Hello, guys.
On.
Welcome back.
So in this video, let's make the zippers for the jacket over here.
Before that, let's go to solo mode for our jacket.
That's because the skull smells.
I don't like how the jacket looks in these areas where it should be much more flat.
So let's make it flat first, and I'm going to do it with scrape brush.
Let's enable x symmetry.
And yeah, it is symmetries right now.
Not fully synergize, though, it seems.
Yeah.
But we can use symmetry in these parts.
This increased stretch risks.
Just make these areas a bit more flats to make it more like an edge in these areas.
I also don't like how many.
Faults and wrinkles.
We are in these areas, so I may smooth them all later.
But first, let's adjust this area and make it more interesting.
So by scraping the both sides, you are going to make your edge like this and then we can swap it
to get the more nicer.
It's in this area of the jackets.
Want to increase it to 100% or just remove some of stuff over here, maybe with clear strip, it is
much more doable.
But I hold in control.
I am removing volume from these part this portion of the.
Jackets so we don't look too much
bulky.
He's doing the same thing for the other side.
Let's enable from office or enable this.
Good.
Just removing a little bit from the inside should not look too bulky.
So removed too much from this part.
This a space to space.
Also add some compensate and then once.
Want to do I want to.
Want to mask this area first.
So I will mask it with a with a boxed mask, but front face only so only the faces so strong are going
to get mask for sure.
They didn't do what they wanted.
So it is a mask.
The front face swings with lasso and see what we get to lasso.
Maybe it's only one face.
No, it's not doing what they want.
So let's forget about masking them and let's just go with a simple, small brush with the 100% small
thing on these areas to be a smooth.
That's in the front office only, so we don't accidentally spots the other side.
And then there was this area.
This is a very strong, small thing, but I want this area to be smooth.
No.
We have made a good edge in this area.
We can go ahead and adjust it further.
So now let's go to Object Wars and let's go to solar mods and see what we got.
As you can see, this is much nicer.
And the other thing I want to do, I want to go to the level.
Sculpts a level.
One.
And delete some of these files or here hear some of these wrinkles.
Because I don't think we need that much force in this area.
All right, that's good enough.
And then.
Well, in those close to zero, let's cut base mash.
I want to.
Let's actually go to the one on two.
At just the edge of the
of the jacket.
So it would be if true.
Instead, this is the edge, right?
She?
This is where it sits on the clock, floats beneath it.
But then I.
I need to gain remove more from the space or here.
As you can see, it's just clear strips of its control.
I'm going to remove more from the inside of the jacket to make it more.
Go inside.
Because they are in level one, it is much more easier.
This is one of the other good things about the Malta resolution.
If you want to smell something, you can easily do that by changing the sculpts level of resolution.
They can easily adjust the.
Let's go back to.
Well south of the Solomons.
And now, as you can see, we have much more contrast between the inside and outside.
For the sill.
I think I need to use scrapers to make this area more flat.
So let's do that.
It's.
Just.
The difference between the inside of the jacket and the outside is much more appearance.
Because we are smooth and removed a lot of the volume.
It's of phase solution C phase orientation and see if you see any red areas coming out of the blue areas,
then it means that the faces are interacting with each other like the front phase has come inside and
that other phase has gone to the surface.
And we need to check that.
And the more adjustments, the better is going to look.
It's just about adjustments.
The better shape does you can.
So now I think it's fine.
Let's see.
References.
Yeah.
It goes like this in this area.
With Draw Sharp, we can maybe add a little bit more in this area
while we are in the higher levels so we can.
Over here.
I turn off Scott Smash Nemesis starts making some.
She?
So I'm just making some some contrast between the two edges over here.
And then by this one associate I've made that's
more
contrasty or here the edges are more visible.
And now here is what I was talking about.
The faces are interacting to each other and this happens so you can just smooth them to get rid of these
areas.
So that's always good to turn on this orientation from time to time to check these things.
All right.
Now it's much better
and it's much more interesting to.
We did to smooth some of this stuff over here.
So maybe we should do it's always a bit late with a game, maybe with Chris Brush this time.
She's.
Right.
He have some problems in this area.
This his mother's -- level one.
Then let's try to solve this area.
See if the problem is fixed.
She?
It's.
We have the same problem over here.
The faces are interacting.
She?
What happens when the offices are ready to close to each other and then we use brushes, then they may
interact with each other.
So.
Shh.
So let's go back.
It seems we made things even worse.
Now let's go to edit law to see.
Oh, yeah.
So the geometries inside each other.
So that's a cleanup we had to do earlier.
Now that we have a sculptor, things, I don't think we can fix this problem.
That's one issue we have with other is apology.
The bill will have this with no more as apology, but maybe that's on the properly that's on me because
I had to check each one of his objects after his apology, but I didn't fully check it.
So maybe that's another lesson that's we have to always check the full through his apology before the
full apology, after we do a lot of as well as you to check if you have any problems or not.
But that's on me.
And let's try to sort it out to see if we can
make the things more or less visible in this area, maybe move it or it's a bit they wouldn't be seen
or something, some tricks like that.
But right now I think we can't do anything else on this.
It's just a small thing.
And if it wasn't, it doesn't work.
I don't know, maybe.
I think some Russians were here and it was this is what is going to be seen in this little
sculpts.
So over here it kinda made things hidden the problem.
But it will make problems in animation, in games and etc. so you need to be careful and always shutter
topology.
I'll just check your poorly.
This is hopefully for now.
Well this just you locally and see if you have any problems because this is the clue live example of
what will happen if you have is if you don't have a good supposedly if you have an error in your topology.
All right.
So now let's go to.
Yeah.
Let's go to, uh, let's go to Chris and
also with Chris.
And these are, is.
So I off the folds of the wrinkles, the clothes.
What's this?
Syringes of these fools over here.
So now I want to make the zipper.
So.
So that by first making it cute.
All right, let's bring it up.
Or actually not.
So let's go it down.
Let's go to solar mode to see the cube better.
And let me move this over here.
Let's scale it down.
So I want to make the zipper over here.
So I gathered two references over here.
So I want to make first these things over here.
As I can see, this is too much detail.
We don't need that much detail.
We don't we're not working.
We're not doing less the character.
We just need the shape to be working.
So I think a very simple shape like something like this.
All right.
Okay, something like this.
And then we can slice this face and press eye to inserts and press.
Actually this.
I'll do that.
Uh, let's go on that scale.
It's the x axis.
Like this.
All right.
--, -- like that.
Then we can select this phase.
Select either inserts select e y to extrude.
I think that actually the standard of it's topics that they select to select as the skeletal associate,
equal texture and so on, to make these things over here.
And then what I wanted to do, I wanted to go to modifiers and add a array modifier and, and increase
the amounts like that, then increase the factor X so it would make some a space between each of these
cubes over here.
So something like this would be enough.
So this is this is going to be the space between these objects over here.
All right?
We can always go here, and then just this.
Then I want to go to curves and make it curve.
All right, so now I have a curve, and then I'm going to go to my back, my cube, go to modifiers
on the curve modifier and then select curve object.
So the care adjustment.
So now if you select the curve and move it, you will not do anything else.
All right?
If you select the cube, it will move its.
But if you go to adjust most of the curve and move it in the added mode of the curve, the cube is going
to move with its right.
So another thing is that if I select the dots over here that are connected to the cube, that are interacting
with the cube and the move, it it is going to change the way that these cubes are going to be.
All right.
Okay.
Then I can go over here and increase the amounts of the cubes over here to the length of my
of my curve.
And as you can see, I can move the whole thing with the curve.
And that's pretty cool, right?
One other thing I think is because as you can see, we can see the curve for a second.
So let's go to Logic Properties.
Let's go to the for display and change it to in France.
And let's actually change the display as to.
Bounce.
All right.
We don't set pounds.
So let's change it to.
Texture textured solid were pounds should we should see a bounce box around objects.
All right.
That works.
So it doesn't work in the box.
The Earth's sphere, cylinder, a cone.
Bitcoins could.
All right.
Now, if his flight is going to be going to select the curve, I'm going to select this.
All right.
Now let's go out of the Solar World.
And while we're at it mode, I'm going to track the curve and break it up.
Rotated like this.
All right.
And then rotate it in the Z axis.
Or actually, I'm going to press control T to read Reuters.
It's really like this control to see all the dots of the tariff is selected, which I then t to bring
these edges to the fronts
and then bring it along along the jacket over here.
And now it's all about adjusting.
So I'm press and I'm selecting these dots, these dots resources of the curve and then just making it
move because we have a lot of cubes over here.
We need to make some subdivisions along the curve to have more control for the curve.
And now, as I see this, if I go to edit most of the Q, I go back to the board version, which is
showing me that as I'm looking at this, this, uh, this area over here is too little, so I'm just
going to bring it out like this.
And also, this area is too big, so let's, let's kill it down the whole cube down like this and bring
this one a little bit closer.
So it's let's go.
The whole thing.
The two in the z-axis to be a little bit.
Lots of it's.
Not big to being a big.
Now.
This area is too long.
So we can adjust selector.
Let's go out of edit mode and I should go over here.
It should have changed like this.
And I want to increase the distance between each cube right here.
The CEO looks.
If you watch some of these most of this, see how it should be.
All right.
I think he needs to rotate.
Not in this degree, but with it's the whole thing.
We're not.
Actually, I know this works.
So let's go.
And just.
That's along the two jackets.
We're here.
So one by one, it's just that.
Then we need more of these cubes along this curve.
So let's just make them.
Don't forget the birth control.
To rotate.
Kip points and I see that we have more than we need to look these areas enough.
And there's a little bit of rotation here.
So rotate to the.
As you can see with curves, you can easily adjust all these cubes, all these things very fast.
Imagine you had to do this manually, duplicated along the jacket.
Now, how long that could have took you?
Okay for the other side, you have to do the same thing.
But we can also, if it is Simmons realize we can add the symmetry and do object as our jacket the looks.
All right so it looks good.
We don't have to do the same thing, but if it's not sufficient, you just have to duplicate this.
And then.
Well, I look, for example, to look at this.
Let me do it right now.
That's to let the mammals fight through this.
And then with the new, you have to set it to the new calf, this one.
So remove this to this cat over here.
And, ah, this cave is a new that you can change over.
All right, so.
Maybe a zipper.
Let's make the zipper over here.
This one.
Let's first we have to modulate.
So let's let's first let's go to something for something really simple.
All right, so let's make a cube over here rotated and adjusted.
So this is the end.
And after zipper in this area.
Right.
She works at the zipper.
These are the ends of these areas.
And they're quite.
Little to do like this, probably.
She?
Smash collection would be here.
So there would be a zipper, so it would be visible.
This time things are interesting.
So now let's go to the forward, the other side.
And this is the right side of the jacket.
So this is where the zipper, this one is going to sit.
So we can do that.
Let's adjust it first.
So she goes over here, she sits in this area.
I guess it's a bit downwards, I'm guessing.
And then let's make this thing over here.
Or little ways to make this thing.
But the first was, let's make this one.
This thing over here.
So this.
Let's follow this.
As for this reference over here, it's just one of the two edit mode skill at
the image.
Another flame actually.
Let me make the point in the word origin or it's not historically scarlet.
I
it's discovered in the x axis.
Then click on this fetch as.
To scale it.
All right, then.
So we are in this area that we are we have to go up.
So e that to go up to make this area maybe a little bit more.
So it's longer like that.
And then we have two holes over here so we can easily make it out of it.
I mean sets and then you can press s to scale it down or up based on how much you want it.
And then this one to suppress and then scale it all the way down and bring it down like this.
So and then just adjust that.
So we have these two faces that we can now ex face to do it.
All right, then we have another pass over here.
So this this is.
Let's make it pretty cute.
All right.
And if I had some ideas and so forth, my face and I'll make it into a sphere.
So I don't want that.
I want it to be cube shape, to be around the edges.
So I did have it go into more selecting always a and then subdivide just a couple of times with three
times the goal out of this one now are the subdivision level and now you can see as you can see, this
is much more much smoother in the edges.
And if I can create a subdivision level, you see the difference.
So let's make this.
Scan it.
So this was its own set of this.
Then we have to make this one.
But I don't want to go either one of those.
So, uh, complex modeling or something.
Just the cubes.
Just the cubes surface in this.
Just make a queue and kind of select this phase and scale it down like this.
We can also add a look over here and then select this face on the scale at the.
Then you can add some bills with control.
Be.
So with control be so bevels to get the shape like this.
And I salute this face and the skill.
It's down to bring it over here.
Let's move all of those in position.
And now I think the zipper is ready.
We can add the solidifying metaphor for this one
and we can increase it.
But this land and the subdivisions surface very well, as you can see.
It will add it will make it like this.
We need we need more geometry in our plane in this area that's subdivided to see what we get after subdivision
in here.
And then let's use a subdivision surface months for.
She?
Shh, shh, shh, shh.
All right, that works.
That works fine.
Shh, shh, shh, shh, shh, shh.
Maybe if the.
Some bubbles in this area.
That's what I'm thinking.
No, not doesn't work.
So that's good enough for this part.
Probably needs a loop cut over here, though.
Uh, maybe something like this helps.
Yeah.
As you can see, this made this edge much more nicer.
And we can do something over here to.
The couple of loops in this, are you?
All right.
Okay.
That's good enough.
I don't want to make it much longer than this.
This is enough for what?
The character we're making, we can add this can add a couple of a subdivision level over here, subdivision
over here, and then add something surface modifier for this purpose as well to make it more smoother.
And yeah, well, we can bring this zipper down to this area.
All right.
Let's go down
there, as you can see in here.
We have another part that sits.
So I want to separate who sits on top of it.
We can make it or we can just skip its because it's not going to be seen.
So I want I wanted to add the cue over here.
So this zipper actually sits on this.
And yeah, so this is another part of the zipper, let's say, but not necessarily this, but in this
case.
And you can make it sit right here.
Bring these both down a little bit.
Let's apply the A for us for this, and then let's join these objects together so we can move them together
easily.
Now, let's.
Let's change the name to two zipper.
And the other thing we have, that's another object.
So let's add this one over here a little bit bigger.
Like this.
And then the zipper sits on top of it.
Like that.
Like this.
Right.
I think that's good enough.
And that's a zipper.
Let's go school and see this one if this one is good.
We need to add the zipper, too, for this jacket.
The red one.
Hmm.
I don't know.
It seems like.
All right.
So who would you say needs to have a zipper?
And so they both have a zipper.
All right.
Those are the zipper for the jacket as well, the red jacket as well.
Some others showed you before.
I'm going to select these two.
And then I'm going to duplicate that.
All right.
I am going to
select the queue and select the curve for our new curve and then I am going to merit base districts.
It doesn't work of course, because that one is not
is not centrist or actually works.
So it is things.
So let's go and make the zipper over here.
He goes all the way here.
And because this one is this one should have always a bit of variation.
Oh, let's make it.
Let's make it more like just kill it down.
So I'm more of this cute.
So they cannot.
And now let's scale it down.
And X-axis.
Let's kill it down in the Y axis.
So it would be a lot smaller.
See what we get.
Right now, it's a smaller but space.
Let's make it wider.
All right.
Now, this place, it's.
You should.
So his control team rotating it better adjust its in the place in the middle like here and it's just
subdivided more so we have more control.
My.
It's.
So yeah it's just a just sunsets.
And again, don't forget, back control to these curves just rotates.
Sometimes they rotate, sometimes some serves after moving them.
So you need to use control C to adjust the rotation like what I'm doing right now.
So that's closely looked at.
You shouldn't want to be like this one to be to stick it out.
I want it to be only told me this stick counts like this.
Okay.
I think we should go further.
So this increased this month's.
The go over here.
Yeah.
I think that's good enough.
So let's add these on to this for us as well.
Let's actually scale it down.
That's
okay.
Let's make it more interesting by making like, floating in there.
So it wouldn't just sits like that.
Make it like it's floating.
We need that.
Just that after.
So we're working and doing the polls.
Or this one is on the left, though.
This one.
Or maybe it's.
The swap or something?
I don't know.
But if he can make some changes or hear scores and want, we'll see if we can make some variation of
Z per year, maybe making it this.
So it wouldn't look similar.
Look the same?
No, I don't like that.
Let's go back.
So now I don't know if I should.
Remove the zipper because in this picture, it doesn't have any zippers.
This one's so.
I guess I'm just gonna settle down with this one.
You probably can make adjustments to this one to make it all a difference.
For example, making it.
Maybe making it like this one.
Shh.
So let's just do that.
See if we can use these options to make it circle after subdividing it.
And then with control plus
no of and work.
So just select these faces, I guess.
Bring them down and let's just do it.
Two faces.
So we have a circle in this area.
Select these faces and control.
Be favorites.
No, I don't want that.
Hmm.
Maybe there is.
All right.
I don't think that's a see what we get, but the geometry wasn't what I was expecting.
So it's an institutional.
Yeah.
As you can see, we don't have enough strength in these areas.
So
either need to.
Shh.
So I'd do it until we went to this point.
And now let's
go over here and press be controlled by the build this area and then select these areas with shift.
Also Click Control.
Be well, I don't know.
We can't build this area because it's a circle.
No problem.
To achieve this, we should have used bullying.
So this doesn't work.
First of all, fortunately for Bush, they've used polling to achieve that.
So if you want to go for it, go for polling.
I probably will just let it go.
Just say that this is going to be good enough.
She?
Yeah, I am just going to Reuters because I didn't shoot when I was expecting, but I'm not going to
go further than this.
But I'd like to then add a cylinder, for example.
All right.
And then go over here to pull the modifier and the Boolean modifier.
All right.
For your for your cube to pull in this inside this kit.
So that's a better way to experts.
I'm just going to settle this.
Certainly for this zipper we have over here and now we are done with this.
And now that we're done with this, we can apply them on the front as well.
Let's save them for later.
So I'm just going to hide these curves and save them for later.
I'm just going to select all the various console A and press on the scale to scale everything back to
Universal and always check if you encounter any problem because you may encounter some problems after
doing the scale.
So make sure that you don't have any problems.
Let me fix this first over here.
Now to end this video, let's add some creases in this parts right here.
So if we look
we look so like this, some lines over here.
So
when they use inflate, you do some inflation over here, let's use clear strips and then fill in these
these areas.
But this is areas that we call in
and I'm kinda done like this.
These folks over here, some used in classrooms to kind of make these more
like with each other, because if you make a line like this or here make a line like this, this is
not normal.
This is not how your falls are made.
So we need to make some conversation between the folds and make folds quite like these.
This is more, much more natural than what we had.
That.
So now let's go to object more and have the go to.
So it's first then go to random mode to see what we got right now onto this point to assess what we
need to tackle, what we need to fix, what we need to maybe add all those things.
Right.
Because for now.
One other thing I do usually puts a mask up and change the mask here to something like like the VAX
one, which is called Clay Brown.
This one shows the curves, the cavities inside the objects and how much cavity we have in the object.
It looks like more like.
Like a sculpture, like.
Like a bronze, a sculpture.
And it is good to see how it will look.
And then you can go over here and turn on a cavity, as you can see, by turning on charity.
The cavities, the lines that we made, the cavities are going to be much more visible.
He's going to show us like how much like maybe we don't need we added too much resemble here.
The child is too much.
Right.
If I turn it off right now, even if I turn it off, the cavity here in this area is too much.
So there's an low here is close leaves and feel this area and then this will sit.
So this wouldn't be like that.
Then over here, around the jacket.
Really?
We need some contrast.
Like this area needs to be higher and the other area needs to be lower.
Go around the neck like this.
Right.
So with this kind of math, yes, we can understand
how the cavities of our objects are closer and the object that we're making walks uses different methods
of lighting, and that helps us to evaluate anything that we are sculpting making.
It's more.
Much more interesting.
Only this month.
We can see how much we are digging in, how much we need to remove small.
But I don't recall if he used to sculpt with these kind of mass caps, because it's going to give you
a very unrealistic look when you were doing the sourcing, the sculpting and doing the shapes.
The.
She's.
Okay.
Then you can go to other math gaps, like, for example, the skin mask up and the shell is not the
skin makeup.
I think.
This is a claim I've got and this is a skin mask of art that is likely to claim muddy.
This is a skin mask cap.
They say this is a skin match, I think.
It shows better.
Your object.
How our looks.
And you can turn off clarity.
There are some options for charities too, like a scheme ward and both you can turn out and you can
play around with.
Right now in this area.
I think I need to car with all of this more
intense, more definition and maybe some scrape brush.
Make it flat in this area.
Make it more.
Just
make it more different than the other surfaces.
What's a jacket?
I do not like how the fact these vacation look like they should be quite.
Smooth.
I think that's good.
So this one.
This one doesn't have enough thickness.
Let's separate them again.
Separate selection go out of it more than these also have multi resolution, as you can see.
Let's have them as separate objects for now.
And this other another solidify.
Modify it, bring it up so it adds.
All right, we can't bring it up.
When we add the multi resolution modifier, it cannot be replaced by another modifier.
So it will only it will always be on.
So.
So I'm just going to remove this because we didn't show any detail on top of this.
And if I go over here.
So we have two faces.
We have two phases in this area.
We can I can select two front faces like this.
Remove faces.
No, that didn't do a very good job because these ones also are selected.
So we need to select these faces.
Actually, we need to select these races because we want a single face like we had earlier.
All right, that one.
I don't care, because, you know, it's me.
It's it's the two faces.
And now we have one single face.
These will need to be deleted as well.
And now we have one single voice.
I was solidifying.
Then let's subdivision surface for for.
Much
less remove this right.
Clay set origin origins of geometry.
And it's.
Do it right this time.
Make just the.
It's.
It's just this area.
I want to do one thing over here in the edges.
Let's select the whole thing and then press control.
Be.
Well, we can't do that.
It seems to.
A special look for here them and make it closer to the edge in this area.
Now let's try this.
As you can see now we have a much nicer and very straight line over here.
She?
Let's do this another before and solidify.
And that's her.
So now, as I just said, better this time.
And now we can add a modifier.
I just.
Here.
I've just applied the mirror modifier.
Now we can just.
Work on this one and make it look good.
And I don't need to touch it.
The shorts.
I wanted to make it little bits.
Like Natasha is sure to make some phone calls, but no, we don't need that now.
Let's use a pause brush and see if we can.
Yeah, bring it inside.
Look what I did.
Like, right now it pulls brush.
And bring it inside.
All right.
And then we can bring it up that.
Okay.
And then with.
Let's grab brush now.
Can I just.
Justice.
Which parts are going to be seen?
Which parts are going to be inside the shorts?
She?
Or a like this, maybe.
No, I don't like this.
So let's go back to the simple thing we have.
We're here that's good enough for the shorts right now.
And yeah, let's just for this video, let's check other ups as we're ending this.
And as you can see.
So I have also added some other matchups.
You can also make your own math caps and also download some math jobs from doing so.
That's an important blender if you want it.
So these are some jobs that you can use and you can see the differences with these.
These are with different lightings and different light.
Datas will help you see your objects more clear.
All right, now.
Okay, I'm going to end this here, and I hope this was helpful.
And let's see, I see the render where you were here.
And I think this is this is looking good for now before texturing.
Okay.
So that's it for this video and goodbye.