Welcome back, guys.
So as I said in the previous video, I want to make the shoes right now.
I found some references for the shoes, so I'll just type in months Morales shoes.
And I got this good references.
So these are all the sides and all the views I want.
So these are the main references for the shoe.
And I have all these other references from other folks perhaps, and all that.
The mayor office is this one over here.
We can see the of view, the side view and these views as well.
So let's just get into it before actually I added a word ashtray.
So I went to the shading.
I change it from objects to words.
And then I added and this year I should I should review, which I showed you in previous videos, and
I mix this background with another background over here and added a light path node and connected the
camera to FEC over here.
So what it does is that if I remove the face over here, as you can see, we can see the ashtray in
our render.
All right, let me just remove the references.
We can see the shrine.
So if we connect these two together.
Now we don't see this year.
And if I connect another background note over here to the second Schrader node, then I can change the
color to whatever I wants in the render mode.
Right.
So this is in the render.
There's an effect.
The the shading.
What it does is only affects the rendering.
But at this point, I can go to any type of color I want for my background while I have the lightning
lighting of the shrine.
So I don't have to light it myself and I can adjust it.
Just the strength of this, your eye over here.
So maybe lower it.
Oh, it's a bit and make it something like this.
I mean, this is much more appealing then.
Well, I should add another section over here called Lighting.
So if I go to modeling over here and I can change it to something like lighting and I use this now the
window for the lighting of the character and this is always on the render mode and in the layout.
I can be in the, in all the other things I want.
And then I have this called up to sculpts and all that.
But whenever I go to lighting, I can see the lighting over here.
I can see how it looks in the let's say in this and the random one to make it better for rendering,
turn on the ambient occlusion we are on in eerie tunnel and with our collision we don't need all the
other options.
But also I think think of added a light or area of other lights over here called an area of light.
And with shift you can change the location.
I added it to add more.
If I have the will, they add a little bit more lighting toward the face of the character like that?
All right.
And then for this time, I usually turn off the overlay because I just wanted to see how it looks and
rendering.
Obviously, I use the TV too fast, rendering, real time rendering.
But you can also also for the lights.
You can you can go to over here to the Light's properties and enable context.
It adds a bit more to the realism.
But as you know, cycles works better with lighting and especially with your eye and how the shadows
work and HDR.
So from time to time we can go ahead and change it between cycles at IMI, but for it to run faster,
I'm going to use Eevee.
As you can see, it doesn't have the shadows over here.
If you don't like how the show is lighting a scene, you can just go ahead here and say below the scene
word and scene light.
All right.
Let's make the ground over here bigger and let's go ahead and sculpt the chutes.
I'm just going to go to the sculpting to I'm just going to click on the body over here.
Let's have our references in this area.
Okay.
So now let's go to the foot area and let's first attempt to do its any remaining masks and then we can
press all of the control, the shift to bring the last mask.
Well, that's the mask.
So this is going to be the.
Sure.
Yeah.
All right.
Then we can go ahead and the mask extractor press.
Okay.
And now we have mask extractor that again.
I'll set one and then increase the thickness over here.
So this is going to be the base shape until over here.
So.
We need to have more.
Control over it.
To do that, let's go to Solomon.
And I want it to be I want to remember this because I want more control over it.
No, let's just adjust that based on how the show is.
So let's go to the side view.
These areas are going to be flooded.
We can achieve that with scraped brush just going to prison, escape brush and go to store and change
into one.
So I'm just going to draw a line in the soul of the foot.
And this, as you can see, made it floods one more time.
One more so in this area.
And that is more flat.
But, sir, for the pace of the show, also in the middle middle area, I made an arc for the thoughts.
Well, we don't need that kind of arc.
We can beat the crap brush, bring it down to destroy this kind of arc in the pursuit.
And then just a small set.
So now it's changed the color.
So this isn't shoe.
I want it to be white like this.
So this is the best shoe, and I want it to be whites.
So it's just this area as well.
Let's go from Soham out and see what the got.
All right.
Now, once he's the second board or here for the shoe.
So this is the second pass, as you can see.
We're here.
We have a part over here.
Which has a different thickness.
And then another part, which is over here and it's blue.
So let's do that courtesy of the mode.
And that's just that's first and more.
You know what?
Because this is to making it difficult is for me to see my object.
I'm just going to delete it to work on one object and later are only just going to.
It's just so it's adjusted because this is the base of the foot.
It's important to get the shape right.
The Syrians said when we met, they encountered some problems here.
This is because the measures were to incite each other, and this usually makes calls on all the lists.
So our again, we have a problem over here.
We need to add geometry.
Whenever this happens, you need the geometry.
This is too thin for Blender to calculate.
And Ramesh, it's because of its flats that it made this area to obtain control over again.
Now is the problem is fixed.
Can go ahead with clear strips.
Well, little bit.
Make this area with a bit more.
He's flat and I'm going to change it to shades flat.
The SPITZER How the judge over here works.
I want this area to be flat, some just with clear strips going to draw on it.
A small wasn't.
She's.
All right, let's see.
For a mother we use now, we're in the side view.
You need to consider that we're only sculpting until this point over here this points.
So we need to adjust more later on when we made other layers.
So right now we are on the first layer and we can really actually see how much we need to do, like
how much adjustment we need to do.
But let's go ahead and see from the top below to see what we got and compare it to our.
References.
So I'm just gonna go to top field with seven and let's change the shape.
Like this.
This area is still not having enough geometry because it is reflecting the middle arc of the foot that
we made.
Well, let's do that.
Let's make it more flat.
Adding clear strip brush or here.
So let's bring it forward.
The back of the foot like that.
That's good for now for the base of the ship.
Now, as I said, we're going to make the second layer of the show, which is this one over here, and
then the third one.
So let's go ahead and control the shift.
Bring the
last mask.
And just.
Make a mask like this.
I am going to sharp.
It's just I'm going to mask extractors.
Then the same thing goes to this part as it is with closing.
So the circle to solidify, go to solve them out of this mask.
And then as you can see, we have some problems.
This press console are to see what we get as a good thing.
So we have some problems over here because of how?
Because of the issue.
Let's fix that.
Let's go inside and see if you have any problems in the inside of the show.
We don't.
So probably what I'm thinking that's going to be less masked.
It's also masked the insights to fix that.
We need to go to advanced settings or here or to brush settings or here enable Francis only for the
loss of mask.
So let's go to the last mask over here.
Let's the mask and then set the set, this one over here.
And so front faces only.
Well, let's try it again.
Let's see if this fixes the problem.
I was to make the other side's.
Oh, it didn't.
Yeah, it didn't make the others.
Let's do it again.
And the mess over here.
I think the best thing to do is to make it with the mask brush right now and set it to France.
It's only.
Shh, shh, shh.
She supports.
It's.
It's all right to sponsor those.
So this one that I hope does nothing happens this time around.
All right, now this is better.
We can easily delete this part of the mess with Blockstream.
So let's just do that.
This is a localized stream for better activation.
And let's just delete this part of the geology.
That is the.
There's a loose part.
All right, now those posts were deleted.
Now you can go to a smoke brush and we can expose the edges like this.
All right.
Now let's go to the shooter here and able to solidify modifier and based on the references we have,
let's go to the top here.
It has.
And she says something like this, right?
And we're not going to dismiss that just because this story is going to be.
Sharp.
You have something like this right now.
Ah, that's good for now.
Let's just, let's, let's duplicate this shift to placate this process that, this, that.
Well, let's go to that a moment.
Is that?
The same looks for the second layer.
It's still around.
So this is extracted again with tissue right here in this commode.
Let's make another
the mask.
This one is going to be.
Yes.
It's like, uh, with less radius.
Shh, shh, shh, shh, shh, shh, shh, shh.
Shh, shh, shh.
There's a sharp mask.
Mask extracts.
Okay, so now let's go to Solomon to see what we have.
Disable to solidify.
Smooth it.
It's a more even shape.
And then we're going to just all layers together after we make this.
For now is just this one over here.
This is not a straight as much as I like.
Sometimes.
All right.
Now let's get out of the the mode and enable the solidify modifier.
And as you can see, we need to scale it a bit.
So let's just scale it.
Until we see it's like this maybe a scale and it's that moment with all us would be a better option.
So I, you know, experiment and select all old s and the skillet.
Like the.
That actually shows the whole faces all nobody wants.
Let's.
He's.
Scale.
It's in the in the Y axis.
So it's been it'll be in this axis.
All right, that's enough.
We're gonna pull it out and sculpt more.
So let's do that.
Let's go to sculpt mode, enable x ray, and let's just pull this geometry out.
Let's enable the random color so we see better.
She?
I'm going to hide the body right now, just for now.
So the foot, the woman don't interact with the shoe.
And now she.
Let's leave it at that for now.
Let's adjust the second layer.
If there is need adjustments for this area.
It's important to just.
The best way we can isolate her.
Then we do a repeat apology.
Then we don't have to worry about that.
We we're going to change the shape and all that.
So I think that's enough for now.
Well, we're want to do it once.
And I want now to extract the other parts.
The main parts of the extract now is the tongue parts right here.
So let's click on the base shape and go to scope mode and click on mask masking.
And then let's just mask this area.
For the talk.
What's good enough as this to smooth the mask actual is sharp the mask.
Then let's go to mask this extract as you can see it mask the other areas that we forgot unmasked.
So it's just on mask.
Everything was alt and do the tongue area again.
Let's just extract it down.
Now you get a good journalist over here and you discovered some smooth edges over here.
So when we look at thickness, it's going to be more smooth.
And straights,
the thickness we want.
I'm going to.
No lot.
Not.
Not, not this much.
But this could be enough.
Let's see our references.
So this is very bulky, you know.
But I think in the end, what we were going to make, you don't need to make it to bulky.
And to see the tongue run up to it.
And I thought, Oh, the thing, we need to make it too bulky, just something to be here and it needs
to be smooth as well.
So because it needs to be small.
I'm going to exaggerate the thickness of fly and go to the mesh filter.
And it's a smooth I'm just going to smooth this so I get something like this, then I can adjust it.
Well, it's a bit more.
Actually, I want to go to the base mesh, try to invert the mask.
What I want to do, I want to use this.
Move over here.
Go to sculpt says pivot, pivot to unmask, to move the pivot or here and then make the mask as smooth
as I can and bring it down like this.
This is because the area of.
Three of the.
If the tank needs to be.
Of the bits without any symbols.
You were here.
So this should be empty, right?
But as I'm eyeballing it, it is not doing a good job.
So we just may just do a click with clear strips, just remove geometry from this area so
it adds some problem in this area.
Look, I think this is a mask area.
So we made a small state and the inside of the mesh is just coming out.
So without the mask, let's do that.
Let's change it to a view.
Let's just remove something over here so we have a problem reduced from control artery mesh.
Well, as we mentioned before, doing this.
Hmm.
This is the problem.
So let's see if we can remove this.
Raymond.
She makes a hole over here, so maybe not the best option.
All right, let's make this closer together and then rematch to see if the hole is fixed.
That hole is fixed right now.
All right, now let's make room for the.
All right.
Removing geometry, sims?
No, because it's too thin.
I don't have enough geometry to use the clay strips.
So we do that with graph brush.
As you can see, we need to actually remove this stuff, remove these parts.
So this.
Now let's go to.
Masking.
And in the masking I don't want it to be front face only.
I want to mask this area as well.
So I just want to delete this.
I will do that with mask slides or here.
So let's just delete this verse of the base show
and.
All right.
Now, I must get you to mask.
Mask?
A slight surprising seam.
And as I said, there are many, many holes over here.
I can choose my less than a few holes, but you will try to feel holes as well.
So this just mask a slicer and then press control artery mesh to see what we get.
I'm a small thing, and the remission suggests a new geometry after smoothing it.
All right, that's good enough.
Let's make these parts closer.
This shouldn't be this big for the middle.
All right, now we have the tongs.
We can also with a bit bring up this area.
Then we can adjust this measure here, which is a timeless.
Let's make some room in this area so you wouldn't be too narrow.
All right.
So
that's for a song I see in other parts over here.
They can do that with masking, but let's do this one now.
It's actually I didn't use fear, so see how that goes with adding a use here and we can just think
about the ways we can do this.
We can maybe trim this from over here and then adjust that.
It's actually do the console after image and then line projects and then do something like this.
All right.
And then move it to here
rotated scale it.
And then we grab brush to see if we can get the shape.
If we don't go, we'll go with the masking because that's the most accurate method.
So we just grab brush.
Look at the shape of this part of the shoe.
With class trips.
I'm, uh, I'm holding control, uh, deleting all the, um, from this area.
So as you can see, I'm keeping the resolution low because now, as you can see, I can easily move
things around and change the shape, which is one stroke.
But if I have the resolution high, I don't have the option.
And I think that's good enough for now.
So let's go to the next sports.
An expert in need to make eas first this pass that is around this part of the shoe.
And and this pass were here.
And then this past.
This pass and the Nike logo.
It's true that
I'm not feeling that this this show is going to help us with this later.
We'll see.
I probably do again this this part of the show again.
But so now is keep that was just this area.
Right now.
I think the shoe is to.
The height of the show shoes too much, so I need to trim it a little bit.
So we trim brush soon project this tree.
This or here.
So the scene is that the area that is the base issue is like this.
It has a curve like this.
So it has a curve like this.
Then it goes like this.
And then this part will come inside from inside of the shoe.
It comes out from the source shoe.
So let's just do that with lots of trim and let's cut.
To Syria.
Let's see what we get.
All right.
Let's bring this down
just once again.
You can also read this.
It's a resolution.
Let's just smooth the whole
mesh.
Just do the blocking and the position of each of the objects.
Any object you're making, any shoe like it is that just scuttling this shoe?
And for this shoe, you can't do this.
No.
Any object, any shoe.
Just look at the references and make it into values.
Like I made this two layer one and the other ones.
These are layer two, then this is layer three and this is like I four.
So we need to make this into layers to a sculpted more easily and see how these layers will come together.
That's going to make things a lot easier when you're sculpting, because if you're going to sculpt all
of these from one shape is going to be really hard.
So you can just make your job a lot harder.
So I'm just I'm just thinking about primary shape that about the blocking out of the ship, not thinking
about the details of my look.
If we get if we get the trumpet primary shapes.
Right, it's kind of it's going to work.
It's going to work in dance.
So let's just go to the next sports.
Go to the next sports, which is.
This one over here or actually it is the live this one for the last part and go for the front of the
show which is this one.
Am I just in these parts based on the reference before doing any mask?
So bitters sits with each layer.
Let's go to masking now.
Right in the mask.
Brush with the space.
And it was good.
And from this area I've seen the reference from this area, this mosque and the sheep to the lower pass
the mosque
all the way from here to here.
The front porch.
They sport as well?
I do the same.
Because of the other reference here.
We're the same over here as well.
And
before that, that's the thing.
This board needs to be a little bit toward the upside.
It's to.
In what
I was thought the masking.
From this area, as you can see.
And we have something like this, something like this shape over here that we have to bring out in our
mask.
It doesn't have to be accurate because it is not going to extract accurately.
The reason for that is that our geology is not going to have a lot of resolution on our geology.
So.
It's going to it's not going to be precise.
You have to fix that with after extracting.
So I'm looking at the at the width with the radius of this shape over here.
Shh, shh, shh.
Let's see if we masked it correctly.
She's.
Shh.
She's.
All right.
Now we can go ahead and mask extracts.
Now let's go to Solomon of this extract.
Disable the
sheets, solidify the fire, and then it's just just the same thing and smooth it.
How the bits are
smooth geometry.
It is just.
Shh, shh, shh, shh, shh, shh, shh, shh, shh, shh, shh, shh, shh, shh.
She?
All right now this enable the solidify modifier and see how much we are the.
That's good enough for now we can go ahead and.
Do something like this.
This part is going to be hidden by the upper layer.
Shh, shh, shh, shh.
So that's good enough for now.
We can now go ahead and mask this area.
What I want to do is go to this object and it's masking to mask this part of this object.
Make it easier for making this object over here.
Does this mask that area?
All right,
let's extracted and see what get.
It's good enough.
So as you can see now we have
this one as well because we mask the two faces we don't need.
Actually, maybe it is solid if I'm not showing it.
So let's go ahead and.
Small cities areas.
Real quick.
Now we can go and enable this.
And I'm using scale to bring it out of the pit.
So I'm using a scale because the origin is the origin of the shoe over here.
It's kind of a skill.
It's based on the origin of the shoe over here, which is exactly what it once was, so that these two
paths are on top of each other and we need to make it to go inside and be on top of the lower layer,
you know, like the
shoe.
And then this part is going to have a shape like this.
And two or three of the shoelaces are going to connect to this part of the shoe.
So it's just bring them forward.
Let's see from the front, from the outfield, how they look.
So they should be more in front, something like this.
Let's go ahead and.
I don't like.
Unlike the color of this part of the shoe, it is hard to see, but does will do for now.
Let's get the shapes first.
And then in the end we are going to adjust them.
So let's make this shape over here.
It starts from.
This was from this verse and then goes over here.
And then here we have
now the curve over here, something like this.
Let's try to make that curve so it goes something like this.
All right, now let's do the masks and make the mask of this area.
Then we are just going to grab it and grab it up.
So let's just make the mask over here.
The starts from here goes down.
That goes all the way to here.
All right.
So it's just the mask extractor.
And let's go to the.
Just.
To a geometry.
Ah.
Now we're having the, this party over here we can go ahead.
And so it just that based on the reference so we could do this.
All right.
Now we can use this notebook and bring it up.
We have to risk apologies this part, but this is just for blocking out the shaves.
And then after it's apologizing, we will.
So he supported us and we will have a much nicer shape.
For now, we need to make it black out of the shapes.
So we would have something to work with.
All right.
Let's go to the.
So make this pass.
And now this bar remains.
But let's leave that to the last pass.
So when we have adjusted this one and then let's go for this part of the shoe.
So right where you
sculpt.
What's I'm going to do when I use my soul mask?
I just lost the mask.
This area like this.
I just stood at the other side as well, I think, because.
If I go to last summer's because Francis only was on it didn't mask the other such a let's just do it
again with less mask.
And get something like this in both sides.
It is sharp.
It sharpened that mask extracts.
So we have double faced right now a extra eight because, you know, it's just it's the litter because
this object over here is as double phase, double geometry over here.
So he has one over here as well.
Uh, it adds, it adds that if I go to solo mode, you can see that it adds these places.
We even added something over here.
So a lot of mistakes.
It's just removed these parts and I'm in the brush mask.
So it's such a difference face only until delete these parts.
And now we're ready to extract.
All right.
So does that part of this issue.
We can even.
You can do a little bit more adjustments.
As I said before, we need to just walk out two shapes and then we're good to go.
And later on, after we have, you know, all the chips over here and the euro supporters, all these
ships, we're ready to.
Had details now.
I think what's left is the night logo and we've got to repeat to make the laces and finish this video.
So this was a really long video because of how much layers we have in the shoe.
So let's go ahead and make the.
Looks to me like nice logo.
So as you can see, I'm just drawing at the surface of the issue.
That should be good enough.
Press conference to unmask extracts before they receive the inside is masks as well.
No, it's not so good.
Too good to extract this mask.
All right.
So let's go and make the shoelaces real quick instead of beats with curves.
So let's go to modeling
and let's make some curves over here.
Let's make a path care of something like this.
I want it to be more customers.
I'm just going to make another curve over here to say concave curve.
Want to go to properties, geometry, objects, geometry.
So that's my other curve.
And then go ahead and adjust this other curve for a half so I can just rotated for better seeing the
whole looks.
I can go over here and bring it down.
We actually bring the lawyer one up.
Feel the caps were here.
Uh, for this bill.
Shh.
Now.
Was it just that?
So these two to go down with us.
That's good enough.
So let's go to our curve.
Now is the game of adjustment.
So I wanted to do something fancy.
We are not making it realistic.
So remember that I would just make it look like this.
Over here.
So let's just add a couple of a few.
Few shoelaces.
So this is in the previous videos for curves.
There are some shortcuts.
If you press control t, you can rotate it or rotate a curve points right with consultee.
So it comes really helpful, especially in the and the roots and the last, the last points over here,
if you press consult C and you can change the rotation at the last point.
One other note is don't add a lot of points and it's better.
From my experience, it's better to go out of the best mode and add other objects.
That is because if you go to add more, you get this.
But if you add a lot of curve ones like this, then adjusting them, you will see a lot of points over
here.
And I just know it'll take it will take you a lot of time.
So let's go ahead and make an X shape or here.
So I'm going to do an X shape over here and then duplicated.
So as I said, nothing very realistic or something like that.
I'm just going to make an an X shape and the pictures of all around the shape that are on the shoe.
So with consortium rotating around.
Then just.
So this.
Just duplicate and adjust.
So first thing up remote will come when we are working with a CAS, an object mode, rotate around and
do all the at once and then go to edit mode and select the.
Cause it can get really messy with curves if you if you're not careful and you just duplicate duplicating
them around.
Just be mindful of how you're placing them.
As I said, I just made an X over here and just I'm just going to duplicate it and maybe cause the duplicate
two objects.
So let's do that.
To add more variation.
Let's make it go.
This one, make it go inside.
So it's like this.
So you can just duplicate that X with let's just add some variation to this.
She set the position.
We probably need to adjust it so much more later on.
But for now, just
adjust it like this.
Let's make one more of these.
Or here or not, actually.
So I want to make the shoelaces open rather than.
Closed doors.
That depends.
That depends on you.
On how you want it to look like.
Well, I want it to be open.
I want the shoelaces to be opened at all.
It's a bit more characteristic thing.
She?
He's.
We can do more adjustments of the shoelaces later on.
So now the shoe laces are open.
I have some shoe laces over here and all that.
So let's go to this window over here and see our looks.
So we need more adjustments.
But for now, let's say, for example, this one, I don't like it at all.
I'm just going to delete it and let's go to this one.
So you have no.
So I'm just going to make another part for that.
So let's go to the main issue.
Let's do it all the.
On the masks.
I'm just going to go to box mask and box mask.
This area.
The air face all is on less than that of a let's just busk box mask so you I say bucks mask masking
doesn't work here let's just do it as a mask.
If it's too thick, I don't care.
Right now, I just want to get the shape right.
Let's actually make it more even sharp.
This mask extractor is going to see how it looks.
So it looks okay.
So let's go.
And remission.
It doesn't look very much.
We can go ahead and smooth this parts.
Or go to assessment.
So I went to edit mode and then I press L to select all the connected geometry.
Then I can just delete the spots so now I can go ahead and smooth these parts.
And this is the soul of the show.
So I want it to be smooth and I want it to be flat.
So with this great brush over here, I'm just going to make it flat while I have this to line to make
these sharp lines as well.
So this is the soul of the food and it should be flat.
The sky and see how it looks on the food.
So it's you know, it was a sort of a match for it.
And those increase the side effects, the thickness.
Now.
We can work with this.
We can.
Can definitely work with this and maybe decrease the the solidify solidify and with crabgrass we can
again go ahead and bring the bring these areas.
It's.
Shh, shh, shh, shh, shh, shh.
This area needs to be more toward the lower parts of the show.
So to do this, make it go a little bit down.
All right.
Later on, when we have better geometry, these areas are like these areas over here will be fixed and
they're really more smooth.
So now if you want to see all these,
we'd like you can share this with them to see them better and how they will look later on.
You can go ahead and share this with it.
So it's on hold.
Everything the spurs for a safe and hide everything.
And now, as you can see, we have some job to do to adjust this over here at the lake,
something like this,
because we have layers, this very layers of geometry over here.
It's easy to do that.
Then the foot we don't need the foot right now, so you can keep it.
But I really don't see a reason why I wouldn't want the foot.
So they're just going to go to the front of you and with the box mask.
Well, selection.
I'm just going to delete the lower part of the foot.
Well, the.
X ray is.
Been able to hear the suspicious eggs and birds.
If you want to save your file before doing that, make sure to add another version of your file.
So I have this file and I add another plus sign.
So now I have another version of the file.
So if I want with the full fit and all the other, you can have that as well.
So a toast switch right now.
Now.
I think.
I have enough geology.
Like.
Like these bars are not going to be saints.
Doesn't matter.
She's.
I said, go ahead on your desk if you want
a smear this place on the body.
And then all these posts except the body itself can go ahead and click.
And this one as the selection console L and copy on the FA Cup every month for the other side as well.
So now we have this or here.
It needs a lot more work.
As you can see these parts, it needs to be brought out and all that.
For now, we have the base shape meet.
All right?
So we have the best shape of the foot made, of the shoes made.
And we can now go to the adjustments
of the shoe and make some adjustments as we are sculpting.
That means when it comes to this parts, it can go anywhere.
So we have made the most of the accessories.
We can go anywhere without Q two adjustments and then do adjustments to disperse the adjustments to
the body itself, if you want.
And the shoe and this is the part that you do adjustments.
This.
When we hear his apologies because the shoe, for example, right here is very lucky, as you can see.
So now I say this most, but still the chefs are not good at it.
Then we will apologize and get a better apology for our shoe.
These problems will be fixed automatically.
There's a bigger size for doing these adjustments because if you use a small radius and you do this,
you make a big change the geometry because a bigger burst size when you're making these adjustments
over here.
So you don't change the geometry that much.
You just move them around.
Sport has the same colour, so it's hard to see.
Maybe we can also add colours to the shore here, but I think that's that's good enough for now.
So now that's the that's the shoe we need to sell to do a lot of adjustments.
So it isn't binocular here you can't even see.
So maybe
or that started from modifier was disabled or okay for every of these objects it was disabled because
we links the materials.
So that's where everything was inside of OC.
So more things to do, it seems.
So I need to do it at
A to solidify modify it to all these objects over here.
Right.
And then I just then.
So I'm just going to do that.
I'm just going to add the slides from one for each of these
objects over here.
But for now, the shoe.
For the shoe, I'm going to call it finished for now and then after, because we can't really add any
details right now.
Any details if you add even if you add any of these details any bit as to the tongue folds over here,
if we add, then we have to redo it later on after this apology.
So right now, we just.
Just be careful of the shapes and be mindful how the shapes work together and use your grab brush and
change them around as you are sculpting, as you are doing the other parts of your character as well.
So that's it for this video.
You can also add the materials.
So I may do that in the next videos, but you can also add materials with these parts to make them more
differentiate from each other.
That's all for this video.
Let's let's end this right here.
This was a very long video, but I hope you won't like it with these methods, with masking extract
and all that.
You can make any object you want, any shape, any like.
You can make gloves, you can make anything you want.
We just these few techniques.
I hope this was helpful and goodbye.