Hello and welcome back.
So in this with you, I'm going to make final adjustments to this object of tissue and enjoin all tissue
parts together.
So let's just start with this one.
Let's go to our references over here.
Are this some changes to the or his syncopation as well?
I changed that.
I moved all these rules.
Apologize.
What are these rules?
Apologize.
Very simple that we did to one folder.
So these are the main objects that we work on.
And then I moved all the other objects, all other objects that we sculpted and all that to a backup
folder.
So if you need it, we can use it later on.
And I removed the only single lines we had into the light collection.
This is what I do.
And later on when we add more lights, we're going to add more lines into this collections with some
some organizing some organizing of this some of these collections here.
Okay.
Now, let's let's go to our references of our issue and make sure that the shoe parts are correctly
positions.
Positions and.
Now let's see what we get.
I want to add something a little wonderful to see what it looks after.
Something a little better.
Visualize.
Don't forget to remove the Sun subdivision rule if you're doing this as well, because after all, after
connecting, joining all these parts together, we are going to add more resolution.
So you don't need it's going to be higher than all the other measures.
And we don't need that.
So the subtitle for this one, I think, you know, so for this one, I would do some adjustments based
on reference.
It's.
I'm changing between objects with of Q.
She?
I'm trying to make it look like, but grab rush, make it look like that.
This area is pressure.
It's because it's pressed in this area and goes inside after other objects.
Other objects.
So I'm trying to make that grab brush and bringing these areas, the lower parts, the downwards.
But we can also achieve that in a sculpting later when we joined it.
We have to do some more sculpting in this area.
Also after joining the all this force we can still grab brush, change them separately with this option
over here topology we can change them separately.
Because they are not connected.
Like checking that box.
We can easily change the position of each object's.
She?
She's.
She?
See if we can scale down these parts uniformly.
And this should be much thinner than it is right now.
Just this with her.
And then let's try with those brush to bring this area up like this.
Rachel, let's bring this down a bit because it sits in this area.
No, it's grab brush.
You can change these around like this.
It's.
We?
Shh, shh, shh, shh.
Change.
Okay.
She was.
The Seahawks had subdivision level.
Shh, shh, shh, shh, shh, shh, shh, shh.
Telescope to the choices and adjust them further.
So this was our this our reference.
This just these choices because we are using curves.
It's much more easier.
Let's first adjust the tongue area, this one, because in this or it needs to go down.
That's the subdivision to see how it looks.
Bush.
All right, that's good enough.
Let's see if you need adjustment in this scenario.
I think that's good enough.
And now let's go back to the shoelaces.
So we have one shoelace over here.
Also in edit mode, you can use alter q to change between objects.
All right, so that's much more easier now.
Before you had to go to object mode and select an object in the game.
That was really hard.
So now switching between objects is much more easier.
Blender.
That's.
It's a mixture.
I'm excluding the end points.
So it would make something like this when it goes inside this area.
And be careful.
Curves are like sensitive to your view.
So when you're moving it, it just make sure you're doing it from the right view.
Okay.
And also, don't forget about controlled C, which you can use to rotate of.
Those are the points.
Shh, shh, shh, shh, shh, shh, shh.
Shh, shh, shh, shh, shh, shh.
With all of us.
If you want, we can change the scale of each points.
So I think the end points were here using old earth for the end points.
It's better to make it.
What's more interesting and this one has rotated their minds, so let's use controlled C to change the
rotation.
Select these first vertex as these dots over a curves and rotate them controlled t.
Okay.
It's just.
It's.
Shh, shh, shh, shh, shh, shh, shh, shh, shh, shh, shh, shh, shh, shh, shh, shh, shh.
She's.
It's.
She's.
It's.
He's.
This.
You can also subdivide between all these points to get more points and have more control.
All right.
But in my experience, when it gets so when the points, it's a lot and you have a lot of points.
Managing them gets harder as well.
So I try to keep everything low, the points of the camp as low as possible.
She
says
she just
needs to.
She?
It's just.
It's.
Just.
She's.
Shh, shh, shh, shh, shh, shh, shh, shh, shh, shh, shh, shh, shh, shh, shh, shh.
Right now.
That's better right now.
Uh, as I said before, I don't want to go into something more realistic, something more subtle as
we can.
Also, because these rules are so
very long, we can make them a little bit shorter by.
Do we think the points we can to scale down the end points like this?
And let's make sure these as well.
So I'm seeing some problems in the geology in this area.
So let's see.
We do have some problems in this area.
So.
Let's see if it fixes after adding the subdivision surface.
No, there.
There.
This area is not good for us.
So let's go to school to edit mode.
So right now I'm in edit mode.
Let's go to solar mode and let's delete this path over here.
This is by geometry, probably because when I use ray machine, the topology was virtual as it is ones.
She's.
We?
These are just over three years in this area.
Shh, shh, shh, shh, shh, shh, shh, shh, shh, shh, shh, shh.
Just.
Right now.
It's just that the new geometry over here.
I'm going to mask this area so I don't make any mistakes.
They just scrap.
It's.
Actually we can grab it because it's going to make markets
really stretched.
So that's something why that's like this movie.
So let's go to over here.
What's with subdivision, which I'm sorry, with extrusion.
Extrusion with E was extruded to this area.
So it goes all the way up.
Shh, shh, shh, shh.
I mean, x ray, by the way.
All right, that's good enough.
We can adjust it further with great brush.
It's huge.
These areas seems to be unnecessary.
So let's do it.
Now let's adjust exports.
It needs to be precise, it seems.
All right.
This needs to be closer.
So the student being added more to select this edge and bring it closer.
And it looked a bit apart.
Maybe it's like this.
Nonetheless, continue with grab rush and grab it and bring it closer.
Look at this.
I.
Let's do this because we change the location of these curves.
So I think that's good enough for this part.
Region with very little radius, bring this out a little bit so it doesn't go inside of the other objects.
So it's a bit like this.
It does have a curve like this, too.
So that's good.
All right,
save this and let's do it in a subdivision level.
We add it to these parts.
It's.
Just.
She?
You have some bad geology in this area for one or two.
Make it for production games or something.
Most probably do.
Another is apology.
But after subdivision, well, it fixes the problem.
Well, it's it seems in this area, these edges needs to be a little bit closer, maybe just.
Yeah.
Still made some problems.
So that's also the only way you're going to fix this problem.
But be mindful of your topology.
I should have checked it when I was using quality mesh.
But yeah, that was my fault.
Remember to check any of your topology.
Well, that's good for now.
For us.
Um, for this part, I think I should define how much I want it to be higher.
So in these photos, it's not very high.
Let's go to our
references with you.
Like here.
And let's define it better.
All right.
Now it's time to join these areas.
As I said, I remember that these areas and not having in institutional level, that is going to make
some problems later on.
But now we have all these choices quite good.
So let's select the shoe parts inside the body, shake the shoe parts, move them around, see if they
are actually when we are actually cycling only the shoe parts and then press actually less press control,
control the shift as I make another file.
So we have the shoe separated?
Yes, separated.
So now let's press control a visual jones to mesh.
It has applied all those all those tick nationalists all the time modifiers.
And you can join the shoe pretty quickly.
Before that, we need to.
Yeah, we have applied them.
We have applied the careful modifiers.
So I want it to be a less dense than this right now.
So let's go to decimate and subdue it and then subdivide this.
This is cause.
All right.
So as you can see, it's.
Curves have quite good topology.
They come with cord topology.
So now that they have done so, I salute all the other girls
and salute the last year of console and copy of the first.
So now they all have been decimated.
They all are decimated.
So is the man console.
A visual challenge is mesh.
So now the modifier is applied and now you're ready to join them.
So let's join these shoes over here.
All right.
I'm going to join them with these parts.
With this part.
Control J to join and scoot around safe.
Notice any problems in these areas?
All right, now the parts are joints.
Just one part can go ahead and add one multi resolution and subdivide it a couple of times.
The two thumbs for now.
And now they are subdivided.
And they are also faces.
So we can see.
So we can also use or here under options.
Use automatic in topology.
Then using grab brush, you're only changing the to pull the connector towards it.
So it's going to make it easier to change objects as well.
But because we have faces as well, you can also use face ID option these in here.
Now that we have merged all these options, you can go ahead and do more adjustments in these areas.
Well, listen to that.
Remember, when you're using your resolution to use a sculpt based mesh, when you are changing the
position, a very big change like this, changing the position of your mesh.
Which.
Or to lower part, it needs to be flat.
So I'm going to use a scraped brush and let's see, it's set to line.
And now let's go ahead and press shift, edge or actually edge on this path to hide all the other parts.
Now we are making sure that although the parts are not going to be affected, well, let's do this.
I don't think it's going to work.
Well, yeah.
So we need to because it's too it is too narrow.
We need to do this man with a space brush.
This use a higher value like a strange use space, a scrape brush to make this area flat.
Or because I'm sculpting on the base, which is not affecting much, let's disable the basement and
let's do it again.
Now, as you can see, because you have more geometry,
we can flatten this area much easier.
Which.
Shh, shh, shh, shh, shh, shh, shh, shh.
All right, let's press urge to bring back everything.
And as you can see, it's much better.
We need also to make some scrape in this area.
I'm going to use scrape.
Brush.
My strength is too high.
Let's bring it back and I'll use a straight first, a scrape brush to make it more flat.
So let's do it a little bit more in this area.
And now the soul of the shoe is much more flat.
Now let's go in this area while we are in a bit.
Scrape, brush this prosthetic on this area and used to scrape brush line, brush it in a low stretch.
So we don't change that much on the surface.
We're just making it more flat in this area, making it more interesting.
I have my cemetery offer the one to make changes that you don't want it.
So we can also go to the shoelaces and do something like this to put shoelaces to make them more flats
on the surface.
Shh, shh, shh, shh, shh, shh, shh, shh, shh, shh, shh, shh, shh, shh.
She?
She's.
Shh, shh, shh, shh, shh, shh, shh, shh, shh, shh.
All right, this piece of --.
Let's go out w let's go to this one.
As you can see in the middle, it's pressed so we can use the script brush to make this area more flat
than the outer area.
We need a more strange in this area, maybe a destructive space to actually rush in this area.
As you can see there, there is now making a contrast between these two spaces, like these two over
here.
She?
She's.
I.
You can make this more prominence with Russia.
It's a fairly not a very low radius or a just like this will fine make something like this.
The strategies to much the same.
It's let's suppose a stroke so we have a more straight line and then add a line like this in this area
which.
This is 74 or here.
SH sh sh sh sh sh sh sh sh sh sh
sh sh sh.
And don't forget to s'mores.
Okay.
Now let's go to this area.
I want to do the same thing with Draw Sharp and want to make
something like this.
So
let's see how symmetry is going to work here.
Not good, as you can see.
So do it always.
This area is precise.
So we need to express the pressure with these lines over here.
She just.
She's.
So I think we need more geometry.
So let's subdivide once more.
Yeah.
Of other once more because I noticed that the Russia cans there are very well in this area.
So as you can see, it's much more.
Clear Lake with more resolution.
Let's go out and see what we get.
Pretty good.
I'm going to smooth these areas very low so it doesn't seem to separate.
It's just wanting a little bit more.
Looks like a pressure point.
And then we can go ahead and use a scrape brush to scrape these areas and make it more look more flat.
Or actually we can do something randomly with a skip brush.
So some areas look flat and some areas of the bit bulgy and mix small variation on the surface and makes
it more interesting in the lower parts.
I'm going to scrape them like this.
So this seem to be compressed.
And now for this purse, we need to use a scrape.
Brushless.
Change it to one less.
Scrape this area.
All right.
That was too much.
It's good to side with you and scrape this area line.
Shh, shh, shh, shh, shh, shh.
And then just adjust this area.
As you can see, because my objects were separable, separate blender made some facets for me and with
the faces also masking, I can easily adjust these.
Parts.
She's.
You.
She
released something with it for discourse to the natural girl here.
Shh, shh, shh, shh, shh, shh, shh, shh, shh, shh, shh.
He's.
It's.
She was.
She's.
It's.
She's.
Most of these areas though it's a bit more cause areas that we.
Two kind of hounds of wind when we were rotating.
It wasn't consistency.
Now, let's use scrape, brush, scrape these areas.
Because in Greece, that's French.
Shh.
Shh, shh, shh, shh, shh, shh, shh.
Yes.
She?
She's.
As you can see, when I wrote it around, the details were here, disappears.
This is because of the option over here fast navigate to make sure that when you're using motorists
and you're using a lot of geometry that doesn't get laggy.
So you can turn it off, but usually turn it on and the geometry goes really high.
It helps to make sure that the navigation of navigation doesn't gets very slow.
That was just these parts.
Okay.
So I want to add always a bit of variation to the to these parts over here.
We can do that with Russia.
And I'm just going to draw little bits of like some, some like this to make it more believable and
add a little bit of
details so it doesn't look so flat.
And we looked at this shoe has been in a lot of places.
We don't look so new.
James.
She?
Such.
Shh, shh, shh.
And now for this area, tell us to use draw sharp.
Add some compression to this area.
She?
As you can see, because in this area, we don't have good geometry, these kinds of problems, patterns
now.
In this area.
It doesn't have good geometry and that is the reason you want good geometry.
Maybe we got this happened because now you know why it's always important to have a good geometry in
your modeling when you're sculpting.
All right.
Just trying to add a little bit of damage on the surface of these.
So it wouldn't look so flat.
And this is only possible with water resolution and we are in higher levels now so we can do some of
these stuff.
Add some variation into your if you're using a top up association to pen pressure frozen mouse.
Change this range constantly so all the areas would have some difference.
She's thinking of adding this.
That's horrible.
I think that's unnecessary.
We can add them later in the texturing, but you can also just with the structure or with a simple draw,
you add it, but maybe holding control.
You need more geometry for this to make them lower, to make them with like these dots, these little
dots.
But I think I'm not going to do that.
I am happy with how it looks right now.
I'm going to add those dots later in in texturing, but we can all adjust this area more.
I think it needs to be a little bit higher.
Shh, shh, shh, shh, shh.
And this area is pressed downwards, so it goes down.
Now this needs to go downwards.
All right.
I think that's good enough.
Let's go round and check out looks.
And let's go to.
To the men.
Then when you go out of the solo mode and see what we get after all.
All right.
That's good.
Good.
So I want to always have it on this part.
All right, let's go to coach mode.
And I want
some interesting shapes like this.
Let's be clear with Russia.
Let's add lines like this was in April, sub was a stroke and lines like this.
It's a good.
And then with inflate brush, inflate these areas.
Well, we can do something cooler.
We can mask these areas.
Shh,
shh, shh, shh, shh.
Let's mask these areas.
And now let's press control.
I press a smooth mask a couple of times are actually known under that as have it sharp and then go to
mask filter inflates that from left to right this inflated that's suppose is one time and inflate it
now.
Now we get this.
It's critical.
So now unmask everything.
And so now we have to smooth these areas.
Well, these are bits that are very sharp, these areas.
So just expose them.
Just.
Somehow they're waiting to see how it looks.
Looks fine.
Let's bring this down.
I want to bring the foot down a little bit because we need we need this space in this area.
So let's bring the foot down.
Shh.
Again, if my aim was to show the food as well, or without me, I would have made sure that I'm accurately
changing the foot.
But now I just must make make space for the shoe.
Because that the shoe is what is going to be seen.
She's.
Shh, shh, shh, shh, shh, shh, shh.
It's just.
That's right.
It's much better now.
We can also do this pass with Russia.
We can make use of its sharp edges.
She wants justice.
Was.
She's.
All right.
Let's go to a Random Moment to see what we got to say with first go to random malt.
Okay.
Because as follows I don't know why words, but even with apologies, it's a nanosecond to show the
material that we have over here and why maybe we need to update it.
But for now, let's change it to cycles to see with the correct colors over here.
Okay, let's bring up the ground.
She?
She's.
Shh, shh, shh, shh, shh.
She?
Ah, this.
We need to bring this area the whole thing down.
So this disabled the faces and bring this area down was a bit.
And let's use pulls and bring that this area with a bit of like we have in the reference.
It's not the post war which doesn't work.
It is also masking.
So let's use
the grab brush for this.
It's.
Shh, shh, shh.
So looking from the upper areas, you can see the fronts of the show is much more toward the sides.
So to see if we can get that.
She's.
So I grabbed this part and brought it inside and grabbed this one and brought it to this side over here.
Just.
All right.
We may do a little bit more later on for the shoes and use some of us, for example, some some leather
offers for these areas, for example.
But now I'm going to call it done because it's it makes it that it's 2:00 or one hour now.
And yeah, I think we did a really good job making the shoe for our character.
And in the next one, let's do the clothes.
All right, so that's it for now.
Until next time.
Goodbye.