Hello, guys, and welcome back.
So in this video, it's the hoodie, but before that, I figured we should add some some material to
this thing.
Texture, this part.
I don't want to go the texture man and all that.
What I want to do is just want to add some grungy ness to the roughness of this material.
I'm going to do that with a texture.
And though it's a nice texture, we're here.
And let's search for a around and connect it to.
Cholera and then control at sea on this at mapping.
And then let's control let's shift click on this to see what we're going to get.
As you can see, we're going to get this kind of grungy ness.
If I do something like this, we're going to make the effect much more harsher.
So I want to have something moving.
Something like this.
And now.
Let's increase the skills a bit.
Not too much.
I don't want a very big raunchiness.
This is enough.
We can also change this to something else.
For example, let's say let's increase it.
And now.
I mean something like this that's enough and has connect this around to roughness and I lost control
of click on this one.
And now, as you can see, we have some roughness variation in the surface of this high over here.
And in some places it's much more.
Reflective and some other process.
Its process is less reflective can be can also play around with this specular to set the amount of reflection
that we want.
So if you want this reflection, it can set it to around near zero, if you want more reflection.
And so to one, I just like points or five, that's fine for me.
And then for this one by looking at the references, I think we need to a little bit color it or actually
want the ambient occlusion over here that's at been a collision.
So we're here at the ambient occlusion, a mix note mix or GP, something like that.
Color to color.
And this one to color and this one to black.
And this color, this one two factor, actually, and just color to what we had over here.
So let's copy this control.
See a couple of videos to that color were here and I was connect this to see what we get with this.
Well you.
Now let's go to this set amounts of.
And B, the collision here.
Okay.
This is going to add some blackness over here.
So let's see now.
As you can see, it adds some blackness around the eye.
Now, if you want to add something more interesting, you can change the color of black to something
like.
Like a brown with dark brown.
Okay.
Now that's.
Can I add a little bit of light to dust around that area?
Okay.
Now let's go to texture paints and quickly add a base color here.
This is the best color we have.
We can.
She is connected to this one, but actually we need to delete this.
Another base color over here and change the color to this one.
And we don't need to 4k so we can change it to
this one and this.
One, two, two, two.
Okay, let's set.
Okay.
And then connect these two.
Now over here and now let's add some with the little roughness.
Let's add some white color to this area.
So let's go to our.
Their brush.
There's some voice color here actually is some yellow color.
So we have a red and then we have a red yellow color over here.
Then let's add the yellow.
As you can see, this is too much.
Decrease this trench, increase the resistance.
Yeah.
And then add a little bit of.
Gallo and also wants to use a mask that must be used which can increase the strange now.
Randomness.
Shh, shh, shh, shh, shh, shh.
And I.
More visible.
And a little bit.
No, no.
I'm going to use.
I rather.
Because it's just some.
Really small.
That's a high value.
It is going to be seen.
She?
All right.
Okay.
Let's add the.
And bizarre collision to this one as well.
I just love this one so much.
I just love it.
Copy this color to the color one and then the second color to something black.
Now, let's see how much ambient occlusion we're going to have in this area, and that is quite too
much less.
Chrisette Okay, let's take reset.
Something like this.
Yes.
Actually, it's a big increase that.
Let's see where we get this collected, connected to base color and the control shift.
Click.
See the game.
All right, that's good enough.
So now let's go to the hoodie over here.
All right, now let's go to the with the over here and do the same thing we did with the jacket.
So let's go to Mike Walker space as the texture pans, Walker space and the base material is color.
We're going to leave it as this or this is actually not the color we want.
So let's just copy this color.
Face color and the pace that I'm going to leave it took because this is not going to be seen as the
body and the jackass.
I'm just going to leave that to it.
And and one of the thing is that we need to save.
This basically thing with the inmate over here.
I read base color, so he needs to save it.
I read base color.
So we just added some random yellow things.
So we're just gonna say it as PNG or GP 16 and call it justice when I read Base Colour.
We can remove the numbers.
Okay.
We didn't add any.
Material for this one.
Any map for this one.
So let's go back to here.
And while we're at it, this one was good to hear.
Let's see the name jacket.
Layer one.
So let's change this, actually, to Woody.
I think this is spelled like that.
So I'm sorry if it's not spoke correctly, but I'm just going to call it Woody.
And let's also go here.
Jackets.
Layer one.
Face this one and let's change the name to Hootie.
I see as this has changed and save it now this time as opening are fought for who the star is fine.
And now we have saved that also.
We need to change this to as B.
All right.
Change the color, though.
The references to see how this thing is.
This thing is way more red.
So when I want to get this over here and we have to delete this from my folder to possibly.
All right, now let's make another base color here.
This one and this shows this one.
For this color.
We're here.
So I think that's much more closer to four references.
So with our references, this is the poster and this is from the animation itself.
It's much more closer.
And then we're going to do some texturing and make it a little
more white.
But we can we do it a little bit here.
So this increase the value of white over here, right?
So increase the value of white over here to make it a little bit like this.
And this played out with the situation.
She?
I think this is fine for the bass player, but this is fine for this bass player.
Control C and then let's make our base color to K.
Let's change it to Hood.
And
now let's make it so too.
Okay, let's press on.
Okay.
And let's change it to us, RGV.
Now.
We all want.
So we have to hold you over here.
And when I click on this, I can over here to delete this one and then go over here to the one.
And let's save this one right now opening XOR and say that's with your one save and this is now saved
and now let's just start coloring it.
So now I'm going to go and to my color palettes and add a little bit of gray over here.
Let's try out with the full stretch.
Since not doing anything.
What would your one?
It's not doing anything.
All right.
We have a text from Musk on this one.
So let's say it the texture mask now and now it's Troy Notes works so well, the school here has turned
it all the way down to one.
Now let's try adding some variation to discard it and make it both a bit more dark.
That's my aim with the pen position.
I'm going to make it a little bit more dark paint on the red.
Based on there though, we had a little bit more dark or here.
It's.
Well, exaggerated more in this area because it's more.
It's more likely that that area would be
much more covered in dust than all the.
So this could surrender more to civil war get.
But there's a distance over here for shade, for the shadows.
So the worry can also go here and they will of a space reflections.
So we're probably going to get more reflections in these areas.
All right.
Now, one other thing I want to do.
I want to go to color management from filmic.
And the look is that none of that changes to high contrast.
So now the contrast is set to high.
We can even test very high contrast, but very high contrast.
High contrast is good enough.
So the contrast between the colors are much higher.
Now I can go and go and.
Add some other colors over here.
So let's add some whites with a texture mask with this one over here.
And the same thing with this is strange.
Too much.
Not too much.
Like the.
That's too much still.
That's good enough.
So let's at some stranger over here in this area see some of this whites colors in this area.
Shh,
shh, shh, shh, shh, shh, shh, shh, shh.
Let's not forget the safe streets.
She seems.
He's.
And now let's look at the fabric material.
So I wanted to add another fabric material like we did with the jacket.
So the fabric material here and the press control to it at the mappings.
And then let's open our second fabric fabric to.
All right.
Unless control shifts, click to see what we can as you can see this way to.
We also want to increase the scale to ten.
On the sea.
Now we get.
This mix these two together.
Let's set the factor to near to zero so we're going to get more from the base coordinate and this connect
these two together to see what we get.
So I think this fabric is not good enough for this kind of thing that we're doing.
I'm going to change it to the other fabric that I've downloaded.
Fabric three.
Let's see what we get.
This one is much more interesting.
What?
Still, we need more of the base color.
We made some changes like that.
We were going to have this over here, though.
And I think that's good enough.
So we have.
The thing over here, and then I'm going to even go further and decrease the power to the fabric patterns.
Just a little bit like that is enough for me, a little bit more.
So with shift all the shift or not at all, it's a bit more.
As you can see, it is barely increasing and that's enough.
The next thing I want to do, I want to go to here and add advancement over here to k is enough press
k and then I have a plot model where he goes through with this one and I have a button over here, click
on this one.
Then I'm going to do the same thing with the data checker.
I'm going to combine these two together like this.
She's like that.
But this stretch is too much.
So what we can do, we can decrease the strange to a number like this.
Just let me state on the bottom of my mate and see if we can make some bumps in these areas.
So first, we need to.
Make this factor more into the one.
She?
This is called it was colored two.
Factor more two color two over here.
I just.
And still it takes texture mask.
Now, let's try to draw whites on the surface.
Now let's try to draw a black swan to make.
Those lines or.
Obviously this needs to be they.
Now let's change it to the defaults.
Care for were here very much around the shape.
Another said, I want to test things out.
It's about some kind of bumpiness in this area.
Right.
The bump is not consistent in this area, so I'm just not going to do that.
Let's try that, if we can, at some.
All right.
I'm not going to do that.
That is not looking good for me.
It's because the that the UAV size over here is not enough for our bump.
So we're making a very, uh, a very low radius change to the surface.
So there's far a bump, and it's not working.
If we increase the radius, it's going to work fine.
But because the focus is going to is very little like this in this kind of using, all right, it's
not gonna work.
So if you if you.
So this is a good lesson to if you are if you're knowing that before doing the moving that this area
is going to you're going to make this part a bump up.
Right.
So I didn't know before doing this.
I just wanted to try out this.
But if you know that you're going to select this face over here from this one and make it bigger, so
make this resolution over here bigger to make your bumps look bizarre.
So now is this.
Scratch that.
I'm not going to do that now.
Now.
All right.
Now let's go to base color.
So I'm done with the bumps.
And now let's get to base color.
And I'm going to see how much of added a thing I need to add all the bits of.
Dark brown, various muscle, and they use the mask over here and let me use some dark browns in these
areas.
So I'm not seeing anything.
I'm not sure if I'm not.
Actually it is adding, but the randomness is too much.
So let's turn down the jitter and I should just turn to your plane and now let's add some stuff.
Now let's see some dots being added.
As I said before, the name of the game is adding randomness to the color.
All right.
So because of the launch of the course, I cannot go further than this.
But if you can just go further and add more randomness with more offers or find some offers on the Internet,
just search for some offers on the Internet and find for phone all use different of those different
kinds of shapes and color on the surface of your object.
With those, make it more random shapes.
Make more random shapes.
So this will make it not look solid, not look round.
It's one color.
It will make a lot of difference.
Let's save our image over here in the safe blender.
She?
It's good to them out.
I want to add a little bit of insight, because a little bit on the inside.
Yes.
And we seem to.
Now let's go to turn them over to see what we got.
It looks much more real.
Like right before we had a very simple color.
Now we have a texture.
We added this structure to the formula to let a bit stick it out.
And then we have this randomness in the color.
No, doesn't look just like red.
There are some white patches.
There are some brown lines, brown dots, there are some white dots and all dots.
So this does look much better.
Let's see what to do.
So this is a kind of our.
Tradition now.
And I'm being on a collision not.
To make it much more interesting.
So this is why I'm betting on collusion.
This is this one showdown being a collusion.
So.
So connector.
Just mixed color.
The first colors, not the second colors of pure black.
Now we are.
Right now, conservative.
Click on this one to see how much ambient occlusion you're getting.
So remember, the voice areas are going to be the areas that are going to get affected.
All right.
So we don't want this area to be affected.
This is kinda we can see this as although this area is very good this year as some dark shadows in here
with a slap these two together and see what we get.
Not good.
So we can increase.
I mean, a collision like that, maybe.
Something like that.
Now it's connected to this control shift.
Click.
Let's see what we get with this kind of collision.
As you can see, we added some dark patches around these areas.
It looks much more interesting.
The Somalis go out of the door with you.
One other thing I want to do now
since the match up to.
This one.
One of the things I want to do, I say, let's do it in the airports.
Let's be opposed to the hoodie over here.
As you can see in the hoodies, it's much wider like this one.
So I want to do that.
I'm good.
Scott.
What?
And make it a little bit wider with a bigger radius.
I'm going to change it like this.
So it's going to also affect this area, but we're going to fix some of this or the worry is quite easy
with the.
The care and all that to fix this stuff.
And now this area looks much more interesting.
The front is much more wider.
And we can reduce the size over here and make it.
I want to make it go a little bit inside in this area.
All right in this area, go inside and then in this area is going to pop out, go outside.
And let's do a little bit more in this to.
And I also don't like how
the folds here look.
They look so fake.
Is it because we didn't put enough time on them?
I want to smooth it, but before that, I want to try something else.
When it comes to folds, when I do, I do some.
Some exaggeration.
Let's do this one with Chris brush over here.
Some exaggeration to see this brush.
This increase increases a stretch, some exaggeration on the surface.
Okay.
I'm not going to turn on the symmetry.
I'm just going to do it one by one.
Some exaggeration on a surface like this
could be a brush.
Let's go to this viewer here.
And this is to make some second folds.
So this is the part where I told you about sculpting that when we are when we are applying, when we
apply our textures to our textures, then we are going to see a lot more of how our character of gel
looks like.
So we can go back to sculpting them and deliver more
of these lines over here.
I can even do more, you know.
In case the strange little bit about these lines.
Since.
I was safe.
So I've added all these lines over here.
All right.
Let's go to rendering.
Okay.
We have all these lines, but this is still not looking good.
What I do is I take the two CMOs, brush the high value, and then I just smooth this.
In a stroke.
In one stroke.
Smooth, doesn't want to stroke.
I am supposing that what?
You know, being a small that you don't actually destroy the forms unless it's a very high value if
Australia is going to destroy the form, but it's not going to destroy all the forms, it's just going
to make it less appearance.
So you still if I go to some issue, you still have some of these forms will be made with just these
lines were created.
Okay, the forms are there, but with smoothing, it makes it less.
Oh.
Strong.
And it makes it that the defaults for defaults in case folds.
It makes it that these are some second forms of the make by time.
And the other thing I didn't like about is this area.
This is the way to look like this.
I'm just going to add, what's a good fit with Clay Rush?
I'm going to connect it to the offer later on here.
Clay Rush.
And then just as with that, it was good to see that it's much more it's better.
It's a big distance between the hoodie and the jacket.
Just because we're in there more and more.
One amazing thing about boredom there is that you can actually sculpt in rendering.
This is real time rendering, and now I'm sculpting on real time in the rendering.
All right.
I am changing stuff in real time.
So that is very amazing when you are done with texturing.
It so amazing to see that you can just do this stuff in the real time, sculpt in real.
So no other application.
I chose this as far as I know.
We have a real time render that you can sculpt.
That is crazy.
And then here, because if you have a lighting, you can even see more of the lines.
And if you need to just add one note, for example, your once it's material is a bit here as well.
I don't want to see any major lines or here just so the little lines to.
To show that this is not brand new show that this is these have been or were before.
All right.
Now let's go here and a little bit change the direction.
Uh.
I don't know.
Where is the care of the.
There are huge them.
So here you have this curve for this one.
So they can, you know, changes over here.
Let's make it right to see over here to have more control.
And now we can change it much more smoothly.
You know what I am going to see over here?
We have our area over here.
That is enough.
And for this one is also there is enough.
If, Kevin, we have more.
So why not select these two and make another safe?
All right.
Because I'm going to apply this one.
The first control a jones.
It's mesh.
And now we can delete these curves over here because now we don't need them.
So now they said this, and now we can go.
So let us go to sculpt.
What are we to grab brush now?
Because this is one object.
We can grab it and adjust it much more easily now without doing care, without using curves.
All right, let's do the same thing for this one.
And move it.
Okay.
So that's also all we can do for this one is that we connect the material to this one.
So control l ligament serial.
Now we have the material here.
Where?
Here.
And also for this ring here.
Uh, it's, uh.
The site is simple material red with less value to make it more dark.
Actually in the photo is more saturated and with more value.
So can make it like this.
And then I'm going to use this.
I'm being not in another type of things.
I'm going to use it.
As a way to add some damage to this shape here.
Change the color to this one.
Okay.
Connect this to the good Solomont is to over here.
What?
I'm going to I'm just going to add Ambien for this one.
Want to add some thoughts?
So we can change these values.
As you can see, if I assume the earth's around the object, then we can go and add
the texture.
I'm going to add a more noise texture for.
For the bumpiness.
The color around.
Now.
Let's see what we get.
Now.
So this on this control t to have these mappings console shift t to see how much they are.
I think this increase the scale.
Something like this.
Okay.
And now let's decrease the radius of his thoughts with the color up.
Now, as connect the bump to the normal apprenticeship, click on this to see the results.
It's going to take a little bit time.
Now the syringe is too much.
Always.
We can make it go like this.
Now we have some.
Bumps on the object.
So it doesn't look too innocent, too simple.
So it does have some bumps.
Okay.
The last thing I want to do on the texture, but image, texture only with texture, noise, texture
and the color ramp.
I like these two together, smoothed this down.
So this is bump and I want to use this for Roughness Control Shift.
Click to see what you're going to get.
Increase the skill.
I don't want something, so.
Something like this is enough.
I can do this and then connect this to roughness.
And now you're going to get some crunchiness on the surface of this simple drink.
So these simple things are going to make changes, as you can see.
We have some different reflection on the here and now.
So now let's go to the Southern.
What?
And a safe walk.
Now this is done.
Probably we can make it a little bit longer here.
All right.
And probably we can convert this so we can convert display control, a visual judgment.
It's a mesh.
And then we have converted this to a mesh that we can go to.
Scott Moore.
What I want to do with Chris Brush, I want to make some creases in this area that
is making some pressure against this
ring over here.
And I'm doing this in real time.
I can wrap my head around this.
I am sculpting this in real time while we have texture as well.
This is amazing.
The amazing, amazing, amazing with how I've seen some of the foot and blender is improving how fast
blender is improving.
And there was a post in Blender blog that it is even going to be much more faster.
The whole.
Think it's going to be much more faster.
It's going to be in some exciting years.
Go ahead of us for sculpting wonder.
So now I've seen I've seen that the texture paints in here.
He is having some problems.
We don't have the red color right here.
So this throughout the red or here.
She?
Or maybe it's because of the ambit of collusion.
Not sure.
No, it's not.
Texture, mass tension, mass bizarreness.
That was the problem.
Let's fix this real quick.
And this actually has some variation to this.
With the texture mask we have here, basic stuff adds some dirtiness on the surface.
Again, we are in a random moment.
Let's change it back here.
Let's not get stuff.
I don't want to lose my work.
Let's save this.
It's.
Add some dirt on the surface of these parts.
It's just.
It's.
One notch.
I
joined these two materials together.
But the EU is are not set together as the uses for this one.
Is this all right?
And the U.S. for this one is different.
Okay.
So this is just.
Overlapping each other probably in the movies area.
This object and this object.
So I wanted to be in production again.
I'm just pointing this out because I know this is happening, but I am not doing anything because I
know what I want from my project over here.
So I'm just pointing it out.
So you know why these things happen and what problem you should tackle if you're doing it for production
or any other things.
So let's go to Scotland again, and it's a bit adjustment of this one.
Doesn't help, doesn't hurts.
So it doesn't be too much straight.
There's a rule.
They say in the sculpting that you should avoid straight lines.
You should make things more curved, make it more interesting.
Then with the increase, with the crease brush going to add all the some creases on the surface over
here.
So there are some creases
to match the surface of this mesh here.
So then you're subdivided just some surface to indicate some pressure.
Okay.
That's that.
So our image and the last thing I want to do in this with you, so we're getting near to our 211 our
with you.
So we'll add material for this over here.
Let's go to our.
Francis.
We don't see anything here.
Simple builds there.
This song.
I think this one is from Ruffled Grass City Folk Curiosities, the art director of.
Of the cause of war said, you know, I can't remember the name of the city of Kandahar city.
So this is from him.
I think this is what he made.
And.
You know, we don't see the debacle.
So let's go over here to the material of this one.
I'm going to change the name to buckle.
All right.
And then I think it's too dark.
So I'm just going to decrease the value over here and then change the saturation to something like this.
That's better.
Let's play around a little bit more the situation.
Some pull the shift to not increase it too much.
But I think this is this is good.
I like it.
So I want to do I don't want to change the color, but I want to make some changes to the font and a
color here.
Plus, at one month, two weeks, enough butter bump and all things are cool.
So the font map is added over here.
What I want to do, I want to select
black color 100% stretch.
Bring down the radius and bring this up.
And then try to draw.
It is sad.
What struck me tried to draw attention to the get a good thing with a space with took care.
If you remember control right click at handle control right click and drag.
To.
Edit the handle at the handle with some added.
And to make something like this.
So now here the line is not straight.
I want it to be a straight.
I'm just going to make it straight like this with these handles.
It's really easy.
I'm going to make the edges a little bit curve just a little bit.
Now press enter at the curve in this area.
So we get as you can see, it's.
Reacts to zoom so you don't zoom out if you don't want to use it again.
Let's change the palm over here.
Something like this.
And then I can remove the care with double clicking a and that person x doctor and person x is going
to remove the curve.
So this is about to space with some stroke.
And I'm just going to do.
Simplest shape.
Or maybe not.
We're just experimenting with what I'm going to get.
Or maybe not.
Or decrease this rally or here.
I want it to be very subtle.
That's good enough.
Next thing you know, I'm in the collision.
But this time, we're going to use it again as a way to add
some dirt.
Then we're going to use.
A texture to add some more dirt.
Something like this.
Okay.
Those connectors.
Well, this area is going to be black.
Let's change it.
This, for example, but not too harsh.
Let's make it more blackish like this.
It kind of looks like it's it's been it's rusty kinda you know, it's rusty, but this area is too much,
so there's just decreased.
That's kind of all you.
Kind of once this area over here.
So I'm just going to I'm just going to leave it as that.
I'm bringing down the value here.
So I don't want it to be too much.
That is okay.
Next class and texture.
Looks.
Texture is fine.
The color around.
Some something, some simple notes that you can easily follow.
Nothing fancy.
I mean, we can use masks and all those things, but that is way too it gets way too complicated that
some just using simple things over and over again.
So you get the idea to use them.
If you're not familiar with notes too much and then control right click to see what we get it.
Notice texture over here since
it's better with the scale.
Okay.
Let's increase the scale on this side right here.
It doesn't it doesn't have a difference.
It can also change the location of this if you don't like the location.
And even the rotation.
It can change the rotations like this.
Then I'm going to copy this color over here and pasted to this one the white.
So everything that is white is going to be shown, right?
So passes over here.
And then we're going to connect these color around to this color one circuit right here.
Okay.
Then we can change the second color.
It's in once.
So we felt the need to change these two together, this one, this color and this one can be something
like black.
So adds some dirt on the objects.
Conservative click on the Prince of Peace to see what we get combining with the rhythm head on collision
the and see we have the Ambien luckily in effect over here and we have the texture fade over here so
it's not a very perfect.
Buckle to make it even more not perfect.
Let's copy this noise texture shift and let's add another color.
And I want to control.
The roughness or hear console should click to see what we get.
I would have.
Some roughness, but not too much.
So very low scale.
Something like this.
The connected to roughness circuit over here.
And then control shift keys shift.
Click on principal stuff to combine all of these things together.
Now.
Let's wait to see what we get.
And now, as you can see, there are some reflections, some areas over here.
That's exactly what I want.
So let's go to the, uh, to this one over here.
And these are the same notes we had for the buckle, and then we're gonna adjust them.
So this this way we can save time.
She?
Control C control we we have connect them here.
Let's copy this color control like this color.
We can change it a little bit.
So it would be a little bit more toward black.
So I'm like, this is fine to me.
Copy this color and paste it to this one.
Okay.
Now connect this so we get.
And.
All right, then.
I mean, the collision is too much.
I'm going to the credit.
Vector then for here I don't want it to be too brown was a isn't going to make contrast with this one
with this one.
So I'm just going to make it a little bit toward blacks and more toward bit of collusion than anything
else.
And then we have this texture here, but we need to adjust this.
We need to make it scale bigger because this belt is bigger than the buckle.
So this skill is not the same.
Let's adjust it from here.
Five.
Add some details.
Roughness, make the roughness full and add some distortion.
Okay.
So now.
I just sit and then click to see what we get.
And as you can see, we get some rough we get some variation on the screen over here without even doing
any texturing.
But the color is not too similar to this one.
So think I need to switch this to just like that.
And then this color.
Let's change this color so it's not simple but can buckle this black to see what we get.
The like is too much.
I'm just going to copy and paste this color over here and then I'm just going to make the same color
with less value, a very low change like it is a little bit different now in the roughness.
And there's enough I'm not going to add anything else.
I'm going to keep it more silence because the whole thing is more silence.
The buckle, everything.
It's stylist.
And yeah, I think that since we can go ahead and add so much here for this one to end this video.
So let's go ahead.
And materials or two, zip.
And as we can see, the references.
Let's see to see differences.
Is it red or is it white?
So I assume this all.
I can tell there.
It's black.
I can't tell.
I can't tell her.
It's not pure white.
So let's change the color over here.
Let's also connect the materials here at L link materials, and then we can go and change the color
here to a little bit more toward Gray.
Okay.
Not black.
Not white.
Somewhere between.
Then to add some variation to the surface of our zipper, let's add ordinary texture.
When I say sure control to shift a search color around place on it.
This tends to factor conservative click to see changes
change the values.
Change the scale.
This came to be too much.
1,000th said.
Not too much.
2000, Senator.
5000.
5000 is good enough.
So I play around with the color around over here.
So remember, the white areas are going to be shown and.
The black areas, the white areas are going to be affected.
So let's do something like this as a pump.
Color to heights and normal.
To normal.
This precipitous step and this weight severe we get, as you know now.
But now it's always.
It's a higher value.
So let's switch between these two.
So we need to inverted the seems.
William Burton.
It's what made it go inside.
Dense rather than make it.
She's.
Go outside.
After what?
If I change it now, you can see it goes.
I work with this.
Then this goes in.
So I want it to be go in the world like that.
But yeah, I think that's enough.
It's going to makes some variation.
That's what I want.
As you can see, I am saying it all the time.
Whatever texture, variation, variation, variation in simple things will make wonders.
And as our
custom, our own tradition, I'm going to add ambient occlusion because it's so cool.
Ambient occlusion control, cities, color control to the color sockets and then connect these two together.
And now we have ambient occlusion.
Concerts often wait to see how much ambience I once.
Something like this is going to see the edges are going to get some shadows.
Something like this is cool.
Yeah.
Subtle as that.
A make it brownish to.
All right.
Now the character is coming all together.
We need to also apply the zippers.
Let's connect these together.
The.
Are you all right?
This one has a lot of dirt on it, though.
I like it.
There's a.
It's more of a variation now.
It's because of the inclusion of the others here.
Now, as you can see, this is the grouped note you can go to.
All right now and that's within the city area added the materials for these the with the.
All right.
As you can see we very nice hoodie now with materials and textures the colours the hoodie over here
which.
Okay, because it would be with some textures, some very cool
hand painting.
Okay, then the zipper, the buckle, the belts did that.
We did that.
Okay.
So now that's the end of this video.
So I hope you learned something.
And I hope you're enjoying this as much as I do.
And until next time, goodbye.