were actually the extrusion needs to be bigger like this.
Something like.
Like.
All right.
Now.
It's temporary for now.
But later, when we are done with the curve, we can go ahead and right click convert to mesh.
Now, this is a mesh.
All right.
Now we can go ahead to edit mode of e extrude face on normals to add some thickness.
All right.
It's going to add some thickness, right?
Like this is going to be the final thing.
But for now, because I want to keep the curve for now, I can just.
Keep it like this.
In the end, we can just quickly converse.
That's.
Let's not get ahead of ourselves.
This must change because both is not final.
Uh, but just to see better and just that.
These things.
I don't like how it looks or here.
So we can maybe select the belt buckle over here for that reason, and then we can go ahead and select
the material we added to our belts and maybe just
copy the color.
Make your belts and cereal.
She got a viewport this way out here.
And then I want it more toward black.
Right toward black.
It is more reddish, it seems.
So I'm just going to add more reddish color, a reddish black color.
Right.
And then for these two, we can keep it like that.
So
now, as you can see, we have a better idea of how we want to shape the character so we can go here
and maybe shaved head and all that.
But not necessarily for now.
We're going to leave that to the end parts.
Now, the hands are not connected.
Now those are concentrated.
We need to be careful to move the jacket.
Toward the end of the year because we didn't want the forum to be seen in the forum.
The hands are not connected and we don't want this to be seen later.
We can connect them and in the end when we are done with the hand.
But for now the hand is not done.
We need to see how it looks with the rest of the character to be sure.
Yeah.
I'm done with the hand that I can join them.
So.
All right, let's see what else we can do here
at.
Some faults to the short story here and here is all.
This is what's this area?
And bring it now.
Shh, shh, shh, shh, shh, shh, shh.
So in 3-D, you have to.
You have to go to all the views and see from all the views.
Oh, it looks so that's why they'll always say for all people, professionals, all the the you need
to get away from your work for a couple of days, then go back again to see how the case looks because
they might not see the problems over here.
So then I guess China immediately.
To rotate and then see the problems that they have.
All right.
I think now it is good enough.
So this area over here, this can be added right now.
But honestly, I think it's too soon.
Right now we have more adjustments to do.
Today's clothes.
So
let's see.
We can add that right now if you want.
It's quite easy to do.
So you go to object mode.
Let's add a tourist over here and let's bring it down.
And this is just so want to make.
Tourists for this area.
And with the tourists, we can see how big it is going to be.
So from this is from afar and this is from the sort of architecture.
We can enable the face.
The snapping over here.
So it snaps to the surface.
For now unless Pistorius disabled is stopping.
That's good enough for now.
Let's share this with the analysts.
Press control and a scale to not get into any problems later on.
And then we can add a curve or here is the curve.
Scale it down.
Rotate it.
Like this movie.
The inside.
And we can now.
Starts.
Extruding the curved.
By now you should know how his works.
The object properties, the geometry.
And they can use extrude.
I'm just going to use a bevel right here.
Something like this.
Later on, we can change it.
But for now, this is quite all right.
They can't even scale this part with control.
It's also this kind of skilled esports.
And don't forget to fill caps, too, to do this.
All right, let's move over here.
Shh, shh, shh.
Was.
Copy this.
Modify it with control URL.
Copy the source.
So.
Now let's go around, see what we can.
And I'm not going to add the zippers right now because, as I said, we might change the location of
this over here.
But what I can do is that now as we have, we have the jackets on.
Now, as you can see, we don't.
We have.
We can.
Do some minor adjustments to the budgets that the party needs to be more like this.
I do not need all that forms in the body.
The character is a costume, so I just.
I just simply don't need it.
All right.
Then I can go here and move it closer.
Let's go back.
So this is the reason you want to do this in the last part.
Well, then we can fix this with her shrink wrap modifier.
So for addition, her modifier is added on above surface and set the targets so in the curve to this
one.
Four days.
So.
But for this one as well, I'm just going to add the same thing.
Cutting my divorce.
So it's going to stay on top of this when I change it.
If I change it and go back to object more, as you can see, it's going to follow this along.
So that's one good trick you can use when you want other objects to follow.
Then you are sculpting.
So it's not going to fold over in your sculpting, but it's going to follow when you go out of the sculpting.
Serious.
Too bulky.
So it's just.
Bringing a little bit toward body.
All right, now we have this or here.
Let's go to the sheer material show we have.
Also see how this is going to look.
You are here.
All right.
We have another area over here where the end airport.
Of the jacket.
Let's just go to the jacket.
I'm just going to make a mask.
It's with a line, a stroke.
So I'm just going to press on the line stroke.
And I am going to make a mask with line a stroke.
And to make it easier, I'm going to change the radius units from view to scene.
So this means if I zoom out, the radius is going to be the same.
So I think that's fine for now.
And.
Yeah.
Let's check the properties.
So I want it to be only in the front faces.
So select that front faces only.
With the line brush and just select a mask this area.
She's.
That's good enough.
Let's go to Solomone to see if he's into any mistakes.
So it's only on the surface.
And I know this was a social mask.
I wanted to be smooth, then go to mesh filter.
Let me move it over here.
Let's go to mesh, filter and console I to invert the mask and want this area to be inflated.
So I'm just going to use inflation in this area.
But inflation is not what it wants.
So let's sharpen the mask and try again.
That's more like it, but it still is not very much.
What I like when we add more geometry is going to be fixed.
So I'm just going to smooth this area while it is masked.
I'm a smoothness while it is my SO adding some thicknesses area.
And I think I'm done.
So that's the lower pass.
And right now, we don't need to cover it.
But you can do that if you want.
I'm going to do it to show you an easy way to color.
Areas like this.
I'm just going to call it whack and make a blackish color.
Go to your pores.
You'll be like, go to edit mode and press C to bring up this brush or here brush these areas.
With pressing rhetoric.
You can.
Get out of this brush.
In this embittered middle class, you can delete the selection.
I do that this is what we're going to texture it, right?
So this is not final, but this will help a lot when it comes to look and seeing like.
Think how we should like remembering that this area is different than the other areas.
I'm going to do this.
US.
So
that's it.
Now we can.
We can see how this looks over here.
I can go ahead and do some.
Just show with Russia.
We can.
Joel.
It's a bit of this area.
She?
All right.
For these ones, I think if you move it, it's more it's on top.
I was sort of set to be a little bit on top.
So this increased of story here.
All right.
Sleek materials for action.
Not linked with, not considered.
Want to do with a bit more.
This area, I think, needs more.
Let's do some sculpting here.
So let's grab this close brush and sculpt ourselves in this area.
Ariel looks uneven.
So we discussed brush.
It's a clear citrus brush with an eye geometry in this area, and the smoother there is going to be
much more consistent.
Usually in the hood is anything the this area goes up like this.
So I'm just going to do the Alaskans more things to see what we get.
Now, as you can see, this area is much more.
Consistence in the surface.
We should make it look like class.
All right.
Now, I think this is enough for this with you.
In the next one, I want to go ahead and sculpt the shoes.
So if you remember in the last sections we modeled issue, which was kind of like this.
But in the next one, we are going to sculpt the shoe.
So we're just going to do some of the sculpting doing the same techniques like masking, extracting
and with grab brush and all that.
So I hope this with you was helpful and too mixed with your goodbye.