Welcome back, guys.
So in this with you want to, uh, I want to walk on the clothes right here now that we've done with
the shoes.
Kind of done.
Now, as you can see in the viewport, we have wonderful viewport, and that makes the scene much more
better to navigate and all that.
But we have all our details in the skull motif.
If you don't see your details in the view, please don't be a skirt and check.
Just check the mortuaries and see if the little viewport is set as the same as this called.
We'll just leave the little report in the low number because you don't need that in this course.
More than as you can see, there are some more details.
But with a little one of you, of course.
The scene is much more optimized for us.
So now we have 115 vertices and this for optimize.
So let's go to the close over here and let's go to the shorts first and let's go to level four all the
way to level four.
And let's start with Draw Sharp.
I should also set a scope based match.
I wanted to bring up a little bit of this area,
so I'm smoothing the base mesh.
So this area would be much more smoother unless you turn this off and starts doing so.
So doing some of the.
Details over here.
And as you can see in the clothes and the references that we gathered, we have some real life reference.
We have some from the animation.
We're here, for example, we don't see it coming over here as all or in the poster.
We see some wrinkles and you can always certain things.
And it's for wrinkles like search pants, wrinkles, shows, wrinkles, and see some wrinkles for yourself.
But now I want to do it really fast.
So we draw sharp and we just said was a stroke.
Let's start adding some wrinkles in this area.
I shall go with draw brush.
Let's head to space.
And.
Yeah.
So with your brush as it starts I think some.
Wrinkles.
All right.
Not too much.
Then, as you can see, this is kind of a fake because we just and that's the drawing on the surface.
We need to smooth the edges now.
So this is smooth the edges.
This visually ends points or here is one of them.
And the two sides also sort smoothing in them, give them a little variation between the like these
to kind of be much more outsides and multiple bulge here than the other areas.
All right, then we can start with Joshua and make some more definition into these.
Today's wrinkles.
So we can have some wrinkles around these areas.
For example, let's change the strange and the very
light wrinkle over here, and we can also use it for this brush and use it for Bush to make some simple
wrinkles.
And don't forget to source shouldn't be too much out.
We can go to our references, our real life references, for example, see some wrinkles that we can
use in our scopes.
It's just.
It's.
Well, let's go for the backside.
So those in need too much wrinkles where we can always if it's something around this area.
Six.
A severe problem in this area, the geometry seems.
He's.
Express all interest by distance to see if you have trouble of geology.
We don't.
You
can also use clay strips to better define these.
Whether they find these wrinkles safe and smooth, it becomes much more nicer and believable.
You
can use the normal clay.
So it would be much more sports that are.
And.
She?
Also press control and dig a little bit between these these wrinkles.
So you have much more contrasts in these areas.
And it would show that just how much wrinkles we have in this area.
She?
I'm adding and removing right now, as you can see them adding over here and then with control and removing.
So keep that in mind.
And then small things like the steps are adding a little bit of difference in the surface and they're
removing is a and smooth and it's
just.
You can also add wrinkles with offers if you search for some cloth or for some wrinkles.
So sort.
So search from the internet cloth, wrinkles of for and see if you can find some wrinkles that you can
use as offers.
I think that's it's good enough now to make some very visible wrinkles, though.
So something like this.
And then small thing.
Let's go back and see.
All right.
That's good for now.
What I want to do next to go to our jacket over here.
It's all Q and go to subdivision or this.
That's really too much.
Five, but still is higher.
So you only have four subdivisions.
And now what's good here and a little bit adjustments just means.
So it's symmetrical because the jacket is symmetries.
And then let's define these areas as look at the references first.
As you can see, the jackets were here, as are the parts in here.
What's first defined is already on the lower pass, which is black.
This area with Russia.
Let's draw these area.
My kids love this.
And now I don't like how it looks right now because it is too
much, too round.
So with classroom and with holding in control, I just made some dents like this.
And then after that, with the help of skirt brush, I can go and make these three or more flats.
And then a source within this area, or was our usual daily use clear strips kind of draw between the
two between these two.
And there are some gaps like this draw between these two and then some of the that and then it makes
the transition much more nicer.
I now want to want to make some difference between these areas with only two.
As you can see, you don't want to go like this.
I want to make it more silos in this region.
Region.
So I'm going to do something like this.
The spring of this strange and
strange
schools.
Something like that looks cool.
But let's bring down the radius and make it more interesting.
Let's disable the pump pressure if you're using it without the pump pressure.
So you have the same strange all over.
You
just.
Seems.
Si, si, si.
Which.
Okay.
Now let's use most brush and it's small stays area the upper areas I for x symmetry.
So let's enable this associate and smooth the higher parts.
And as you can see, we have a very interesting shape in the bottom of our jacket.
You can kind of strange in this area with draw sharp so it draws so we can go and make the lines more
deep.
Let's increase the strange and make the lines deeper.
She's.
She?
Schools.
She's.
It's.
That's
right.
She's
holding on, holding key control under duration to make a redraw area in this region there and then
to smooth it to make it more apparent that these are different.
So different fabrics sewn together, all that sort of clouds of solar.
Now that we're done with that and we can go ahead and make this area a little bit more flat.
And also we need to make it thinner than what it is.
So let's bring the grout brush.
Bring it inside.
I'm bringing this area outside.
So we have lots of contrasts.
That's.
Change.
All right.
Now it's some sprinkles, so it's good to inflate brush and add a little sprinkles.
And justice.
By holding control within 48 hours, she can see the diggings in these areas.
She?
Want to make some wrinkles in this area.
So those experiments with what we can get.
You don't have to be
exact.
You can experiment with the wrinkles and use all these references, for example, this one or this one
to make our wrinkles.
But this one, as you'll see, the fabric is different than the actual thing and what we're going to,
which is a very bulky big jacket.
But we can work with some of these wrinkles.
This is.
Then with control, we can add more
contrast between these wrinkles.
She's.
Six,
six, six, six, six.
Each.
So yeah, just experiments with the wrinkles is just it just need to be practicing and doing and seeing
clothes and the instruments and all that.
So it just needs practicing and experiments most of all.
So most of these are much more about experiments than anything else.
So the Hands-Free also has a separate area.
We're here and we can do the same thing with it over here.
So for us, this defined area, we draw sharp.
I know we can use the draw shop to define these areas as all.
Then let's go to inflate inflate these areas and deflate these areas to add more contrasts.
She?
He.
Six, six, six,
six, six, six.
It's
just.
Or else go to
run them out to see what we get without any materials with TV arestill our materials was good.
So now in the wind and will change it to cycles to see what cycles gives us.
As you can see, we are in level one in circles so we can change it to level four.
See what we get.
As you can see, we have 800,000 verses, so be careful of that.
It takes much more longer to render.
Beautiful will complete.
It doesn't crash on anything and with the render engine we can see much better how it looks.
So with the other lighting's okay.
So to, to use this feature, we can go to sculpt sports while we are sculpting and we can so you can
add or hear 3D reports.
All right.
That series of reports in this area can make it easier to.
Switch
and adjust these windows.
And then over here we can go to render mode to see our character while it is in rendering.
So now it is not updating because we are in a sculpt wards of go out of the scope but it gets updates.
This is because the multi resolution so yeah because of multi resolution assumes that we can't use this
feature.
But let's go to EV and change.
It's easy to see if we get it easy on the eyes since oh looks fine in TV, so let's make changes here
to see if the changes apply.
So as you can see, the changes apply here.
So you can use this feature to better see how your character is looking while you are sculpting.
And yeah, that helps a lot.
She's speaking six.
She?
She
used the scrape brush to make these areas more flat.
They're too rounded and I don't like that this is a higher value.
I make the edges over here more flatter.
I'm going to split that
and we can bring it out since it has quite a lot of thickness of the seeds.
Unnecessarily bad because we don't see that much sickness beyond the courts.
We know we need to take care of that.
Let's go to discuss.
We have over here.
And actually let's go to object mode and let's change this to something like two.
So it wouldn't take all of our memory, memory of our computer.
It doesn't make it so slow.
Now we can go here and change the over here to something like four because we are sculpting on it and
see how it looks.
So this area, because it is behind this jacket, it doesn't make it doesn't produce many wrinkles.
We can go ahead and do some adjustment to it, though.
She?
Or not.
Let's test the symmetries.
See if it's in symmetries.
Yeah, it is symmetries.
So we can use this as an advantage and just add wrinkles to both sides.
So these areas, because it just sort of goes off and on on the head, then it makes some wrinkles.
We need to produce those wrinkles.
So we use this with the input brush influence in this area.
And I think I already did it.
So I'm just going to go back and change the strange and do it again.
She?
Six,
six, six, six, six, six, six.
Right now?
Well, it's a bit inflated.
These are reasons.
So it wouldn't be too narrow.
But things.
The thickness might be fine or it's a bit thickness using flippers to add thickness in the areas that
you think are.
And then you need to add, for example, this area thing, you need to add thickness.
Shh.
And now it's just this area over here.
So you can see on the character, there's a ring over here.
This connects to our there are the red coats over here with this.
And we have this care over here.
This curve.
Just to be a little bit more flat.
So let's see if we can change it.
I thing if you change it to this object over here, it's going to make it like the shoelaces.
Yep.
So now let's go to edit more with all this trying to
skill these points to my liking and to my with some reference.
The position is off, though, so let's select them and bring them down like this.
Yes.
So this
should be like this.
And they should go like this toward the jackets.
All right.
Now, I want to make this.
It's more flat in this area.
Let's zoom in to see better.
This area, I think, needs to be much more flatter.
I think it's
accurate.
She.
So.
So could Solomon.
And from the inside change a little bit of the thickness.
You shouldn't look
too so much like clay.
She
said in the interview.
She?
Ah, that's good.
Nice.
Let's make a curve over here.
So it goes like this.
I mean, if you want if you want to head to be the button, just read the clothes.
To be covering the head, we need to bring it also forwards.
So let's do that and bring it forward and bring the both sides.
It's a bit.
To all inside.
I mean, the up or upside down?
Well, it's a bit like that.
We can bring it all back so we can cover the whole face.
Then bring it down.
Or we just we just destroyed all of these.
Bring over here by moving it.
So do it first before.
She?
Before during the wrinkles.
You can also just make it that it would be just sitting right there.
Right.
Like we have in our friends photos.
The one to do this to make it a little bit different.
Oh.
Let's, uh,
let's go and search on the Internet if you want to make it.
The.
So I always go and add some, uh,
some references to this part.
So, for example, we can search hoodies with these sites, for example, and then the schools images
and see will we get to see the wrinkles and how it looks like resemble this one?
We can drag it to our references.
And this one, too.
We?
Surely we don't want to go too realistic, but this will help us to identify how is going to is going
to look like.
For the wrinkles, too, is going to be helpful.
All right.
That's good.
Now, we can adjust to the project based on our references a little bit.
So let's go ahead and.
Let's first bring this jacket.
Well, it's a bit higher.
So it's called Space Smash.
And bring it higher.
Like that.
I always go here and I just.
That was a bit.
She?
It's.
Shh, shh, shh.
She?
Right, this ad.
Now that they are quite done with the position, we can add some wrinkles in those areas based on the
references.
See how it looks in the rendering in lighting.
Your size, you can use crease brush to add some creases.
It acts similar to Russia, but it is much more stronger in the sense of making sure making the between
the surfaces to be able to have much more contrasts.
All right.
Let's go to check it also and add something with our quiz brush.
Let's save so we don't lose our work if wonder could handle the geometry, because right now Blender
is handling two and a half million geometry.
And it is making it so slow.
So let's go here.
And because we are using rendering, let's bring down the level of reports of this over here to.
All right.
I don't know what happened, but.
We lost.
Lost work or here?
I don't know what happened.
Let's undo things.
Maybe the works.
Mm.
Changing between objects with old Q removed.
Our work were the so I don't know if it's a bug or anything, but that's the first time I'm seen this.
Maybe it's a bug with the changes of an object because it was added.
It's when this happens.
Also, it's pretty new.
It's possible that it is a bug.
She's.
So there are some changes over here was not.
And that clothes.
So in a puzzle with you maybe by bringing up one of our.
Recover autosave or bringing off one of these, it's going to be fixed.
So I'm just going to save this and then bring one of these recovers auto saves.
And let's bringing this one.
No.
Nothing changed.
Spring the.
These are very, very old, like for an hour ago.
So probably doesn't work.
Right.
So you have to do it again.
But that is really sad.
Let's turn on the skulls.
They smash and bring these areas all the bit down and do this again.
Since church.
She's.
She.
She's.
Shh, shh, shh, shh, shh, shh, shh, shh.
Small.
Just.
SH.
SH sh.
Okay.
I don't know what is happening when we go to object mode.
This happens like all of those over disappear.
I know why we are in a little viewport for.
But it still happens.
All right.
Let me puzzle with you and then let's see what's the problem, and then I'm going to resume that with
you.
All right.
Because there was a there was a box with a multi resolution.
I deleted the multi resolution and added another multi resolution and fixed the problem.
So I never encountered that one.
But yeah, it was an issue with the motor as it seems.
So if you encountered such a problem, you can try deleting the interest.
So now is it just further these areas over here and there's some last adjustments to our clothes?
She?
So now the geometry is too much.
So it can't handle this much geometry.
Maybe because we are in the rendering mode.
All right.
Now, this story is are two cemeteries right now.
And I don't like that.
So let's let's break symmetry and a little bit of differences in these areas.
So now I have turns of my symmetry and I can start sculpting, make sure this code base meshes off.
No concerns, sculpt things, some difference, things on top of the clothes to make it difference.
And very, very variation.
So my class trips, I'm filling in the cause of a mate and just wanting it to make it more like if one
objects
make it more small between these
various machines.
General Soviet control.
They move around these areas and then smokes to them.
And let's use a scrape again in this areas and make it more floods.
So it needs to be more flats.
Shh, shh, shh, shh, shh, shh, shh, shh, shh, shh, shh, shh, shh, shh.
So it doesn't enable symmetry and listenable symmetry.
It's.
Now they've made that.
Much more smoother and much more flats are in this area, which it should be, I think, based on our
references.
It should be much more flats than to be around.
And you can easily do that scrape brush and then we can go ahead and this most is areas holding shift.
And I care about this area and how it looks because it's not going to be seen.
Shh, shh, shh.
Well, let's make this area a little bit closer to each other.
She's.
With Lyra.
I wanted to feel this area of the that we have just made some quality control to make it more
consistent between the areas and then using a scrape, brush scrapers and then using the whole thing.
So this area.
Shh, shh, shh, shh, shh, shh, shh, shh, shh.
She?
Shh, shh, shh.
And I'm trying to make those with separate points down the other shoe and other clothes and make it
a bit full.
Rather than I mean, it's sick to the surface.
So it would more you would recognize and nothing was done
or done with that.
But I don't know why I went to waste banks more by accident.
So let's go here.
And one of it's with Chris Brush.
Want to make some of these?
Keyser's a little bit more prominence.
That's the central scalp space, much less make these obviously with more prominence to look like more
high risks because if they are too much swirls, they will never work her as she.
It's.
Which.
So if you want softer areas to be more stick out use.
Chris Rush is going to be more stick outs to the way you.
Questions.
It's.
Shh, shh, shh, shh, shh, shh.
It's because of this woman that ought to be of crisis in this area, which jackets seats.
Also we need to.
Bring up this one over here.
So it covers the bolts area.
And also we have to do we have to be able to scrape the law pass in this area.
She?
So it wouldn't be to around and it would be always a bit more flatter.
It's just.
As you can see, it is making an edge when we are trying to make the area around the edge flat, its
mix and edge.
Shh.
All right.
Well, let's go to the shorts over here in.
And you have lost.
More.
What happens here?
I don't know.
Shh, shh, shh, shh, shh, shh, shh, shh, shh, shh.
It's me, Chris, over here and go to object of the people.
So I have to.
To read this, probably you have to deal with this very unfortunate, very, very unfortunate story.
The Gang of Four.
It is time.
Yeah.
It records now.
Very unfortunate.
But the short story, real quick still and real quick and let's get it done now.
It's.
We don't need much for the short shorts make big falls.
We don't need
very small faults.
Unnecessary.
Faces.
Pieces.
It's
just.
It's.
He's.
She says.
All right, that's good enough.
That's smoother than this.
Use Chris Brush to make some of these.
Wrinkles folds to be much more with higher resolution.
And I should just connect this one with the shorts.
So let's apply it and then connect it to the shorts.
And then it's just going to add that amount of resolution to this part of the shorts as well.
So let's add a little bit of.
Details in these areas.
All right.
I accidentally clicked on the.
Buddy.
Let's make some definition over here of.
Puckett's all right.
And a naval cemetery.
The Sunni village.
And.
All right, let's go back and have our first sets of the first sets so we don't think it's.
Other parts.
Now we can swath this area or less of it and use scrape brush to make this area more flats than being
round, especially the edges.
We don't need round edges.
We can quickly make this more like this and then smoothing it.
This increase.
This range.
If this was small.
The other ship like this
and now is searching just this one for here.
It's the same old cemetery, and it just.
Just this one, pockets.
All right.
This cube is too thick or no, that's pretty.
You said so.
It would be much more look like a button.
That's good.
So now let's add some wrinkles to this area that the pocket joins.
So it would have some area, some.
Much wrinkles.
The thing.
That's enough.
And.
Yes.
Seems it seems to be too much to eat.
All the pockets are too little.
So let's go to it.
There's more press.
L want a personal for all, both of them and then processors that scale them.
All right, then, Princess X, if you want to ask them an x axis.
And let's see what we get.
All right.
It don't work because we have multi resolution.
Let's use another method.
What we have in the option face that's enabled.
Just grab it and make it bigger like this.
So this enable symmetry.
Shh, shh, shh.
Let's just grab it.
Make it bigger.
This.
Yes.
It's just.
That's not what I like.
This and do everything.
Maybe we should have done that in the first place.
One good thing about having a lot of undo it, you can undo many times and get to the points that you
like.
So once on zero until that point starts, I hope we don't run out of juice.
So I want to go to the point I joined.
The pockets.
Shh, shh, shh.
Shh, shh, shh, shh, shh, shh, shh, shh, shh, shh.
She was.
Let's see if these are now, you know, still they're connected.
So now they're not connected.
Now we can go and skill them sort of skill them down like this.
Shh, shh, shh.
We should have done that before joining them.
So that's something to consider.
Well, I'm making this one.
It's.
I guess.
I guess that's good enough.
Maybe it's even bigger now.
So let's make it a smaller.
She's.
That's.
The thing.
We didn't.
We did not.
We apologize.
This one.
So let's go.
Apologies.
This.
That's remission or actually we did remission because the name is written for mesh.
So it is a ring mesh.
She's.
All right.
That's good enough, it seems.
Let's bring the in over here.
And I just take of this on.
She?
And now that we are happy with how the packets are adjusted, you can even go and adjust the location
for the more like this.
Be with symmetry.
Yes.
She's.
That's.
She's.
Okay.
That's good.
So I just the position and then join them and we're done.
Shh, shh, shh, shh.
She was showing it to the shorts.
And now that they are retired geometry school here and just these more.
A little bit more.
So it sits on top of the shoots of the of the topic.
And.
All right.
So I think that's good enough.
Maybe add a little bit more of Croesus in this area.
So it would look much more details.
He's.
But not too much.
Obviously, because it's going to be look fake.
So that's the hard force,
seeing how much you should and how much you should not add, because if you had a lot, it is going
to look fake in the end.
All right.
So that's the shorts and records.
So let's bring down the viewport of the value of this.
So it would be a little bit more optimized.
And this one is level four.
You can go ahead and add a little bit of more creases over here.
I don't like how.
Everything seems so smooth in here.
Shh, shh, shh, shh.
It's.
So let's look at the references to see how the clothes look like here.
So this should be much bigger, it seems to select all of this and bring it also down with all its.
Right.
We can do that with extruding.
So would be until to have the jacket over here.
This.
My just in the jacket over here based on.
Shh, shh, shh, shh, shh, shh.
Based on our model that we sculpted.
So it wouldn't be way too big than I once.
It's.
She's.
Shh, shh, shh, shh, shh, shh, shh, shh.
It's.
Shh.
She?
She's.
She?
That's.
Just.
Right.
This buzzer.
Okay.
So now let's go to Hero or see if we can add anything.
I don't think we need to add anything to this area.
Any detail would be unnecessary because it's a very simple belt.
Fortunate for us.
So let's just adjust these over here because.
They're now underneath.
So let's bring them out.
What?
This?
Shh, shh, shh, shh.
I don't have any geometry, Sims.
Oh, they're they're back for it right now.
The faces are backwards.
So.
I don't think we can change the normals of the course, but it's.
Let's just try to.
Hmm?
No, we can't do that.
This Rosatom 180 degree.
And we will just
use.
Okay.
This is seamless because of the buckling that we have on here.
This seems.
Yeah, now it's fix.
It's.
Let's also connect to connect these objects that this one we made for the shoelaces.
So let's make that.
And it isn't it wasn't a good idea since.
So let's leave it at that.
And then we went we were happy with it and then convert it to mesh.
We are going to add the solidify.
So now let's go to.
Cycles.
And see where we got the safeties first so it wouldn't crash on us.
So this change it to the highest value for each.
Clothes on the shoe as well.
And now let's see who gets in circles.
And what changes we need to make.
So it's pretty cool now.
Definitely some more some more things or easier would be would be good.
But right now we can say for sure we have a simple material over here.
After we made the texturing, we need to come back and change some of those details and adjust these
details.
Adds more details and all that we're in now because we only have one simple material.
It's kind of hard to tell.
So but right now, I think it's a good start.
And.
Yeah.
It looks good.
That's one of the things we can do.
We can either stop this a little for this one.
We don't need any.
Shh, shh, shh, shh, shh, shh.
He isn't adding any diesel for this pass, but we can tell also delusional for these birds.
And, yeah.
Maybe
bring these one or two bullets toward here.
Shh, shh, shh, shh, shh, shh, shh, shh, shh, shh, shh, shh.
Shh, shh, shh, shh, shh, shh, shh, shh.
And let's go to discuss more on one of the cemeteries.
Ah, let's bring this over here.
Well, it's a bit on top.
She?
If you like, you can also bring this if it's outlawed to make something like of which the is a little
bit outward.
You can also use inflation for this purpose.
So do something like this.
Maybe that'll look good, but maybe it's some other strokes.
Maybe weeds and carrots can bring out this area.
This creates strange and with anchor words.
Maybe it's.
She's.
You know, let's change it to a smoother sphere.
No, it doesn't seem to work.
Let's leave it at that.
Right now, and I want to maybe change the thickness over here just to make it more that more like it's
sticking out.
And then after that, we can go and bring the edges downwards.
It's.
Or not.
Actually, it doesn't work like that.
I think it's too much to miss.
It's maybe only with us.
That's for now.
This area is good.
I'm not going to make any changes.
Shh, shh, shh, shh, shh, shh, shh, shh, shh.
Let's go for the body over here.
And I don't think I want to change anything right now, but what I want to do here, I think this is
too far away.
So let's bring them with their feet towards each other, like the legs.
And now so the better.
As you can see, they're not too far apart.
And.
Shh, shh, shh, shh.
All right.
Now is better.
And, uh.
Yeah, I think.
Good.
We can add the black material for this one as well to see how it looks with.
With the texturing when we do texturing.
And we can also add some details.
The hand over here.
She's.
Like more prominence in the.
Shh, shh, shh, shh.
Well, permanently not.
I don't think I'm anything else because it has a custom.
It is wearing custom.
He's wearing a custom.
And it just doesn't make sense.
Any much more details.
So I'm just going to make the knuckles already was a bit more
prominent and then just.
Oh, I was sculpting.
I was sculpting in the basement.
So it's just on to everything civil to base mash and go all the way to four subdivision levels.
And now let's start sculpting here, actually.
So.
Shh, shh, shh, shh, shh, shh, shh, shh, shh, shh.
I was in control to remove some of the volume from this area between the fingers.
So you would look much closer.
She's.
Jesus.
She's.
See
the side of the hand is kind of flat.
So I'm doing that to achieve a much more flatter area in the side and then smoothing it.
So I think I removed too much.
That's not what I wanted.
Let's use a square brush by.
Decrease the syringe and let's just go with one stroke.
Not too much.
And then something else.
Let's go for another and smooth it.
And that was good.
This area as well needs to be a little bit more flat.
This side of the town.
Increase the stress and do the same thing for the fingers.
It's.
She?
Let's make this area more flats.
Maybe use clear strips.
To add some definitions of this area.
She's.
Which.
And as I said earlier, after doing the doing the texturing, we are going to come back and do final
polishes, not a skull.
So of protection we see more like where you need to add more armor because right now I'm doing this,
but I don't know how much of this will be hidden by the textures.
All right.
I mean, this area want to also preserve the clavicle or here so you would be a little bit visible
each and on the for the center Clyde the most slight muscle want it to be more visible so just with
the clear strips just draw a little bit and then smooth it and remember that it shouldn't be to prominence.
So it is a big mistake here.
This cynical muscle muscle is not in the right direction.
Some do everything.
And let's make it over here.
The.
The ball over here, the clavicle bone over here, and we going to smooth.
It's this smooth strain just too much.
Then there is going to be a.
Take it right over here.
Little bit of
this area shouldn't be too prominent.
This is Spencer, so you wouldn't be too sharp.
And let's bring in your first brush and change it back to space.
And make it a little bit more roundish in this area.
So it should be a little bit more around.
Let's not make the cynical the must side muscles.
What is it with more prominence in this area?
Sable symmetry.
I'm noticing some differences between the two sides.
Maybe not full symmetries.
So it's true.
It's
mainly now in these areas.
And because our character is not to.
Muscular.
We shouldn't overdo it.
Let's go back to objects or match up to see it in gray.
Because in black I couldn't see much.
Well, it's much more reasonable to see.
Now I can see that I need to swath this area and with clear strips I'm going to with a lower valley
of a stretch.
I'm going to add only two bits between these two because now they are two separate it.
And after adding all of you, I'm going to smooth it
with this area as well.
This was this area.
We took it off the Phoenician in this area, but not too much with Chris Brush.
Maybe this Spitzer.
These need to be feet to the site.
SH.
SH sh sh.
So I'm not happy with how this area, this area of the code amongst students was, look, they are too
prominent and the location is quite wrong, too.
So it's clear through.
So I'm just going to delete them with them.
And
don't be afraid to do either stuff.
Now, I'm just going to add this.
That occurred in my.
In this area, I'm not going to add too much for the neck area because it doesn't fit the character.
What's.
It's.
She?
All right, let's go out of the solar modes and see what we get over here.
That's much better.
As you can see, this area, this distance.
This should be a an inside inwards.
Shape in this area because of the because this is the middle area between the two clavicles.
We did quite achieve that.
We can also always have it in these areas manually because I think the symmetry is broken right now.
Let's do it manually.
And so it.
Just
make only two bits of bold genius over here.
So later it's showing of the
clavicle,
and I think that goes this good.
We don't need to do much in these areas because they are going to be covered with texturing.
But we can I think this needs to be a little bit forward.
This is too much inside.
So, yeah, it needs to be a little bit forward.
All right, now things buzzer.
The legs.
I think they'll look fine.
They can go ahead and move a little bit of ice.
So it's just smooth.
It's always a bit like how the knees look are now.
So I'm just going to leave it as that.
I'm not going to make many changes.
Well, we can always a bit.
Adjust the location.
I'm going to draw it a bit on the knees for the surface.
Wouldn't be too perfect in this area.
And then a little bit of a smoothness.
Oh, we got some problems over here.
Let's do that.
Once
again, this machine is a work, it seems.
It's much better for the knees.
And it's.
Maybe a little bit more.
Make it a little bit to the side.
So it looks, though, it's a bit small right now.
So I'm going to add a little bit of volume in the slides.
Remember, the knee is the squarish nuts
that's round.
So I think that's good for now.
The texture is going to cover all that so that we can decide how much we can now remove or add.
But now this is fine.
Let's go around and see any more details we need to add or remove, maybe.
Shh, shh, shh, shh, shh, shh.
She?
It's.
Shh,
shh, shh, shh, shh, shh, shh, shh.
This.
It's just.
Shh, shh, shh, shh.
It's
just
such.
So I'm just polishing those bits around these areas.
Well, it's a bit adding a little bit of pressure in this area.
So because of the jacket is on top, it's just adding as a dispersion to the red jacket.
It's.
She's.
It's genuine.
It's.
Some tweezers over here.
She was
wearing directional creases or wrinkles.
She's.
Well, it doesn't look so flat and without any details.
So let's cut the face.
And I said before, I once, Oh, it's a bit like the nose coming out.
So let's do that with clear strips.
I think only two bits were here and then the smoke in it.
I need to be careful because it might not look good and I want then I need to remove it later on.
So just some experiments with how everything looks.
Also the jawline.
I want it to be more
like more visible.
It adds more.
The character looks.
Shh, shh, shh, shh, shh, shh, shh, shh, shh.
You also always have it in this area.
Just make it a little bit different from the food, the mouth area.
She's.
And you can add something like this above the jaw, the chin, because this area is just a little bit
dense.
There's these small things because this mask is just not going to be to.
Details.
Shh, shh, shh, shh, shh, shh, shh, shh.
Shh, shh, shh.
The spring, the jaw, the chin, a little bit forward.
No.
It looks better.
She?
Let's try and bring the below.
The chicks aerial is a bit downward, so let me try it out.
And if it's not good, just going to.
That's more what I like it to be by defining the muscle areas.
Let's do that with clear strips.
Over here we remove a little bit of these areas to define more of the of the cheek area.
And then we wanted to see where we get.
Shh, shh, shh, shh, shh.
I think this one is bizarre.
So it's the same thing over here.
So between these lines and defining the plane of the cheekbone, we will get some very interesting muscle
areas.
And in the face, as you can see, start to flex now.
And it does show what is a bit of muscle, cheek muscle there on the face.
And this is exactly what we want.
These these little things like they matter a lot.
So now they go to the side view.
I see some problems with the proportion, the upper parts of the.
The upper part of the.
For her.
It needs to be a little bit like this, right?
Not like that, but like this.
You shouldn't be so round like this.
So let's try and fix that.
Obviously this is not going to be a really.
Beautiful, but.
Maybe if we also bring this forward, but then we have to change all of these as well.
The men do that and don't like that.
And let me just bring back the chain in this area.
So now.
I think -- would be this one to be forward.
Now I think the.
Forehead and the chin are in the in the same.
In the same position.
The ability to raise forward too much.
All right.
Go back and see what we got.
We're doing this.
And I think that's okay.
So.
Let's just.
And a sure fire way here to see where we get the strength of modifier.
Projects negative and shrink wrap this around this.
So let's move it to the top to see if it is better.
And now you.
Now we have it on top of that.
See if you need any changes in here.
Maybe at all.
It's a bit more.
Of us.
That is to think
of all seven the fine.
And yeah, it looks fun.
Now, as you can see, that's a.
What I heard over here.
We can't even you can't even make the head a little bit bigger right here.
So let's go and make it a little bit bigger.
That's on the shrink wrap modifier for this one as well, bringing it up.
Project negative and the obstacle to it is all bets better.
I like this and I decrease the.
Subdivision.
So why duplicate this?
All right.
And then bring it up after this shrink wrap.
See what's going to be different right now.
So it is going to be much.
Much more hard in the edges.
So maybe let's do that over here so as to placate the subdivision and bring up the subdivision a little
after the shrinker.
She's.
All right.
It didn't work this time.
But though it's a bit more definition to our.
Object or there.
So, yeah, that's.
That looks much better.
A theme for this one I want it to be.
It's a bit like outside, like like a real spoiler where it should be.
It could be a bit like I also like this, but this is okay for now.
So like this over here I'll our main reference.
It doesn't have that audience, but like even in here, as you can see, you see it.
There is some differences between.
In the middle and around the edges.
Let's make it so.
Let's see how it looks over here.
We need to fix the head in this area.
Or now it looks better.
Let's go out of the Solomons now.
Let's see.
All the words are character.
Let's see if we notice any problems.
As of right here is because of the mirror, it seems.
See a mirror that's based on this.
Amir that this Amir that the first for his body.
But as the body seems to not be so concerned, it means some problems like this.
So other than empty on the boards or is in and so like that is empty for the mirror.
But.
Foot is sticking out.
So I chose to short stride now because the shorts are written to be centralized and now the problem
seems to be fixed.
Except for this area over here.
We can fix it right now.
Yeah.
And if the food was important to me with a made more precise sculpting in this area.
But as the food is not important in this case,
I'm just going to hide them beneath the shoe.
She?
Okay.
Let's go back to city material and let's go to save it first and let's go to the surrender mode to see
what we get.
And I think that's that's that's it for hopefully of our character.
Uh, as I said earlier, we will add more later on in the next videos.
I want to add always have bits of the, the other things like the zips, I wanted to add them in the
next videos and then call it's finished for the high poly and then go to you the on wrapping and then
texture.
So until then, uh, goodbye.