Hello and welcome back, guys.
So, yes, Blender crashed on me in the last video, and I was warning you about this.
Uh, but it it happened to me, and so.
But hopefully we don't lose too much.
I had to reduce off the stuff in the hand, and I come up with the area in the intellect.
Uh, but I decided to use a stronger color for here, so it would be much more visible in comparison
with this or here.
All right.
So, uh.
Yeah, so that's it.
I completed the pattern over here.
Now we can move to the next part of texturing the body over here.
Let's go to texture paints now, as you can see over here.
So one thing I want to emphasize on is that do not use do not use the highest range in these parts into
making the pattern.
As you can remember, we use the very soft brush by going over here to the curve and then clicking on
this one and then click and drag in this handle.
So here you can make the brush very soft.
If you want it to be very sharp, you just have to select one of these that you have to hand this,
maybe just this one and make does like this.
And if you go over here, you can make a sharp by or here is making a very soft transition.
So to change that click on this are over here and change it to vector handle and now we can make it
very sharp go like this.
It's going to be very, uh, very sharp brush.
So I just wanted to expand that again.
But you want to use a very soft brush.
I use like half the amount of a stretch to not make it too wide.
All right.
So because and now if I go to texturing and with a 100%, 100% stretch and even I have a very soft brush
with very good two hand and then brush like this, this is a very wide color and it's going to be seen
too much like.
All right, the one that is one the pattern to be there kind of.
Right.
So another thing is that when you go to image over here and go to Skip as I think by default this JPEG,
I'm not sure.
All right.
But if it's in JPEG or if it's in JPEG, it can change to PG and CV dumping.
But the best option is open EXR and you can save it in opening example.
We don't need a for the color for this case in this case, but you can send it to RJ if you want and
then save it as RGV.
A Okay, as severe as opening you saw.
So when you saw it holds much more information than JPEG.
MP you now let me puzzle with you and I forgot to open my pure living puzzle with you and open it up
quickly.
All right, so I opened my purifier over here, and now the next thing I want to do with coloring on
to color these red with the area in the hand, let's use actually let's use the references for this.
So I'm just going to bring up the references.
I'm just going to steal the color from over here.
So I'm in the red color.
I want a very soft brush, which I have, and then I can go to color over here.
Let's know we don't need this color anymore.
And then we can go to colors and grab this picture and grab this eyedropper and just get this color.
And now we have the color over here.
And now let's do some tests to see what we get over here.
Let me turn off.
Some of the structure here and it's actually decreased the spacing.
So it would be a very small swan.
We can increase the sample.
It's not going to make a lot of differences, but it's always better to do that kind of stuff.
And then we have this color over here.
All right, kind of like it.
Now let's go to the rendering and see what we get.
All right.
The color is kind of cool.
I like it, but I might.
Make it much more software too.
So I'm just going to make it software as it can to get a very soft, soft color like this.
I can also bring down the saturation where he is too saturated.
So now I think it's much more interesting to me.
Yeah, it's got to run the more to see what we get.
You can also let me show you a trick because now, as you can see, it is rendering the whole thing.
I like this.
As you can see, we were using a very soft version is making soft edges like this.
And that's for once, let me do this.
If you want to go to rendering and just see one area press and hold the control and be on the keyboard
control and be on the keyboard.
And you get this.
Red rectangle.
And then if you go to rendering one only in cycles, it doesn't work in Evie.
If it was here in the remote, it's only going to render this area.
And as you can see, it's just going to be much more festive because it's just not going to render the
whole scene.
All right.
So now we can go to back to over here.
And if you want to remove it, I believe it's control all speak.
Yeah.
Control space or remove that box or there.
So analysis, thoughts, coloring this.
I want to change it to Eevee and I'm going to start coloring it in here because we have all the shadows
and all those nice stuff and then let's just color it.
So I text the whole finger as it seems.
I want to go back to my chair for you here because I noticed some lacking which I don't like.
All right.
Let me go back, because I think this change is too much for what we're doing.
Yeah.
I want to have those white lines right here.
I destroyed the white lines over here that we make.
So once I have that and to preserve that, we need to use a very we need to reduce this range.
So let me do this.
I do.
And now let's use this strange word here.
Analysis starts coloring.
It is too low now.
This increase it to 0.3, I think.
Shh.
I think Oslo still opens fire, and maybe that's our option.
So we were 100% and now we are 50%.
I think this is now that's our now this is third color and we can quickly go and color this stuff.
As you can see, we have the lines to.
Accidental the color disk space over here so we can go behind the person and with s grab this color
over here and then go over here and remove the coverings in this area.
And then we can go something like this to make the edges much more smoother.
But later we need to I'm going to use because as you can see in some areas like here, the colors are
not too much blend.
I'm going to use something over here to see if I can blend these colors together.
Much nicer as you can see.
These colors now blend together.
Much nicer.
Let's use this mirror to fix the edges over here.
So I'm just going to use smear and just grab the edges and bring them to a nice edge like this.
So this smear smear.
This brush over here can now make the edges more nicely or here more coherence.
And though it's softer, we can make the edges much more soft and blend together.
It's.
All right, let's increase the.
She threatened us in this area.
So it goes above the knuckles.
It's.
And all this is soft and too soft.
And this.
And to not lose our work again.
I think my work that's safe and I hope this site doesn't crash.
It didn't thankfully last saved Linda too.
So it does save the image to when we save because we have if you remember file external data and automatically
pack resources going to practice for it's also
one of the things that you can also go over here and paint in the two of you.
So you can see I painted in the 3D view, but the easy way was just paint in this area.
So I'm going I'm just going to do that for the other hand to show you.
So let's go over here for the other hand, let's go to here and paint hands.
So I'm in the right color red.
Yeah.
And 50%.
All right.
So now school and college.
So I have to be careful not to color this area, though.
So that's one thing.
You need to be careful, this color, this area.
And then I have to be careful about a round about other areas of the UV is because we we're not using
the other areas of the use.
So as you can see, this isn't even a much better it's making a very small thing.
We don't even need to soft and it's I think because it's a very small sphere we're just doing it with
one stroke there.
We can go to the other parts of the hand of our UVA over here and.
Start doing the covering over here as well.
I'm trying to do it in one stroke.
So it's going to be a very smooth.
All right.
We can go here and do it in the three of you in this sports.
Just.
She's.
All let's of some brush.
These areas are not at all blended together.
Very can use a smear or not sexually.
Remove the white areas as well.
Can use the other color to remove these over here with 100% stretch to remove the redness from the areas
that we don't want.
She just.
Okay.
Let's add a little bit more in this area.
During the soft and this.
And remember I mean subdivision one to make blender much more faster so it doesn't like on anything.
If you go up in my legs, I'm just going to walk on this one.
But you can go in higher levels if you want to see a model with more subdivisions.
So.
So I think that's good enough for now.
We always need to come back and polish more.
But what I want to do, I want to make this area a bit more pin pressure.
So I'm just now I'm going to enable temperature over here, decrease this amount, increase it to a
little bit more.
And then in this area, I want more it in the knuckle area.
So I'm just going to paint the local area with a bit more for it.
Also on the tip of the fingers, Pete.
Unless you soft and now sink resists.
Well, it's a bit.
Fill in these in these areas and see some blackness in these areas may need to come back and add some
voice lines over here because now there are hidden.
So now let's go over to this.
Have to do the same thing and decide over here once more redness in the knuckle areas.
All right.
So now let's go to the whites color and with the list stretch and let's make sure that it's very soft
and that's strange.
And these lines over here with the some of the straw and there was a strange in these lines over here
because now they are very heathen.
So make sure they're not too much.
So now it's too much for me they created disable and pressure so it's all the same all over the.
Mesh and they can go here and add these lines back.
She?
The philosophy also is to the cause better.
And let's fix these problems over here.
It's because the color is.
He's not too sharp.
These areas over here are not going to be seen on this.
The character is going to be viewed just a very, very close angle like this or there's just going to
be disarray in there is going to be like this.
But it's not going to make any difference when you are looking at it from a normal angle like this.
So don't be afraid if you're making some mistakes in the lines and all that.
Don't be afraid about that because, well, if no one's going to see it and then it's probably okay.
Right now.
I'm done with this.
All right.
So let's go to read the review and see what we get.
We're here.
I press control B to C will get this change of render cycles and this series results of our texturing.
So I think it's good.
It's good for now.
We can go back later on, but right now it's good.
Don't forget to save save the blender first and let's go here and press on.
Save or you can press all this.
Then score here solar mode.
And as you can see, we may have some big problems over here.
So let's go ahead and try to fix them.
So here we have to be a little bit more.
Careful.
She's.
I'm not going to put time into this area as it's not going to be seen again in this area to.
But in this area, it needs to be fixed.
Okay.
Sorry.
We are going to Project Low go into this area.
So let's just stop right there.
And after project into local, we see if we need to fix this area or not because the location is going
to be the same color as I can see this logo over here, this logo, this logo here or this one here,
we're going to do that.
So I downloaded the logo and I turned it into an Alpha in Photoshop for you guys to use it much more
easily.
And now we can go and turn on the logo.
First we need to go to textures, click on nil press on often go and so find our logo and select on
it.
So this is the name logo and this is the logo I've prepared.
And then you need to make sure that you are going to texture mask over here.
You need to go to texture mask so you have a texture and you have a texture mask.
Texture is when you're using a texture, you're painting with that texture.
All right, be careful.
A texture mask is when you are using an awful image like we are doing right now and using that awful
image to paint with any color you want.
All right.
So that's the difference.
Be careful after I'm going to click on New over here, okay.
And then click on that one and go over here or actually go to Texture Mask and click on this icon over
here and then select our texture that we have just imported.
Now, one thing, though, let me remit remove this.
If I go to texture that I have over here and select on a sensor.
All right.
This works the same that we did in the in there sculpting, as I remember.
So SSR in sculpting, you would move the sense of it right click.
All right.
And you've rotated with control and right click.
Okay.
But if I now remove this stricture to use a test your mask, be sure that the texture itself is remote
so you're not painting in texture.
If I go to texture, mask or, you know, sort of my texture and what the texture is set to assess and
so on, if I go and press right click, it's not going to do anything.
It's because the shortcut is different.
I don't know why, honestly, I don't know why the circle is different, but here is different and it's
also right click so but also right click.
You can change the location of your.
Texture of your mask.
All right.
And then we can go ahead and zoom, you know, zoom out to make it bigger or smaller.
And now we have this mask.
So what we do with it, we make the proportions ready for this logo over here.
So I'm looking at the character and this mask is in the upper part of the body.
Maybe you can go a little bit even higher.
So you just see the mask.
Right now we're here.
We can go over here to see the sense much better and always go to front view.
So we don't
projected very bad.
So we're in our third graphic view.
So, you know, not really, not in a perspective view.
And we can easily project this logo onto the surface of this character over here.
So I am just going around to see the perfect and the near to good location of this mask over here.
I think this is fine now.
Now I have to select my color over here, so I just change the color to the color we had over here.
What I see is that this color is much saturated, so I'm just going to put the saturation to 100th and
then the turn off saturation if you want for logos I should use mouse is much better.
And then you can set your brush.
In this case, it does.
It doesn't matter.
Set your brush with the highest value.
And remember, just click once to apply this.
So I'm just going to click once.
And now this thing is a front.
If I go over here, as you can see, this is now very, very the color is very, very soft.
And that's the reason.
And that's because we were using a very soft curve over here for the false.
So I'm just I'm I'm going to change this to a very sharp color, as I showed you before, how to do
that.
So change it to a very sharp color.
And now let's try to see what we get.
And now we get a very, very sharp and nice logo on the chest.
So now that I see it, I want it to be much more.
Bigger.
So let's go to front of, you know, front view.
And I want this to be in the middle and I want it to be bigger.
So let's zoom in a little bit of zoom out.
Actually zoom out.
And now I think it's better based on our reference to see so other references.
So you can see it much here.
Maybe it's above, but this is not accurate too.
I think this is from the video game, I think.
So what?
We can make it go all the way to bit upside like that.
Okay.
Now things for us are clicking once to paint it.
Now that I'm done with this, since I can just turn off the mask.
Okay, I'm going to go to.
Now, what I see here is that this logo here is very saturated.
What they have very is not very saturated.
All right.
So what they want to do because because it it depends on the texture and the resolution of the texture
to RSA.
It's not too much.
Here is what we can do to fix that.
We can just manually draw on it.
So I'm just going to go to some my strip over here to draw lines that are very straight.
I'm just going to draw a little bit on the right on the.
And the logo itself to make it much more.
Saturate to give the color a much more.
Much more life as a retina because we we've projected it is very blue and it didn't come with good colours.
So by doing this, I'm adding more.
These areas are going to be hidden behind the.
But let's do them anyway.
Because it's a very like look, airbrush
logo.
I'm not going to care a lot about the edges because it should have.
Rough edges and uneven edges shouldn't be a perfect circle or as well, I think, as I see over here.
All right.
Now, we have made it much more interesting.
As you can see, the colors are much more saturated than the colors on the hand.
I want to go to the render viewer to see what I guess I forgot to save.
So we need to save to not lose what we have.
Personally, I think it's a it's a it's a good progress.
Okay, now save the inmate.
You are the one.
Save one there.
And it's a really good progress.
Now, I don't want to make this too long, so I'm just going to do one more coloring and let me soft
on this area first.
I want to do one more thing if I got to.
We're here to sort of shatter.
As you remember, I changed the lighting to flat.
So this is what it looks like that changed the lighting for to just see the colors.
Right now, we made some mistakes or we have some redness over here, too.
We need to fix that.
Let me fix that.
Why change this value?
All right.
So it's going to make a painting.
Well, it's a bit more accurate.
So we don't see.
These kinds of problems.
She just.
It's.
Shh, shh, shh.
She?
It's just.
We need to come back and fortify this last.
We're just going to delete these lines over here because there is no way I can fix these or here.
Unfortunately.
These areas were.
Colored why we were using the.
We were coloring to harm the guests.
I did not.
There must be some problems with the U.S., but, you know, the way that these kind of problems happens.
All the time in blenders too.
It happens all in one day, unfortunately.
The texturing blender hasn't improved too much.
If you guys are really into texturing.
All right, I definitely suggest you to check out Susan Spencer.
Try to always have it.
I think there's a trial.
I'm not sure.
It may not be and doesn't have time, but it's a very good application for those kinds of stuff.
All right.
She?
Just.
Schools.
She's just.
All right.
So let me do this one.
It's.
Just.
Okay.
Well, let's see some other places.
If we encounter some problem, let's save this first.
So the image to and now we still have this problem here.
Let's try to fix this, too.
And hopefully this is the last one.
This
was.
Fortify this space over here.
It's lines and it's always a bit more color.
And.
All right, so let's save the picture right here.
So blender two and let's go around, see if we see any problems.
All right.
We have one more problem here.
The projection on to the treaty has these things.
So I'm glad this happened to me.
It doesn't happen all of a sudden.
It depends on the UAV and how they're coordinated, but the best way to project a picture like that
is going to the movie and within the movie 2D.
All right.
So if I have done that in here with, I wouldn't have thought there was this problems in my mesh.
So that's a good thing to remember now that that happened to me.
It's something that it's something that yeah, some of that happens sometimes.
Shh, shh, shh, shh.
All right.
Okay.
Now let's go to the next phase and that is let's go to solid view over here and now ignore these red
lines.
Okay, although we can quickly remove these ones.
Uh, let me try to see.
I don't want to take too much time.
Week.
Just so you don't get confused.
Right now wanted to explain is that, as you can see, when I'm in the flat color, the color of the
skin of Spider-Man is just one black colour, one solid black colour with some drawings on it.
Okay.
So if you look at the skin on your hand or anywhere, if you look at your skin, it's not just one colour,
it's consists of a red colour, a yellowish colour or black or any of any colour that your skin is.
And then a brown colour, which is the burning colour that happens throughout the time.
All right.
So these three colours are the main three colours of the skin.
All right.
And then there are some other colours, like some purple colour, some or some parts of the body.
Like, for example, the eyes, some more reddish colour, like in the lips, in the tip of the finger.
But it's not it varies very thin layer of skin and all those things.
All right.
So what I'm trying to say is that no skin, no cloth, no fabric, nothing that you can you see in front
of you anywhere, that if you look around, it's not just one colour.
This is it wasn't meant to be one colour unless it was designed to be one colour.
But anything else, natural or anything that's actually looks interesting.
It's actually consists of several colours, even though it might seem to be black, or in this case,
if you look at this, it might look from afar, or it's a bluish colour, or it's because of the lighting
business, which is because of the lighting's black.
Well, over here, for example, let me show you a better example.
Well, let's go to all of you here.
You mean it must seem like a simple, solid color, but it's not.
If it's not a high risk.
But if we zoom, you might see some purple color.
These areas are much brighter.
So they are these areas have much more white in them.
In these areas, you might have much more black in them.
So what I'm saying is that we need to add variation to the base color that we have.
So now we have a base.
If I go to rendering mode, we have a base, black color or so, but we need more variation in this
color to make it more interesting because now it looks so bland and boring.
Right?
So what I'm going to do, I'm going to change it to white or here with a very soft brush, breast,
soft brush.
And then with actually a color like this, we have or at a time like this and then if a color in this
area, now, you can see something's happening.
All right.
If I change it to flat over here in the flatter.
Now, you see, we have some white color in here.
But in the material we'll it's not that's prominence but it's adding some whiteness is our area and
it's adding some contrast between this area and this area.
So the thing is now, if I go and add a little bit of white in this area.
All right.
So just a little bit.
If I go to flat, you can see it's clearly area.
But in the rendering, if I go to rendering, you might not see it at first.
All right.
But it had had a lot of much more interesting to this area of the neck, because when we were looking
at it as a whole, this is much brighter.
And the eye catches these kind of contrasts and I see this kind of things.
All right.
You do not notice that necessarily when you're looking at it, you know, this is all right.
This area is much more bright, but it adds much.
And the thing is, even this one is very, very much so.
I want things to be very subtle.
Very subtle with a very low stretch.
All right.
So if I add a little bit of whiteness in this area, if I go to rendering mode or want to see a very
subtle difference between these two, that's what I'm going to do.
I want to add a little bit of whiteness around some areas that are going to be seen.
Let's go back and I want to add a little bit of whites.
So go and at all.
It's a piece of white in this area.
Yes.
I'm just going to with the firm pressure on.
That's a little bit of what compression is very useful in these kinds of areas.
Just adding a little bit what some just blending white with black and with red to make some areas much
more brighter.
Some areas to state black,
some just blending whites with the low value.
I'm using my pen pressure.
On the surface of the character.
Okay.
Now it's good to render you more just this small thing that we do it.
And let's see.
We have, as you can see, we have.
Some contrast between these areas and it might look like some damage to say might look like there is
some damage, some, some even the dust sitting on the surface of the custom.
And it doesn't look so solid now.
Okay, now we can go ahead and add more colors, so let's go and add more cars.
But before that, I want to add some lightness in these areas as well as some more.
This is these areas
with pump pressure.
I'm just adding variation to pump pressure is very useful in these cases for texturing.
When you want to add variation, you just press and press harder in this area.
I press softer in these areas asking look at issues.
It's.
Let's remove this purse.
It's.
She?
It's.
Let's save one there
so we don't lose our work.
Now let's go to the Flats area and enable extended three.
I'm going to go with a big picture here, brush over here and with my temperature.
And I think a always bit of variation.
Okay.
Now let's go to the first hand, see what we get now.
Let's make sure that it's not too much.
Or in school.
So let's go and add the second color over here.
So I have this.
Color here I can go.
And the second color, I want it to be a little bit of bluish color.
Actually, I want it to be brown.
I want to make it look like a dark brown.
I want to make it look like some.
Maybe.
All right.
Well, that's that's tested.
As you can see, there is a little bit brown friendliness in this area.
Let's check in rendering.
We'll.
And make sure that it's not too much.
If I add too much, it's just not going to look good.
Just this much is enough.
And you should see it in the recording.
But we have some brown areas now added to the hand as well especially I it in these areas if the hands.
Save our image.
I was always a bit of to the hands.
Let's go to the lake and to the lake as well.
It's.
The bigger the brush weather seems to have a harder time.
Calculate the color and all the.
She's.
And the area beneath the now wanted to be much more prominent.
Let's fix this over here.
Sees.
All right.
Now let's go to the remote sphere to see that it's not too much prominence.
Okay.
Now, see, it's an easy to.
All right.
So you may not see any difference, but I promise makes a lot of difference.
You make so much difference.
And to finish this, let's add another color.
Let's save the image control as to save when there.
And this goes out to our colors.
Let's make sure that we have this as it's our palette and it's a bit of blue.
I want a little bit of blue.
In the mixture of these colors with a very low.
Well, yes.
A blue with this much saturation seems to be a lot.
So I need to be careful.
And not too much.
So adding a little bit of color in these areas around the red color is going to add much more contrast.
It's going to make it much more interesting.
Exclusive rendering.
We'll see if we added too much because then we have to undo it.
Just
so really it looks good.
Let's go to cycles.
All right, let's go in circles, too.
That's at all.
It's a bit behind the knees in these areas.
Behind the legs.
It's.
So I have blended colors, as you can see together, brown, blue and white, a bit of whites.
And this has made it much more interesting it that it doesn't look too solid color.
It's.
Okay.
Now, if I go to Solomone and say it's the first year, you can see the difference in the surface and
the colours.
It's not just one black colour and it is much more different.
Much more interesting now.
Okay.
Now that we're done.
With the colouring.
I want to do a couple of more things in the shading type.
So not right now here in the shading type.
Okay.
Now once, as you can see, we have added this honeycomb texture here, which I showed you in the previous
video.
Okay.
Now, one or two always happy to pop out and one do that elevator bump.
Now what?
Over here is a search for pop node that connects honeycomb.
To the heights.
See if you can see honeycomb connected to the bump to the heights nodes of bump vector.
And that connected normal to normal.
All right.
Now, it's definitely too much change, too easy.
First to see it.
Maybe now it's definitely too much.
All right.
So let's decrease it to something subtle again.
Too much attention is not good for us.
Something subtle.
Very subtle.
But the zero.
Zero.
Points or three is fine.
And if you go to circles.
To see where we get.
Now, these areas are a little bit popping out from there.
It's much more interesting.
Okay.
So this is about just subtle things.
All right.
I want to decrease it even more, I think.
I don't want it too much.
Grab attention too much popping out from there.
Is not good for us.
All points to the stress of.
All points.
One.
Just so it's obvious.
That's fine.
And now let's go to war here.
Another thing.
The last thing on that is an ambient occlusion.
It adds to so much the character.
So I'm going to duplicate this mix, not ship it shift D, but I have this ambient occlusion I'm going
to add color around to our ambient occlusion.
So that's the color around.
Let's connect this color to this factor.
I'm going to see what this I mean occlusion is going to do to my object without pest control shift.
Click to see what I'm going to do.
Right now, it's all whites.
So let's bring these values a bit closer together.
And I want to invert this.
I'm just going to point this out a little bit with this.
All right.
Something like this.
I want to watch a collision, but it hurts so much.
Believe me, I want to show you.
So I have this mixed note over here.
I'm going to tell Blender that.
Hey, Blender, I want all these materials over here that we have.
All right?
All these colors that I had.
I wanted to add it to this note over here.
So it is the note one.
And then I want this ambient occlusion to act as a factor for this.
All right.
And then that's another.
I see what I mean.
Inclusion is going to do.
So I'm going to change the color to black.
Zambian occlusion is going to add some blackness to these white areas.
Let me show you.
I'm going to cultural shift.
Click the principal stuff to make it.
To see what we get.
And this collector's mix note, basically.
And now that is updated.
We can see the results this evening.
And now, as you can see, we have some shadows in these areas.
You have to enable ambient occlusion, an area in cycles you don't need to.
But if I enable and disable this, you can see some blackness in these areas.
So we are kind of faking it, faking the and better collision.
It is not some blackness in this area.
So we're telling Blender that these areas need to be shadowed.
So these areas are behind the closed over here and we want it to be shadowed.
And it adds so much more dimension to my object if I enable it in here and it's off.
You can see this area gets black and I can now define this with this note over here.
If I wants more, I can just do something like this and get a more on of collision.
But this is now not too much realistic.
This is way too black in the corners.
And as you can see here, it's not good.
So I'm just going to move it to the middle.
Usually the middle part is the good parts to leave the ambient collision.
Now, Vietnam goes in this area.
And if I change it to Evy, let me first save our basic base color over here.
And now let's save Blender.
And now let's show you two cycles to see what we get to ambient occlusion in cycles.
Now we have a very realistic shadow behind the jacket area.
As you can see.
And this is that this makes a lot of difference.
I can also change that peanut closure in this area and make the shadow come much more closer to the
midline.
All right.
That is going to cover everything then over here, the one that.
So make sure that it's not too much and it's not covering too much.
Covering this area is enough for me.
Now it is making some shadows in this area, some really believable shadows.
This areas.
That is what I once.
Okay.
That's it for this video.
Now that we have that, it is not over here.
Now we are done with the body over here.
You can always come back later and do some more polishing.
But now I think we need to call it done.
So this is to reduce or too much.
But I explain everything to you now.
Now we're going to do much more, faster and the texture, the chocolate and all the other areas.
So goodbye.