Do you read it?
But a Bentham?
Oh,
here we go,
live.
For another.
Did you know that?
All right.
Up and run in here,
we're just going to wait for some people to join us.
Welcome back to another exciting.
Zbrush,
did you know that?
So thanks for tuning in again,
I am going to just a mute.
my other computer here.
So I.
How are you?
So we're going to the topic again.
You guys choose the topics for did you know that?
So today's topic is going to be the modeler.
Ah,
so I've done a little quick missile case for you.
Guys want to show that in that way,
it's it's something that I think every one can definitely make,
and if you've never used the mother,
you can experiment.
So I think it's something relatively easy to do,
and it's a great study to really learn what you can do with the fuzzy muffler.
So I just started a little bit early here,
so we're just going to give time for people to join at the eleven o'clock time Pacific time.
So.
Why were hurts it?
Every one that's in right now.
Did you guys tune in to the last?
Did you know that?
Because there is something I definitely want to touch on that I forgot to show you for fiber mesh that I think is a very,
very important feature feature set so and it's a cool feature,
So let me just wanna put my handy,
dandy son taek down here lower.
It's up to high,
like I like it down,
almost like in my lap.
Kind of a thing.
It's definitely more useful for me.
And then a lot of the wall on the webcam,
people out there,
Brendan welcome digit digital X nice.
I like that unicorn.
Dove welcome.
the other best thing about web cams is doing stuff like this.
I am watching.
Till always a little little freaky is here close up of an eye,
so you should see my page right now,
which is the Zebra summit page.
So we have announced that.
This week,
it's going to be.
A wonderful event,
it's going to be our fourth any one.
OK,
so we are going to be having it this year.
It's going to be a week later than usual same location.
Let me get my pen over here so October six through the eighth.
So that's a Friday,
Saturday,
and Sunday is when we're doing all the presentations,
which of course it's going to be all life's streamed as well.
So if you can't make it on site,
don't worry.
you'll be able to see all the presentations this year.
What we're going to change up is the life scalp off.
We're giving it its own day,
so we're actually gonna be kicking off the summit thats going to be happening on a Thursday that's online only so that Thursday we won't be taking anybody here to watch the shows you just watched from a computer because it will actually be finishing doing some set up as well.
Last minute stuff so you can submit now for the life sculpt off,
you can register as well.
so we got the whole page here.
It's just the initial announcement.
We have not yet announced any of the presenters,
But we've already got some really big ones lined up that we're working on.
also,
some other huge people.
It's gonna be another great show.
We are having a lot of fun so again you can answer the call.
We are looking for organic and hard surface people,
so all you gotta do is click on the category that you want and then fill in your information.
Make sure to put as many leaks as you can here.
so you're zebra central links your art station links wherever you got your own website,
whatever you can to share because we're getting a large number of people already submitting good morning dark.
I can't see the glared,
I see dark something dark Ingram there.
It is.
You're going to see me in the web can be like a like dodging bullets over.
it's like the matrix.
Just the screen had a glare on it so back to the application here.
So just fill out simple,
just your name,
email and then links and then submit your application.
And then once you submit all,
I will email you back,
let you know that you have submitted and answer any questions you also might have.
Don't forget to click either.
On a complete.
In four view details Rancy can see all the details.
Last year the winner took home a form to printer,
a fun co figure and a three D for medical software,
which is on your Ipad is a really cool.
Software is really great for artists in second place to comb the full version,
Quichotte processes,
two thousand dollar version,
a fun co figure and then three D for medical.
And then everyone took home phone call and three for medical.
And don't forget.
everyone got to hang out with Joseph,
dressed,
which I know that's high up on the list.
In fact,
I'm thinking,
maybe we'll just put that as a prize.
You get to hang out with Joseph dressed,
he does the play by play,
of course,
with Jessica drew Johnson from Blizzard.
So we'll see if she'll be back again this year.
If not,
you never know,
maybe I'll jump in there.
A little bit would dressed as well since usually Thursday dressed and I are busy doing other things.
but we're hoping to have all that done so again.
The zebras summit has been announced as our fourth annual so October really fit through the eighth.
Ah,
but the sixth to the eighth,
which that's Friday,
Saturday and Sunday.
That's going to be where your presentations are.
Odd.
Workshops are happening,
the gallery show we have the award ceremony Saturday night.
We have a party Saturday night and this year again.
what's different is the zebra sculpt off is going to take place on Thursday its can have its own day.
It's online only so we're not going to have anybody here on site.
It's only online.
The times will be the same,
so definitely if you again want to submit and partake in that hit the apply to complete compete.
And I'll take you to the page to fill out and again.
We're looking for organic on a hard surface for those that I ought not sure.
We always give the theme our adult sometimes so you guys have time too.
Update with that,
and then if you want to register,
you can fill out a registration.
In that way you can stay up to date about anything that we might have a going on with the summit announcing the prisoners and any other news that'll be happening.
So I just wanted to make sure every one saw that.
And you can see that so again,
today's topic is Z modeler.
So this is something I put together for this website are so again.
I'm just choosing this topic because I think it's something that all of you can do,
especially if you never touch the mother.
It's actually one of the assignments I give my students when I first shows a mother and it works out really well.
and people kick out some pretty cool cases.
So really,
I'm doing a missile case,
but the topic is obviously a case.
so I've had people do like a treasure chest case and things like that so you can see the poll also in the bottom in the bottom left for the next topics for the next.
Did you know that?
So those are the four options we actually had?
A requests come in for the brush system diving into that,
so we put that in there as one of the top possible topics,
while reith apologizing and I would cover all three major items zero measured of apology,
brush and sees Harry topology,
really discuss what's the difference between those three show,
Some tricks and some tips for each of those your topic is nano mesh because it is super useful.
I find a lot of useful things for it,
so I like to put that in the mix and then ah,
often I get the question about rendering and things like that.
So this time we're going to make the topic looking at using zebrafish as your renderings.
Sending everything to Photoshop,
in essence,
using Photoshop is your composite composites.
So just like it's the nuke of still images senescence,
so showing that workflow which a lot of the three concept people use inside of zebras.
Enough of me talking and gibber jabbering,
which unfortunately pride for the next hour hour and a half,
it's going to be me talking.
So here is my little missile case that I made.
so I want to cover where I started.
With this.
the real basic knowledge I'm going to cover how I did something like this,
because this this was literally in a couple of clicks.
I got to this point and then I also want to cover this piece right here.
I used a brush to do that and then just cover the general understanding if you notice.
Ah,
I made these little points here of interest on the case,
just a meal for design element,
and you can see on the top of the case,
it has those points of interest as well that I wanted to have in the case,
so I'm going to show how you can actually,
they line up perfectly.
An essence of this place was for real for real.
This is a real case.
It would actually close and work and be functional.
So let's,
let's dive into that and get gone,
and I've got the handy dandy pixel.
logic.
Staff with me I got Mr Kyl Johnstone Kingsley long.
I got Joseph dresses in here too.
So as we're going through,
if there is questions coming up,
they're going to hit me that I'm going to watch the chat,
as I always do.
And make sure we are good to go.
Let's start off with where I went with this.
OK,
so I'm just going to grab the Polymath star,
Mr Drafts favourite.
I'm going to turn off the floor grade just for the purpose of broadcast.
Usually it's better for people and I'm going to go to the initialized state.
so this is something new to zebras for our seven.
If you've never used this,
I myself,
what I'm doing,
any hard surface and zebras,
especially with the mother.
I'm pretty much using three shapes for almost everything,
Whether.
It's either going to be a cube,
a cylinder or once,
or I'll use a sphere,
but my to go.
Twos are a cube and a cylinder.
Now this initialized state allows us to create a cube or a cylinder.
So I want to touch base on this because this is where I always make my cube.
There's also a sphere,
so the three major shapes are all here.
So if I just hit now this?
Q cube,
I get a queue.
This is what I get.
Right right now I've had some custom lighting as well,
so I'm going to open my layer palette.
You can see I've got two lights in the scene.
So just that's where the yellows coming from just so everybody knows,
I got my.
This is the standard light I didn't do anything with it,
and then this is a secondary light,
and I've turned it into a rim light,
gave it a little warm yellow color and then turn up the intensity.
and that's why you started.
As I rotate,
You can see his flashing of yellow.
That's where that's coming from.
OK,
so I'm gonna turn on our Poly Frame Mode K an ominous switch materials to skin shade.
Just so it's really bright,
so we can really see that in the broadcast,
so you can see what we have here.
We have a simple cube,
not rocket science here right,
but also noticed that each faces.
Island,
and that's the key word we're going to use here.
This faces of islands here,
ah,
have are different Poly groups all I can do is,
I often changed my resolutions here to one hit.
Q Cube.
And then this is what I want.
I want an essence six faces because I want to start as low as I can,
and I am going to be adding a drooping and things like that came so again.
We can create whatever we want,
so I can even say,
let's do a resolution of three one and one hit.
Q Cube.
And you can see now I've got an essence,
three cubes,
three resolutions and then one in the Y,
so one in the Y and one in the Z right.
So if I wanted to say no,
I want four in the Z hit.
Q Cube.
You can get a really quick way to make something so again.
I like to use this for the cube,
but of course,
if I did say something like this,
where I have four for four and I had a sphere,
you'll get a sphere.
Right and then you could see it's still Polly grouping off.
So obviously as I keep going up in these sliders,
it's just adding more density to your shape.
So if I go ape,
ate eight the exam.
Just getting more dense so you can do a cylinder so based upon your Y or Z and your ex now this cylinder,
I prefer actually not to use the cylinder.
and the reason being is this part right here?
So when we're making this,
we're trying to make keep everything quiet.
So that's the goal of this.
Initialized state is keep everything quad.
So to do that,
you're going to get this,
which is fine,
but the reason why I usually don't do this is when you start to divide this,
you'll get that little hiccup written there,
so let's just try to keep something all quarter.
That's what you have.
Obviously,
there's ways I can get around this,
so I don't get that hook up,
but I can use the dizzy mother to fix that,
and I can show you that.
so I actually want to use a southerner.
I prefer to use this cylinder three D,
so anything you see here.
What's Q Thirty Cylinder,
three cone,
three D ring,
three so forth.
and so on.
right,
you click on that.
This also has initialized states.
but this is very,
very different than the what we were just playing with their came.
So you can see it's all triangulated here.
It's all nice,
clean him.
now we actually have we can play with the spans of our vertical.
You can play with your horizontal standing right,
and I prefer actually turn off the vertical span you can even throw an inner radius in here,
And you have something like this and you can of course change your height.
OK,
you can even put a taper.
So there are different controls here,
so everything that has the three D has different control.
So one of the good ones that people don't tend to use a lot,
but once we show it,
it's very useful.
So,
for example,
to sweep.
A profile is a good one,
so you can come here,
your graph and you can make this look like whatever you want.
Reiss I find this very useful and again the key Here is our topic again to Daisy Modeler,
so I'm trying to create something where I can get out of a basic shape.
And keep my polygon count as low as I can since I'm going to be using the same mother.
Great,
so this graph,
we have very innocence.
Soft bending.
I can use this yellow circle here to tighten it up and you can see what's happening in the shape when I do that right.
But if I really want to,
I can grab the stock drag off,
dragged back in,
and then now it's a harsh point right,
So now I've got a very harsh point,
and I can even create some thickness here,
so you guys can see what's happening right?
So getting a shape like this is pretty easy now,
with a graph right,
it's helped me immensely may be to go something like that.
The kind of straight and then starting around off.
and then of course,
you have divisions you can play with that division count,
so you know,
maybe that's the front of the missiles that I made for my case as an example.
OK,
so I want to highlight that and think about that,
because anything I'm doing special is the mother.
I'm starting with.
one of these shapes almost.
Every time I can think of a time,
I don't start with one of these shapes.
So let's get back to our cube here,
and let's look again at building our missile case that we want to have.
So here let's do this.
let's switch to.
This will turn off our Poly Frame Mode,
and let's put a miniature copy.
Of our missile case than we know,
what were what were what were trying for here?
So we'll do a little snapshot of that missile case.
There.
And let's go back to our mesh and let's definitely create the cube with single faces.
So this is what I want to start with.
Then I'm going to make a new Poly Group control W,
so I actually want every single face to have the same.
Poly Group.
And it's going to be very important once we start getting into the Z mother stuff.
Here the Poly Grouping is going to be our friend,
and this is where a part of what the Z mother's wrapped around with.
So I want to make sure we're understanding this,
so we're pretty simple right now.
It's just a queue got initialized state.
I'm going to turn on the floor grid really quick because there's one thing I would do on a highlight with this initialize the cube.
It is pretty small as far as a worldly scale goes,
so if you I love them the way we do that a worldly scale,
I could.
I don't need the quotations so deformation you could say unify.
And then you can see that's now a one unit of Zebrafish Kate.
So you might want to do that.
It's not necessary because I know I'm going to continue to grow this and were again.
We're trying to make something a little bit like that.
So let's say I'll get into this,
so we're going to hit the B.
We're going to hit that Zi and the Zi mother,
and you can see the short cut.
There is m OK,
so now we have as a mother brush,
I definitely want to have symmetry on.
OK,
I'm going to now turn off our floor grid.
And you're going to start to see so with a show of hands.
How many people in here have never used?
The Z mother and this is your first introduction.
Dizzy mother,
go ahead and throw my hand up in the chat.
Oh,
I just.
I'm just curious to see how many people have never even.
Used the earthly mother and nut.
OK,
so again,
I'm in Symmetry mode,
and I want to highlight really were the idea was in the concept.
Here of this brush was for us.
I ain't some bends.
We got a couple of people here.
they've never used it.
So all of this is probably have used may be other application.
Ji Nice,
Brenda.
What is the brush?
To the point where ah you're used to selecting faces may be in pushing your faces may be used for selecting vertex points and edges and so forth.
So we want to take the approach instead of selecting the actual face.
In this way,
we want it like a hover state,
so this allows us to at any point I can mess with the face so you can see here.
there's a red box with a red line,
and you see as I'm moving my brush around,
there is that orange line moving,
that's going to become very important here,
and we'll get to that for sure.
Then,
as I go to an edge you see,
it becomes white,
and it even tells you see it's saying Insert edge.
Loop pulled the alt key to delete an edge loop,
shift key to do a consistent width.
so we give you things also within the brush.
and then if I go to a point,
you can see an orange line.
Pops up and that same move points by brush radius.
So what we've got here is a brush where I can at any time.
use any three of those major items.
Will there be the polygon face an edge or vertex?
OK?
Kyle says pay attention this is life changing,
hopefully so what we've now done,
as well as a user on one wanted more control here,
someone to hold the space bar.
and now this is where you have a breakdown in your menu,
you have your actions on the top you have what is your target,
and then you have you'll have modifiers and settings here.
what you're going to have four different things.
If I switch to say,
different setting Sam on inflate now,
there's not as many options I go to delete.
There are pretty much no options here,
OK,
so what you have to think about.
Right now,
obviously I'm hovering over a face.
This top part is,
what do you want to be done to the surface?
Do you want to delete?
Do you want to extrude?
Do you want a queue?
Mesh which this is brush is very unique mode.
It's awesome.
I'm going to show you why it's going to be fantastic for us as we go along here.
So think about this.
This is the innocence,
our action.
What do we want done to their surface?
The target here is what you may be used to in another application with your selecting either all the faces that you want to be moved all the edges you want to move all the vertex points.
Instead of that we have these several options here,
and specifically you can see we start you also getting into Poly Group popping options,
which is unique,
feature to Z brush which are going to come in handy.
and then we have other things here.
So.
I want to start by looking at my cue mesh,
so I'm hovering over face.
I'm going to say I want a single polygon to be moved.
That's all I want right now,
and I'm not going to touch any of these other settings down here,
and what we're going to do is we're going to hover over face I have symmetry on,
so it's happening on the other side,
and I'm just going to pull and you can see it looks like an extrusion that's happening,
but that's actually not what's happening here.
It's the Q.
mesh.
and I'm going to get used to say in this work you mesh because when you start diving into two very specific things,
cumin mode can do so because every time I click and pull out work queue meshing right,
and we're just dropping that edge and doing that.
So the key also point here.
Is you notice we've created New Poly Grouping Right?
So we've got a light blue and then this awkward green or aqua blue here.
so I'm going to undo OK and what you guys are able to do here is,
as you drag out.
Capping the alt key,
you can actually switch your Poly grouping on the fly.
This is huge because I'm going to need to be able to switch the Poly grouping in many of my situations.
Here.
OK,
so that's really the simple basic so far of our key match,
so I'm gonna do back to thee the purple Cube here and what I'm going to do instead of doing this,
where I'm pulling out like that,
I'm just looking at.
it,
made me make a little more of a rectangle case,
so I'm just going to hold the shift key and what that's doing now is instead of Q meshing,
its acting more as a move.
So it's almost like the same thing as my hover over face held the space bar,
and then I literally switched to move right,
and then I can move a single polygon and I can go along the normal or even along an axis point,
so we during development were like,
Hey,
I need to move a lot,
so let's just make a short cut K in there,
so I'm just clicking and I'm dragging.
and now if I hold the shift key and I am not taking my pet off this antique or your tablet,
I'm just keep it on the surface.
OK.
So there you have that now we've got a nice little move.
Okay,
going on here so again,
if I don't hold the shift key,
I'm just queue meshing out of dropping an edge there,
and I'm creating a new surface any new Poly Group,
and again tapping the alt key.
You're constantly every time I tap.
I'm changing my polio case.
I'm just trying to get a general shape here,
so we're going to use this shift option that's about good.
Ah,
I want.
It may be a little bit wider.
So get him to pull in this face now and hold the shift key and C make it a little bit wider.
Say now I have a general shape here.
All my Poly grouping is the same K that I have that I want.
So were off and running.
So I want a top and bottom.
so this is how.
I did this.
Hey,
Paulie,
sculptor.
So I was like you know what I know.
There's a particular feature with this brush where I can duplicate things or an essence remake.
an action happen,
so I'm going to now hover over an edge amid hold.
The space bar,
swinging and understanding here was popping up.
So you see there are various different options here,
so I like that right now,
even though there's a webcam,
I'm doing this like you.
guys can't see it.
My hands like hovering over the menu and waving it like a wand.
But nothing you can see that just humor,
me just whatever you see me doing something like this,
or I'm just staring off and you just see my arm kind of movie,
knowing that's probably what I'm doing,
and I just do a laugh or great ago.
Paul way to go,
so get them holding over.
I just hovering over an edge holding the space bar.
Now I can insert an edge.
Do I want multiple Edge loops are want a single a job.
I'm going to go to a single edge loop,
but I'm going to say all right,
I want to add an edge here,
So I want it to be about that tall,
so this is the bottom portion,
and now this is the top portion.
I'm going to go ahead and add another edge loop may be right about here and say,
great that's perfect.
That's what I'm looking for,
but now I need them to acts to be separate pieces.
This is where the Q mash comes into play,
and this is where this mode is quite amazing.
So now I'm hovering over faces so you can see I can move from face to face.
OK.
and I meant still in holding the space part of and I'm hovering over a face.
All the space from a queue mesh mode.
single polygon,
I'm just going to click and drag through right.
So here we'll go from the front one and drag through,
and so you can see what's happening.
I'm going to change the Poly grouping,
so get him tapping the L key,
so you see now there's a green and there and see their green and there and what Q mesh did is it actually deleted these?
this faces in here and closed off automatically those pieces.
so watch this.
We're going to move now.
this top part.
Oh.
We're going to move that right,
so I obviously want to move the faces.
OK,
so we know we can do this right,
but it's only moving one face.
That's not what I'm looking for and essence,
I want to move this whole top part,
and so if you look at this,
these are two geometry islands right so I'm going to switch to space bar and I'm going to switch to move and I'm going to tell zebras actually want you to move an island,
not a single polygon and an alumna normals fine case.
I'm going to hold on this.
Okay?
And don't worry if you missed how I deleted.
The faces were going to be using that again,
so I saw,
Dillon said,
I blinked and missed it.
So I'm going to now saying,
move Island,
and so now I can actually move the top portion as a whole unit,
and now you guys can really see what's happening here.
So this is exactly what I did to start building this case over here.
So let's continue working with this.
so.
But more hard surfacing,
NZ brush,
or also,
I know people are using this next feature just to like me coming from a mile world,
you know I've been using biases,
version two or two point five.
So let's say I'm going to put the year on it,
since since ninety seven.
Don't laugh,
don't do it OK,
So in that world,
you know,
I hit the one two three key in my end in its show,
smooth,
so in zebras we have,
though millions upon millions upon millions of polygons.
We can subdivide,
but what I'm armed surfacing.
I don't want something like this if you notice in my final,
I got nice rounded surface here it's rounded here in the bottom.
you can see the rounding here that's happening and in here,
so that's what I want.
So what would this look like if I divide it up?
So,
of course,
in the geometry we can hit this wonderful divide button and control de control de control d Right?
It doesn't look anything like my case and guess what now I can't use the Z mother brush say I can't use it on subdivided surf itself.
This is why we created dynamic subject.
So I'm going to open this up.
and as long as you don't have subdivision levels and some of you might have stumbled upon this special,
if you're you're a dynamic user which I think everybody is so to turn on dynamic,
All you do is hit the D key as in divide.
OK.
And then now that's turning on dynamic.
You can see here your dynamics on K and were often running.
so because there's no subdivision levels that turns it on.
Shift d,
turns it off again.
that's d,
turns it on shift D,
turns it off.
Don't forget to partake in the pool.
So kingsley's God just put up the pool also for that bottom left there,
so.
There are actually multiple modes to dynamic.
OK,
so what we can do here by default is we have our smooth subdivision so you can see it's set to two,
so that's.
that's an essence,
doing two subdivision,
so if you see how this excuse me,
the surface is now.
If I turn this off and I divide twice,
see it looks exactly the same.
There is no difference there right,
but I don't want to actually do the division.
I want to turn dynamic on and just have to smooth divisions,
and I can go what's it Look like?
With three divisions for divisions,
five division so forth,
and so on.
Notice the orange point here because actually with the bushes seeing even though we're divided three times,
it's still only sixteen faces total and the polygons.
Actually,
as you see,
I have her.
That's really what the polygon looks like right.
So that's why these orange dots are way out here,
because that's really where the vertex point is sitting.
We're showing you a preview.
OK,
so another thing you can do.
let's turn off.
The Smooth Cape and here I'm going to turn off the the quick saves here.
We don't need to,
I don't need a quick safe,
so there's also flat,
subjective so I can turn this on and it looks like nothing's happening and what this is doing is it's dividing.
but I'll plying no smooth a watch.
If I divide twice and Alice through also smooth on,
you can see we get a very different shape now,
so let's add another flat,
and you can see,
I'm starting to get a little bit more of what I had in the final here.
That's not what I did here.
so this trick is an old trick that before we had dynamic,
people would do hard surface.
So that's like turning off this SM T,
which is obviously standing for smooth,
may be dividing three times turning it back on and then dividing again.
So hopefully you guys can see relationships here that are starting to happen.
OK,
weren't try not to have sort of it.
Is we're trying to have dynamic?
The third way we can do this is doing a grid.
So if I turn this to one,
you can see.
It's very boxy K,
but what I'm having now is,
I can apply a universal bevel and I can even adjust at bevel.
What's happened to hear will turn the smooth off so you guys can see the bubble that's being applied.
so this is a universal bevel that's happening to every single edge.
So even if I do this and I'd add Edge loops,
you can see.
That there is some edges happening here right.
so what the grid is doing is adding another edge on either side of the inserted edge loops for us.
Creating a bubble,
If I don't want a bevel,
I can do a chamfered right and then I can say all right,
more coverage.
I wanted to be a little more round.
So this is why there is a.
Setting to the grid so you can have more or something like this.
OK,
so this and you can see if you guys can see it's very faint here.
You can see all the edges that are actually being added to create this look.
So this comes in really handy if you're making something hard surface.
that's very boxy,
which I'm not right.
I'm making something even in it,
his boxy.
I don't know why I keep doing silly quotations.
There's a lot of roundness here.
So what I actually want to do is I'm going to turn great off.
Okay,
and I'm going to turn on my smoothing,
and I want something like this.
and when I would do now is open our handy dandy crease,
and I'm going to say you know what let's go ahead.
Increased by Paul Gabriel.
Not really,
it's creased by Poly Group,
and then you can see now the green.
now it's got a harsh right now or start to look more like a pill right then the box.
So maybe I'm going to do a crease all which can increase every single edge.
and now we're back to a box.
Look.
Which is clearly not what I'm looking for.
Alright,
so I'm going to say what I want you to do.
Zebras is,
I only want you to hold,
decreasing for two subdivision levels.
OK,
so that's what this crease level slider right here is going to do.
I'm going to drop this to two,
and this is kind of my go to numbers that I found myself always doing alike.
Ask a question,
ask away,
put your question.
OK,
so I'm saying crease level.
Two and watch this if I turn my smooth live down.
Maybe to for now you're getting that shape right that I'm starting to want here.
OK,
so what this is now telling are zebras to do is.
Hey,
I really want you to keep your creasing strength for two subdivision levels,
but I'm actually dynamically dividing four times,
so the beauty here is.
we're looking at a mesh.
That's four subdivision,
so it's really level five,
but we're only still on sixteen faces.
Pretty cool,
OK,
and now here's how I start to think about the shape and maybe look at what I want done K.
Maybe I don't want creasing to happen here,
so we're going to turn on our symmetry here.
We're going to hover over an edge.
I know I'm hovering over an edge because it's white.
I would hold that space bar to switch the crease,
and I'm going to say Edge.
I don't want the edge to have increasing right,
so I'm going to hold the alt key and then boom I can increase it.
Hold the old key.
I can increase it right,
and maybe I don't want any of these down here to have creasing I actually made me want to have.
Pill look,
and there's a reason may be why I want this,
because I money use edge looping to help me with my shape.
OK,
so what I mean by that is.
Why I'm hovering over this edge and again?
If you're having trouble selecting an edge right?
If you're starting to use this,
you're like I'm having trouble.
Select an edge,
you can hit,
shifty know,
come out right now.
I'm hovering over an edge.
Do what you need to do hit d,
and then there you go,
OK,
So what I want to actually do here is,
I want to start controlling and get more of the shape.
so all I'm going to do is add edge looping,
where I want it right,
so I want to maybe add an edge loop through here.
OK,
so I'm gonna say let's switch to an insert.
A single edge.
OK,
and I'm going to say all right,
I'm going to come out and say,
I'm going to put an edge loop right there,
and let's put an edge loop right there,
and then you can see what I start to get,
starting at a little bit more of the shape that I want and what I'm going to use now is another feature.
Hands down.
I used nonstop.
so in the geometry tool Mir and weld.
And you can see,
I'm starting to get a little bit more of my shape.
And when the beauty part of the mirror and weld is,
it adds an edge directly center.
So now what I'm an edge here so you can see,
I can actually select either side right before there is no either side,
so it's just selecting one edge,
so all I can do is insert one edge.
Alright,
so what I want to do is mere and Weld K,
and I want to now.
Control how I want these edges to be.
OK,
so here's something I like to do we're making a top and bottom,
and I want them to be the same.
so I can do this.
Right to start getting a little bit more of that shape?
I'm not going to be able to.
I can eyeball this to get generally the same shape,
but that's not working for me.
OK,
so I'm going to use another brush to help me out here.
Okay,
so keynote here,
Alright,
is I've turned perspective off as well?
I forgot to mention,
I'd turn perspective,
so you definitely want to make sure you turn perspective off when you're doing anything like hard surface like this as well.
OK,
so?
Let's go now and let's hold down our control shift.
I'm going to select the slice curve.
OK,
I'm going to turn on my floor.
Good,
really quick,
and I'm going to look for these lines,
so you see this red line.
That's very faint.
Gerona turn that up for you guys here.
Right,
there's that red line right there there you go,
you can see it better there.
This is really important to me because this is what myr and Weld is using its using wherever K.
So the blue line is the positive Z.
The green is positive Y and the red is positive.
X mere weld is only looking at the positive value.
So,
for example,
I hit delete symmetry.
This is all Mirror Wall is looking at.
that's important to me because watch this is what I'm going to be able to do.
I'm going to now be able to slice and I know.
Slicing actually added adds an edge loop,
and creates new Poly groups automatically.
I'd actually don't want to create New Poly Groups,
though I want to keep the polygraph consistency that I have here.
I don't want all this to be different polymers.
So what I'm going to do is I'm going to mask off everything.
and here we're going to turn on our D,
which is turning on our dynamic,
subjective holding down the control shift.
And I'm going to say right about there and then boom.
We're getting a shape that maybe what I want.
I needed on the either side,
now hit mirror and weld.
And now I have an A on both sides.
I'm even going to do.
Maybe you could start doing a mere well along the Z if you wanted to,
but will wait before we start diving into that so you can see I'm getting a little bit more now of what I had here.
Right and I can now use just edge looping to control things right,
so I can even say this edge loop here.
let's switch the slide.
Let's do the whole thing,
and I can.
I can move this and watch the shape change.
This is the beauty of dynamic subdivision right?
Maybe I want a little bit more like that in a little bit more like that.
On the top.
Great,
we're making some stuff happen here now.
OK.
So I want to start creating something in here,
in essence,
the dip.
So what I did this,
I actually.
Going backwards,
I did the dip here,
and so what I'm going to do is I'm going to hover over her face or the insect.
OK,
I'm going to say inset.
Instead of a single polygon,
I miss a Poly Group all.
Here's the benefit of your Poly Group's K.
So I'm going to now inset this and you can see what I'm getting.
Right and I tapped the alt key it'll change by Poly Grouping.
I want to make sure I'm doing that and you can see I'm getting the same thing also here,
so I don't like to consistency I have here,
so I'm going to hovered over an edge.
I'm going to mask my edge here.
The mass may edge there.
Mr Avery and there,
I'm going to flip that mask.
OK,
I'm going to switch to.
let's say the move option of tops at the W,
but hit that white circle to centre it.
Make sure I'm looking straight on and then now I can just eyeball and say,
I want it to be maybe about.
That's what I'm looking for.
And then there you go,
I start to have this happening on the top and the bottom so I'm staying very consistent.
OK.
So I want to have a little bit of let's start creating this piece here,
so what I'm going to do is I'm going to say,
insert right,
so I'm hovering over this edge right here.
It's white and then hold down the space bar him to say insert,
I don't wanna say single latch.
Okay,
so when I click on this,
I can do all this and move it.
But I wanted to be consistent on the top and unfortunately is inserting edge a single edge.
You can't just click and be consistent in the top.
I'm going to show you other things you can do.
OK,
so I want to just put one dead center of this edge.
So watch this,
I'm gonna.
Hold the space bar.
What a pair?
Lisa needs braces moment,
I'm gonna,
say multiple edge instead of an interactive.
So if I just click and I move,
you can see I'm adding multiple edge loops and all I'm doing is moving back and forth to add more edge loops.
And again,
I can hold tapped at Alt key to change the Poly grouping on the fly.
to whatever I want.
I don't want that I want one,
so I'm going to say a specific resolution.
Let's tap on that and change it to one,
and I'm just going to tap boom.
That's dead center.
now.
I know I can go here to the top boom dead center.
All right.
Very nice,
very handy.
I use that trick a tonne.
Did we get too old next question?
By the way,
a gentleman I didn't see it come through.
Oh,
yes,
there will be recording of this absolutely I.
It looks like they got you.
OK,
so now I wanna create that lip someone to hover over a face.
I'm going to switch to a queue.
mesh mode right and I can do stuff like this.
Right and here's the beauty of Q mesh.
I can pull up this face right in and see its snaps.
So it snapped over there,
so I can actually even tap.
Snap,
and then there's that little edge,
OK,
that I started creating.
OK,
so I want to make this a little bit easier and set a snapping snapping,
snapping.
OK,
so I'm going to undo this.
And I'm going to say how about let's do a Poly Loop.
OK,
I'm going to pull this up and I get the whole thing at once,
and here we'll change the Poly Grouping Perfect,
and then now I'm going to go to the top here and I'm going to use that snapping.
and in essence I'm the tap and I get the exact same thing here.
Right so you can see,
I get that Zach same lip that I wanted.
OK,
but what I want to do.
It may be control this a little bit more because I need the opposite.
right,
I want may be that lip to come here instead.
So I have that happening.
So I want the outside one here in the inside one in here,
and now I've got a nice Poly grouping happening here right so I can do now.
A crease by Paul Gabriel,
Greece.
By P,
G right,
we can turn dynamic on and we can see what we're starting to make here.
Great.
We're really starting to create something,
so I'm going to do a mere and weld along the X.
So we can get our shape may be like this.
OK,
and this is why didn't add the edges because now I want to start creating this portion great here right,
and then maybe this portion right here.
When I turn on my floor again,
that red line becomes very important to me.
Okay.
So here is another trick that I'd like to do I want to have a kind of an equal,
distant edge looping.
That's kind of parallel right,
so,
of course we can hover over an edge.
Tell to insert a single edge.
I can tap.
Right and do things like this right?
But now I need the same thing on the top,
though.
Alright,
so I'm going to undo this and I'm going to switch back to that slice curve,
so I'm holding down the control shift.
OK and clicking on that,
and I have this,
but what I'm going to do is I'm going to turn on this be radius,
so I'm holding down.
Control and space bar to get this to pop up all right.
so this is the same thing is going to the brush palette in right here,
a clip modifiers,
there's your menu.
All right,
so I'm going to say I want it to be about this big maybe about that big,
so I'm looking at my brush size because that's what makes it someone to hold the space bar I'm going to draw down and boom so you can see.
The gap don't look at where the edges look at the vertex points are because there's a smoothing happening right now,
so notice the inner circle.
The smaller circle K is really see.
That's where the the vertex points are.
Lining up is with that smaller circle.
So if you really want to understand this,
I don't make a mega focal shift.
you know,
like this right?
He can start seeing that inner circle.
It's not the outer circle that your focal shift.
we want to look at the actual dross eyes which is being controlled here.
This is controlling.
Where does the inner circle work with that outer circle?
This is controlling that inner circle so you can see if I turn off dynamic,
you can see that's what I'm getting.
I would say that looks great,
so I'm at a mere unwell that over boom,
I got it on both sides.
I got it on the top.
I got on the bottom.
And you can see,
I'm starting to get more of the shape that we started to make hair.
I'm like him where I'm going with this so far,
let's go ahead,
increase all this,
I'm going to say crease complete.
edge loop,
grease,
grease right and you can see those edges an hour,
snapping to more closer.
The vertex.
And I'm going to let you know what I made a little bit bigger of a gap there,
so I want to do that as well,
so I can even say let's turn symmetry are now right and with the transpose line,
I'm going to do something like this.
But a mask off those points and inverse it.
And then I'm going to say how about I just move it,
and then I can see the shape changing and say I want to go about.
Let's go about this far,
maybe right about there,
and then let's also move this up a little bit more along that path.
Perfect,
that's what I'm looking for right now.
Let's make something along the Z here because I want.
This portion.
OK,
so I'm gonna,
go back will make my draw size a little bit bigger world in that slice,
we still have that be radius on which is the control and space bar.
OK,
I'm going to mask everything off because I want to change.
my Poly grouping eventually win a slice down here.
And bingo now what I could also do if I don't want to do something like this.
I could also do a mirror and weld.
Along the Z.
Right and then you can see what we get.
Okay,
you can see the shape changed because this shape is actually not sitting in the middle of the world sees little off center,
so what I can do is turn on this local Sim and I can do a mere weld and you can see the width never changed.
So let's do this again.
I'm going to undo.
I'm going to turn else him off.
I would hit me very well and you can see that a whole shape changed because when this is off,
zebra is looking at the middle of the world to do its mere and welding over K.
if I tell the press none in another Nono,
I want you to look at local symmetry.
OK,
and then mirror walled off that and see now my the gap didn't change of this case that I wanted.
And the reason why I'm bringing this up is now I've got a center point right?
so there is nothing now stopping for me to going symmetry mode.
But instead of.
Let's do a Z right,
and then now I can say let's insert a single edge and get a moulding space bar.
And now I can click and drag this wherever I want.
And now notice one thing that's happening I'm going to come out of this dynamic mode for a minute.
Notice the line,
so this edge loop seal.
it's kind of taken,
the angle of this sermon undo,
and let's just look at the low polygon version.
so what I'm drawing see it's trying to match this angles when you insert an edge where averaging what does is this edge is doing.
and what is this edge doing so you're getting an average in between.
in the closer.
You get to one and another see,
the more it's trying to match that edge,
so I definitely want to make sure this state perfectly straight.
so there is a way you can align the edges,
so it stays straight.
so what I'm going to do is look at this edge right here or even this edge does a marriage one look at kind of the mid guest Generaled midway point.
OK,
if I click more to this side and then hold the shift key you can see the edge stays perfectly straight.
OK,
if I click more to this side,
and I'm talking about the middle of the curve.
And then hold the shift key,
see its matching perfectly.
To this part of the curve right,
so it's it's not an a forty five degree angle here,
and then it gets perfectly straight.
so that's what it's matching.
OK,
so I'm going to say I want to be more in the middle,
and so I'm going to go about that about that wide looks.
Good.
Perfect,
that's definitely what I want right hit the de Qi,
and now you can start seeing really the shape coming together here.
Let's make it a little bit darker.
Here I am going to turn off that secondary light too.
So we're just looking at this.
It'll be easier to start seeing things that are happening.
So you see the shape we're starting to make here right?
OK,
so we're starting to have in a shape,
so.
You're going to want that same thing up on the top and the bottom right.
so I'm gonna.
Do that alright,
Look at my line.
There's the blue line.
Mask it all off return that be radius off.
I'm going to say I want it right about there and let's mirror and weld,
and there you go Now I have the matching shape on the top.
Right and you can see what's happening here in the corners were going to be able to fix that with more edge limping.
But let's get into this part.
OK,
So now we've got a lot of slicing here right and I want to queue mesh this.
But what I want to do is a flat island.
OK,
and or if my polygraph hasn't changed,
I could do a Poly Group all right.
so this is yellow and you can see I can add that holding the shift key is just pushing it down,
and then it's also happening on the top.
Right because that's the Yellow Poly Group right,
and then this is a yellow color.
So what I actually want to do because I want this div to be pushed down,
but I want that to be Q.
macheteing because I want this green portion up here to stay,
so it matches with this piece here,
so I'm gonna.
Hold that space bar on the switch to a flat island means just look at all the faces that are on the same island.
And let's push that down right now.
I'm going to even change.
There you go that look.
Boom,
and then now here I actually want to push this in right and see a flat island suit.
It's doing since even taken the green.
Right,
I don't,
I don't want that I actually want.
I want flat.
And Poly Group.
OK,
so I'm going to push this down and then boom.
Now we're getting all new piece.
Right that's the look I'm looking for to have him there,
because if you see,
I wanted to put a nice padding in there.
OK,
so moving on,
I want to start putting these nice little,
piecing a design element that I put in here.
So we turn on our Poly Frame Mode again.
I'm going to say along this edge,
let's do a multiple edge single that gives me halfway point.
There.
And then where do I want that to happen as well?
Right?
So if this piece is going to connect,
I don't want it there as well.
OK,
so here's something that's very cool that we can do with our Z mother.
I can now say,
Hey,
let's hover over her face.
Let's go ahead and we'll put symmetry on.
Okay,
uh,
we input X and Z on so it's going to happen to both sides for me,
if I want.
OK,
I'm gonna say you know what let's make the Z differently.
To only do this is the X right.
I'm going to say single Polygon again,
and I'm going to say half.
OK,
so this is what's cool about this.
I'm going to come out of this mode and as I pull.
You're gonna,
see it snaps as he goes halfway,
and then I can go right all the way to the top.
So again.
Right and I gave a push in right,
so I can say,
pull pull,
pull,
pull snap,
and he got a nice angle there right so by default,
Xie brush is set to tenth.
So I can pull this and get literally ten different steps.
One two,
three,
four so forth,
and so on.
All right,
so I'm going to say a half step is what I'm looking for.
So I'm going to hover of this unless a half step,
I'm gonna say let's do this.
and let's change the Poly Grouping too.
And I'm just tapping the whole key.
So there I got a nice green.
Poly Group OK,
and now on the top,
I want the opposite.
Right for this face here,
so I'm just going to push in.
Right and snap,
and then there you go.
I got the opposite.
Now.
So this is going to fit perfect.
With this,
because I'm doing a half step.
OK to this,
and then now let's see what that looks like.
Smooth.
I dont like whats happening here,
so I'm gonna.
Select both of these.
OK,
which I'm selecting the inner and the outer hair and right so I got both and I'm gonna.
say Go had increase all that.
And then this is more the shape I'm starting to one right.
There.
Right so now I just did the same thing along here right so I can even do this.
I can temporarily paint a Poly Group,
so this is holding the alt key.
Temporary paint those faces,
and when I pull up,
they both pull up.
At the same time.
And then,
of course,
the opposite that's temporarily paint those.
And then let's push those in and get that snap and again.
I'm sharing the same Poly groups here right so you see,
I can select out these pieces any time.
because of that Poly grouping did do a crease.
All and bingo,
we start getting that shape that I want.
If I want to extend this all the way over,
this is nothing to do watch I'm going to turn off symmetry so you guys can see what's happening to see this.
I'm just going to pull on this and see it snaps.
So this is the beauty of Q mesh mode.
I can even do pull from this way.
Right and seas can try even go all the way and connect to the top.
If I wanted too,
so I want to just maybe you know,
I want this to go all the way across,
so I'm just going to do that.
There you go and then we'll crease all.
And bingo,
now I got.
OK,
so you can see,
there's a lot of power here and may changing the shape.
OK,
here is something as simple as inserting an edge.
So if I say in a single edge right,
and then I say,
Hey,
this down here,
I want to be more may be like that.
Right and then may be let it.
let's actually turn on symmetry.
Induce things like I can start changing how this looks.
just by adding Edge loops.
Now.
Miniskirts seeing the shape that I'm getting OK,
so I want to move on to other things here because we're already an hour in.
So I want to move on to the how I did this railing.
And specifically these handles.
And then this and then we'll be done for the day.
OK,
so I want to create these handles right,
so all I did was I created and inserted an edge here,
and I said this face and I want the same thing to happen on the other side.
OK,
I'm going to do an insect.
I'm going to a single polygon here will come out of this and say,
I want that inset change your Poly Group.
Q.
mesh polygraph ball and push it in change our polygon.
Alright,
and then I'm going to say.
I want all of this to be the same.
Greece,
and then there you go,
you get something like that.
So I just creased all those edges and see it's kind of getting a little bit round again because our crease levels only set.
OK,
so I want to now create that handle.
So all I did.
Again,
I told you in the beginning their shapes I'm using right,
so I went to this cylinder and I said Initialize,
I don't want to have it in a radius.
This is good and I'm going to make this be.
And let's size it up all the way,
Something like this.
I'm received per fact,
that's what I'm looking for.
Okay,
then I'm going to say all right,
let's now there's several ways to do this.
I actually used Nano mesh to help me with this.
Actually.
So I'm going to say brush,
creating Sirte mesh brush of the same new.
So what I have now is the ability to draw out several of these right,
so I'm drawing it out on them.
What I'm going to do actually is let's switch back to her as a mother.
Let's insert an edge loop right about there.
Let's say K in this face,
we're going to switch back to this.
Insert mesh of the cylinder that I have.
OK,
I'm gonna,
click on that and I'm going to say brush.
Let's turn it into a nano nano,
nano nano.
No,
no,
OK,
so I'm gonna.
Click on that.
And I'm going to draw out,
then you can see that's the piece I am getting.
All right,
so you can see there are actually going in two different directions,
so I can fix that in my nano mesh.
Somebody got a nano here.
It is OK,
and you got an alignment,
You can say short edge,
you can sing a long edge and see them all now.
Changing Universal.
Right,
you can rotate.
I can size it up more here,
so I'm doing this because I'm visually trying to match.
Look at kind of what size of handrail.
Do.
I want here?
An essence right?
I can offset along the Z,
so I can pull it all off.
A little bit and say no,
not that much may be about that much.
That's good enough and we say,
OK,
that's good,
let me turn it into real geometry and we gotta inventory,
Let me say one damage,
so one of our topics down there looks like no voting is happening.
So my man Kingsley,
There's no one voting on the topics in the lower left.
So if you guys want to want to put that.
A string there,
so voting on the next topic for the next.
Did you know that?
So now that I have this,
I'm just going to separate this.
They boom.
I'm going to split it off,
and now I've got.
This is its own shape and I got this as its own shape.
OK.
So now I have that.
So when you're in setting no,
you don't get you only going to get the same consistent inset with a perfect square,
because if something's a rectangle,
so Steve's asking about?
In the inset here,
when you're in setting?
Right,
I'm doing all faces now you can see then sets that the same consistent,
so they're leaning out other than you can do is you guys can hold the shift key,
and then it's a perfect square that in setting you can do that.
But right now as it stands,
you can't get consistent inset specifically in shapes like this and so you can see it's different.
so you're going to have to adjust that.
Unfortunately,
right now,
that's that's the way of the world.
For that,
something we got a look at adding.
Okay,
so now that we have this piece,
I'm going to just say symmetry.
Let's say I wanted to be a little bit wider,
Perfect.
OK,
I'm going to now say let's use the benefit of.
Q mesh.
so much as I'm going to say,
actually,
I don't want both.
I want to go to geometry and I'm going to say delete symmetry,
so I only have the one because I want to work symmetrically along this.
Right so?
I'm going to say all right,
these pieces in here,
I want to play with.
Right so you can.
If you want to make things a bit easier,
you can insert an edge.
Right now,
I can say let's cubic cash.
let's do a flat island and let's pull this out.
So put a little ridge there right.
Q mash and then I'm going to hold the control key,
and that rips it right off the surface.
C Yes,
I'm ripping it up so again.
I'm going to undo this.
Some clicking,
holding the control key,
and I'm ripping it off.
And then I'm tapped the alt key,
and then now I'm going to create a thickness here.
Maybe something like.
Right and what I'm going to do is say,
all right,
let's look at just these pieces.
Let's pull it down.
Like that sound effects very crucial,
I'm going to push it in a little bit.
OK and you can if you want to even.
Line that up a little bit more if you want.
Of course,
I have ways to doing that.
Doing something like this,
I say great now.
So here let's just look at this,
and now what I want to do is I want to delete.
The flat islands timidly all those faces and delete all those faces.
So here I'm going to turn on display.
Double.
So you can really see what's happening here.
Right so I'm deleting these faces.
And now what I want to tell the brush to do is I want you to bridge from here to here.
Day,
some hovering over an aid edge.
And then I'm going to say bridge,
I'm going to say not two edges,
but two holes and I went round corners.
OK,
then I can even say optimal curve and optimal resolution.
so all I'm going to do is tap.
Tap and bingo their ego.
Right if I don't want to have optimal resolution optimal curve,
I can say interactive for both so I can tap,
and when I tap here,
I can adjust and say,
how how,
Why do you want it?
So I'm going left or right and how dense do I want it?
So that's up and down.
And now I can adjust this,
however.
We say boom.
That's what I want looks good to me.
Right and then here I can even turn off Symmetry,
go back to her cue mishmash of flat island at a poet and then boom it snaps.
And there I have a closed surface.
Too shabby.
Right and then I've got different Poly Grouping here.
so the beauty part about this.
Q.
Mesh mode,
polygraph ball I can create.
This part up here right.
Same thing down here this is the little handle ridge.
Maybe that I went there,
then do a little creasing now.
Increased by the Poly Group.
Right,
do I really want that Because you see what's happening in there?
So maybe I don't want that right,
so maybe I want to do instead of crease by Poly Group,
I'll do by an angle.
So let's say forty five degrees and then hit crease.
Right now,
all those are crease PCM get increasing their,
so maybe let's go a little bit higher.
And that's what I'm looking for for the handle.
Something like.
Right and then I added a little element in here,
I did a little holding the alt key,
temporarily painting these four faces.
OK,
and then I can switch to transpose and because for phase that alternate are painted with white,
only need a single polygon.
And I get the transpose line and creates a new polygons automatically,
and then I just did.
Something like this.
Right,
and that's creating that peace there for me.
Something like so I would bring it back.
That's what I have,
and if I want to write,
I can change the size to whatever I want.
Just that's what fits.
And then now all I got to do is do what myr and weld right.
so we're in front off local.
Well,
I guess I gotta look at the floor.
See what's happening.
I'm going to say OK,
what's happening here?
Let's do a mere and weld along the X.
I don't have anything along the Z,
so you see that blue line so I needed over here on or deformation.
Myriad along the Z.
Right,
bingo,
right,
so now I made me want to do a local mirrored which you can't do this.
Mirroring ain't so What I can do is in the plugins.
That is a sub tool master,
and there's even a mere here.
Scanning a hit mirror and I can say along the Z and make it the same sub tool and then you have that capability as well.
and then this will keep subdivision levels.
Right,
that's the difference between that mirroring.
And then now I have that.
and now I haven't another side.
Local mirror and welding.
It's going to work perfect for me,
Z and I know those are sending both exact same space.
OK,
so that's pretty much how I did the handles.
OK,
so how I did these rails is with a brush.
I created a brush.
So here is the brush.
Alright,
so all I did is created a brush that allows me to draw them out and it will turn off here we'll turn off symmetry.
Right like this,
and you can see the railing that I have.
Here this is what I did.
Right so I got those,
and then when I smoothed it,
you know it gives me what I was looking for.
So I've got a certain thickness.
There.
I am doing it along a curve,
so if we take a look at this brush.
Alright,
let's go ahead and go to another mesh,
so we don't replace this.
To this.
OK,
and I'm going to say in geometry.
I want to do mesh from brush,
modify topology,
right there.
OK,
so I'm going to say all right,
let's go ahead and do a mesh from brush.
Right and then here's what I made.
She's not very complicated.
It's pretty simple.
Right,
I started with a cube.
He came.
and you see that there's three Poly groups.
Right and I have open surfaces here in the middle.
As I returned doublon see if it's open there,
it's open there,
but see it's closed here and closed here because I want this green piece being repeated along the whole brush.
When you get to the start in the end,
OK,
I want this to be closed and this to be close.
And then so the questions are also being asked about hot keys.
So when you guys are in Z modeler,
there are no hot keys as far as slack in the faces.
But if you do want yours the modeler.
In essence,
I see someone asking,
How do I open it too?
The habits would do nothing is on,
for example,
for a vertex point right,
so if I'm hovering over an hour,
a vertex point and I want by default,
do nothing to be My default I have to do is switch to this and then just save the brush out.
That's it and you keep it the same name and the brush is going to have to live.
So when you come here to brush.
Can we go to save as?
Right,
you're going to have to go too.
Your computer program files.
Pixel logic.
Okay,
and then you're going to go into four or seven.
You're going out to Zee data,
and you're going to go to brush presets and an easy modeler brushed his way down here.
So if you just save over top of this brush when you launch your Z brush than that vertex do,
Nothing is going to be the default setting.
OK.
So that answers that question right?
I think that was coming from.
Doug,
I believe.
Yet,
Doug said,
answer your question.
But there's no hot key.
You can't set any hot keys for the actions right now.
OK,
but if you want to change the hockey to the brush itself,
you can do that.
Right?
so if I have either,
I can do it this way and see the brush is here.
But hold on control alt and tap on this now.
it's saying along the top there at saying so,
look up here.
It's saying I can now boil down again,
control all tap at saying I can press anything.
I'm going to say the six key and C now six is set to lazy mothers.
If I hit clay and then hit sixty,
I can get the mother.
And then,
yes,
you can definitely duplicate.
Lizzie Mother brush and make multiples emailed the brushes with different settings for sure.
OK,
so this piece,
that's all I did.
I created this,
but I started with K.
So here wool.
We'll make this really quick.
We're going to duplicate this.
I obviously started with my handy dandy initialized cube.
Something like this made it all one and I'm going to use are mere and weld a lot here,
so to say along the X.
so let's go ahead in which adjust.
The size of this so Q.
MASH and say about I want it like that.
Let's go ahead and move it to the opposite side may be something like that where the red line is,
let's mirren!
Weld,
but not local,
mehran weld.
So I get something like that right,
and then now all I'm going to do is he returned symmetry on,
I'm Gonna say delete the single face,
bingo,
right then,
if you say well,
these are two holes,
so I'm gonna hover over this.
I want to bridge two holes,
I'm gonna,
say arc.
this time.
the click on that edge.
Click on that edge.
Right and start playing with what I want to do actually,
what I'm going to do before we get into this is I'm going to queue mesh this out actually.
I want to put a little bit of an angle in here.
First,
so I can control a little bit of this.
Right and then you can even too many things with this or I can say you know what let's go ahead.
And let's just sent her this.
Right and I wouldn't want to rotate.
Move the edge like this.
And I am gonna say,
let's just add a little bit of a rotation.
And let's move it up a little bit.
maybe something like that.
And then now maybe I want to delete those faces.
And then I can say,
click here,
look here,
and what do I want?
Alright,
I will say I don't.
I want to have an ark.
Not so many polygons.
Maybe something.
Right and then I can adjust this as I work as well.
So this is pretty much how I started making that shape.
Right and then I can even continue to adjust these edges points.
So I can start my vertex point points here with a transpose line.
Play with this.
I can play with these points here.
I am just using.
The transpose lying to help me snap to a point snap to another point in him.
Do something like that?
And then there you go,
there's my shape.
I'm gonna control W,
so it's all one Poly Group.
MSC,
ah,
let's make these be a lot shorter.
Maybe something more like that.
That's what I'm looking for.
Perfect.
That's what I want right.
I'm gonna,
go ahead and say deformation unify,
so it's a little bit bigger,
so I can really see this.
It squared.
And now I'm gonna tell zebra dues,
I need,
I need two more,
so I'm actually going to use the transpose line to do this.
OK,
so I'm holding the transpose a moldy control,
and I'm clicking on that middle circle on him.
in move mode,
and it duplicates.
All right so you can take a duplicate,
and if I hold the shift key,
I can actually control.
That stays along that actually.
so I can say something like that.
And then I'll hit the one key and it does the same thing.
so now I have three of them.
I'm Gonna.
Go ahead,
hit,
unify Italy or back in the middle.
Right and I need these to be three different.
Poly Groups.
Someone put a Poly Group and had auto group.
Sorry,
I'm going so much so much a lot faster.
We're just,
we're already hour and fifteen minutes in and I still want to get into how I did.
The top part.
But the key point here is I want all this the wealth of all this,
the well be repeated right,
so I'm going to say let's delete.
This face,
but instead of one polygon,
I'm going as a flat island.
And then boom.
Boom right and then the same thing for this side,
I want that deleted.
I want that deleted,
but I don't want that deleted and I don't want that deleted right and looking at this smooth,
I probably want some creasing to happen here.
Right so I guess I can go here and say,
let's do a tolerant Greece,
and then now I got something like this.
Is this the look I'm looking for?
No,
that's not what I'm looking for.
Twill increase that I can even save myself time and also do this and say,
I want those creased right.
and then I want that creased,
and then I want.
And now this is what I get.
Perfect,
that's exactly what I want.
Right and see how it's separating.
That's okay,
because now we need to turn this into a brush.
So all I'm doing is I'm aligning this.
How I want it like this one looks straight at it,
because that's how I was drawing it out on my case,
right?
Then I say,
brush.
And I'm gonna say,
create insert mesh.
I'm going to say,
give me a new one,
and now I can draw out this to my heart's content.
But what I want to do is I want to go here and saying the stroke.
I actually wanted to be applied along a curve.
So as I'm doing this.
You can see we're getting it repeated raining here,
we'll go bigger,
so I'd make my draw size bigger than tap.
You can see what I get,
so I have a couple of problems here that look a nice there,
right.
It's not welding,
so we need to fix that.
That's an easy fix.
OK.
Need more lease in these braces.
This is alisa needs braces moment,
by the way,
since I saw it come up in the chat.
Alright,
so here we know.
So think about this your stroke right,
Think about that's how it's applying to the surface right.
So I put a long a curve that I wanted to bend.
I wanted to snap,
though,
on a lock,
then do I lock the start?
But when I went,
I added the mash itself.
That's the brush.
That's the tool lessons right,
That's what we call our meshes tools,
so I'm going to go to my brush pallet.
OK,
what up here?
This is important part and is a MODIFIERS and Msc weld by points.
Rice will hold there for a minute,
and then now if I go and tap over C,
it's all welded.
And now I have got what I'm looking for right.
So even if I smoothed it boom,
you get exactly what I wanted.
Happening throughout here right.
So I can even play with this a little bit more and say,
let's even up the curve resolution a bit and it allow the curve to have almost sit on top of itself.
So I knew I was going to be doing straight pieces the whole time I didn't want to have bending right.
So when I draw,
I want to make sure none of this happened.
so all I did again.
I want to edit that curve.
The three amigos.
He asked.
Brenda knows it look up here.
Whooper,
Steve Martin,
classic Steve.
No dog,
I actually don't drink any coffee.
By the way I don't do any caffeine,
none so stroke,
and I'm going to say as line.
Right and I must say I actually don't want any bending as well.
So now what I can do is just drag out a straight line.
And then there you go.
So that all I did was aren't let me go back to my case.
I've got the brush.
Where do I want these things to live right now?
Of course,
symmetrically.
We can work here.
I'm gonna say let's works,
Z.
Say,
how big do I want it,
maybe,
and go here and say to there and then there you go.
The next morning I turn on local,
so they both sit in the same space.
All right,
so I'm going to say all right,
it's a little too big.
Trying that out.
Right now,
I'm getting the size that I want.
OK,
that's how I did the railing right?
So let's take a look how I did this,
Because this is a cool little trick that I like to use.
sometimes.
OK,
so here we go,
so I'm going to take this top part right and let's rotate it,
so I'm going to rotate it from this point because that's my important point of rotation right and I can do to to to tutor right.
so I had the case.
now.
It's open.
All right,
I can put it in place it where I want it to be.
You mean that's where I wanted to be right.
There.
OK,
and then now I want these faces up here.
OK,
but I need them to be separate or ain't so.
Let's just make it easier on ourselves.
Okay,
and here we go,
I'm going to say,
let's duplicate this.
Right so I have another one and lets us take the one and let's all only grabbed these blue faces here.
OK,
so you can see there's the same Poly Group's home port in the Poly Groups are this is so important sea.
I actually don't want all these edges,
but because I didn't make a new polygraph.
When I start to play with this,
I am now grabbing edges that I really don't want.
I want to set myself up for some easy down the road possibilities.
So if I were to Poly dropped us off.
it would have been easier,
so I can fix that easily.
OK,
and I can hover over this with the Z mother on a face,
I can switch to that Poly Group and I can say that I live and let me say one Poly Group and I can click right every time I tapped that alt Alt key.
Which we should just start naming,
whatever it be great to put sound effects and see which although it might get annoying,
so you'd add definitely have to turn them off.
So now I've got that as a new polar groups on a slack.
see,
I only get those faces.
In fact,
that's all I want right.
So let's delete the rest,
so all I'm doing is now I'm using that,
so I can hide everything.
OK,
somebody got a geometry and has a delete hidden perfect.
I don't want all these edge loops here for this part that I have right here.
I don't need all this.
It's going to get in my way to do this little part that I did here.
so I'm over an edge of to say insert,
and let's start deleting K.
So just hold the alt key and then tap on all the edges that I don't want,
which is pretty much all these internal edges bingo's an hour back to just one face.
so I'm gonna.
go.
Q.
Mash single polygon and give us some thickness.
There we go perfect.
That's what I want right?
Almost so,
this is where we can start having some fun here now.
I'm gonna go lattes,
There's a pattern here right that I've made.
So how do I create that pattern?
Well,
I'm going to create with multiple edge loops someone to hold down that edge.
Hold the space bar in certain mould wedge loops,
and,
I may say,
interactive resolution.
OK,
so here we go.
I'm going to now go all right.
Let's click on this,
edging up BP,
PPP PPP.
Sound effects so important,
I just,
I say,
ah,
I'm just eyeballing this thing going.
Deluxe,
maybe let's go back to where I was.
I say,
how many do I really want and save That looks good?
Right and then now I wanna go.
the opposite edge loops like these when C I want with these ones.
First,
right now,
I'm going to go with these,
and now I'm just going to do this until I get a general square shape.
Seize me almost squared,
so I'm not trying to get perfection here.
It's pretty darn close.
OK,
there we go.
Right so obvious now,
if we smoothed it,
this is what we're getting.
So here I'm going to increase all he eyes can see what we get.
Hence you see,
this is what we have.
Now,
what I want to do is say,
you know this top part.
I need a pattern here.
So again,
I'm going to hover over the face.
This is another needs.
Lisa needs bracelets moment,
and I guess the polling isn't working.
So Kingsley hope you're all looking at the poles where our next topic is for.
Did you know that?
OK.
So I'm going to hold the Space Bar Poly Group Group I Flat island,
a lot right,
which is referring to?
In turn,
the floor of all these faces here,
they're all on the same island.
Slow mode to the camera.
OK,
so I'm just going to tap on that and see it's creating a whole new polyp.
They're all in the same Poly Group case.
So if I.
Tap and keep holding tapping at all key right we can change our Poly Group's up.
So we'll just get to a color that's very different.
Okay,
here is now what I can do.
I need alternating.
OK,
so I want to alternate.
The Poly Grouping.
Wait,
what's not updating.
On my end.
Kile.
What?
Oh,
I think all the polls not updating on my end.
I see,
and for those that weren't listening or without awake,
there you go,
that's silly,
Laugh to smoke you all up.
OK,
so here's what's cool,
I'm gonna say,
let's look at this,
and I want to put a little indentation,
so I'm going to shrink it so wholly now,
control shift ass.
as in shrink,
I can keep shrinking control shift acts.
I can expand.
So this is found in the visibility.
Right so when I show only a portion you can see now you can grow and you can shrink.
But I can't tell you I'll like how I live on this of the press system poll.
Just so you know,
since sin,
the tycoon is asking,
that was a request from the last.
Did you know that so it's about asking more about?
Can we spend some time just literally in the brush palette,
going through some of those settings and things like that?
So that's what I mean by brushes too.
Obviously we have to shorten that because it'd be too long in the poll,
so it's about just diving more into the brushes.
Okay,
so I'm going to shrink this,
but what I'm going to do now is holding my space bar Poly Group Flat Island.
I'm going to say checker,
Oh,
this is by.
Yeah,
this is what bioenergy is going to happen,
so I tap,
Oh,
mother of pearls,
I get random.
checking bonus.
now.
So the zebra did a ton of work for me,
bingo pengo right,
so I can bring everything back.
This is now what I have,
and now all I got to do is say let's go ahead and that Poly Group,
that.
Orange Pink Up all my poems are making me feel lava up here,
so I'm gonna.
go over over the face,
Hold that space bar.
OK,
And this time I'm going to say let's insert this.
All right,
we're going to do it on all.
Poly groups right that I'm selecting and each face now I click this one and boom.
it's happening to all of them.
Yea,
C cup,
I'm all about.
how can I get a couple of clicks to happen right?
And then now I want to pull it out.
Somebody's going to end.
Q mash.
Poly Group Ball can pull it out.
Right,
I'm going to make new Poly groups so you can say something like this.
Right and then here you can see what it looks like smooth.
This is what we're starting to get.
Then almost also now looks like a shoe for your foot.
That you can get at like bed bath and beyond.
For those that are in America.
in the?
U.
S.
I don't know of Europe at the other places.
so sorry,
but what I want to do is kind of change the shape a little bit more here as well.
So I'm gonna go hover over this Poly Group here and I'm gonna say let's actually scale Poly Group,
Paul and the Polygon Center,
and then now I can change the shape and make it be more like that.
And then now we're starting to get a little bit more of where I was there.
On the final.
That's pretty much how I did.
if you wanted to write you guys,
kid.
Have less of an insect right,
so I can say I'm doing an insect has watch if I don't do an insect,
I do a queue mash Poly Group Ball.
You can do it this way too right and then do a scale again in an inn.
Let's do Poly Group all.
Ain't so we're going to do a queue mesh again?
Cue much Poly Group ball.
What changed that Poly Group on the fly?
And then go scale,
and then we'll do Poly Group all.
C they're connected.
Sea sea.
What's happening here because these are actually connected?
His cue meshes connecting them right?
So what I could do is also this is where I might use an extrude Poly Group all and then pull out change that right in and let's see now,
if I go to a scale.
See,
it's still connected right so this is why I'm adding that inset right because I want to make sure.
That there is a slight gap there.
So when I do Q mesh,
this right.
Change that Poly Group there is a little gap there,
so they're not connected anyway,
so that when I do switch to this scale option.
I get something more like that,
and then here what hears the smooth version of it.
And if I want to write,
I decided,
you know,
let's creased by Poly Group.
Right and then now I can start playing with this crease leveled,
saying Let's keep it only for once.
Turn off to her on Mr getting stuff like that.
So that's how I did.
This portion here right in the last thing I did,
I wanted to make a little a spongy or like.
You know,
like it is soft,
so I throw a little surface noise at it.
Well.
We'll pull a service noise,
be art,
be cool,
be good.
That's what I say every time and maintenance of the police in the love of God be good.
OK,
so I'm going to turn on some noise.
Air will scale in,
let's add some strength there,
and I'm going to play with my curve,
so I'm just going to say let's do a little bit of that,
and then let's clip it as well.
And I'll make a sharp clip.
And get something like that will go a little more strength,
and bingo.
Now we have kind of a,
you know,
it's not popcorn,
that's different,
but there you go.
OK,
so that's how I did this part here.
So looking back again.
At this piece,
let's load it back up.
Notice a couple of things right.
My polygon level,
it's not really high right now.
It's not even a million polygons total right.
I've only got six subtitles total,
which I could probably make it five,
so I got my missiles as won.
This is the bottom foam part right?
These are the handles.
This is the hinge in the back.
Butt hinge in the back there.
OK,
and then this is the Cork Board part on the top,
this part,
and then there's your case.
Right?
so that's all I did in this.
And then these are insert mesh brushes.
That ship with the brush.
That's what this is.
This is,
this is so I just grabbed.
insert mess,
so I am imparts has stuff in here for you guys.
Write to you,
so I use that screw head in the back.
There's my handle.
In fact,
there is a nice hinge right there at private and better to use than the one I made.
But there's a little hinge handle that I made.
Right well,
I use,
and then I made the opposite end OK,
and then this right here.
This part is found.
In the imam,
a curve where you at?
There you are right and then ray there,
it's actually a boot islet,
but I'm using it,
and then this is a long occurs.
I'm turning the curve off,
so I can use it just as an individual insert.
Alright,
so this is what I have,
and then this is just a cue.
Mesh writes.
If you look at this here,
we'll look at the lo version.
This is what the lovers and looks like.
So this is just a cue,
mashed up seeing,
I add an edge loop.
The part,
so I wanted this to be a little more.
Have a nice little rounder part.
And then there you have it.
And then I just started throwing some colour on it just visually,
so we can have a look at this.
So there you go,
there's our topic for this this.
Did you know that?
Oh,
you know what I never showed all my goodness,
I said.
Remind me there is something I didn't show in the fiber mesh the last one who is at the last.
Did you know that because I'm not done?
I want to show you this.
This is.
This thing is pretty awesome,
and this is a great trick for using fire mesh,
and I totally forgot to show it.
OK.
So how many were you at the last one?
Okay,
because here is something that I did not show for the fiber mention,
This is huge.
This is really helpful when you guys are dealing with fireman.
I can't believe I just remembered this.
OK,
so what I can do,
OK,
we'll.
let's start dividing up a little bit more will be under an under a million.
And what I'm going to do is I'm going to store a Morph target.
OK,
so I'm going to say symmetrically,
let's start giving the sky a beard,
so I'm just going to use the clay.
build it cuz it.
It actually does a nice job,
Abraham old or reliable.
Abe,
Abraham,
Lincoln.
It actually does a great job sculpturally,
giving you a great start to clearly a beard right?
If you go smaller,
you're going to get littler portions right,
so it's a great brush for this.
All right,
so let's give him a little stash to why not.
Yes,
there are a lot of trees.
Barbara has happy lotteries territories.
Oh,
yes.
You've got to have some fun man.
He got to have fun with your sculpt and come on.
Keep it light,
keep it light fun here.
Maybe you give them some eyebrows to toot or to tutor two tooters to toot.
Attitude really bushy eyebrows.
It's a burden like this,
let's just say right,
so I sculpt it all this up.
Right and I can switch and see theirs.
I can go between the two,
so watch what I can do here.
I'm going to switch Sue.
The Morph target is now going back to the original version of the head.
Before I did any of the sculpting.
OK,
so I'm going to go to fiber mesh K I would open up those modifiers and I'm going to hit preview.
Where do we get this hairy guy right?
In fact,
before we do this,
let's also turn off our display property and the double so that when we create the fibers K,
I only get him on the outside,
not on the inside.
So great Paul.
What's the point here?
The point here is,
I can actually click on the very bottom.
There's this morphed Target guide and then boom.
The fibers only go where I actually sculpted.
It's looking at the difference of the mesh of what it was smooth.
More targeted,
and then now there's a more target,
has the actual,
sculptural version,
and it's creating the fiber length and the fibers based upon that sculptural.
I had this like I was a no prolapse.
Did you know?
and for those that weren't at that?
Did you know that I am there?
You go,
You can go watch the old.
Did you know that where we talked about fire damage,
this obviously topic was the.
The Z mother,
but I totally forgot to show this.
So it's an awesome feature that I use regularly like fiber mesh,
and it just slipped my mind to show of sorcery,
black magic,
helped by light black matches are really getting could gain for those that know that game.
it's a fun game with your relatives.
I played it a lot as a kid to fun,
guessing game right?
So there's your five dimensional,
a trick I forgot to show again.
Here is my final case that I put together for this episode to show this episodic up.
Did you know that?
I have no idea what the topic is next week because I can't see the polling is not updating for me,
but the boys Kyle and Kingsley's matching it before we go.
Did I miss any questions that we would need?
Does it keep the Geo difference?
But let me go back brand in memory.
I mean I'm saying you're referring to this.
To the beard you're asking,
what about the gio want to be a little more the de geometry?
I'm looking at the clean version,
so it's not there.
The difference in there that but I can get back to that right.
I can switch right.
So in essence,
I'm just using it to create the beard.
Right and then I can say fiber mesh.
Let's accept that.
And say,
I go ahead in fast preview mode and then now I can switch and now see,
I got back the sculpted beard are going to switch back to this,
and now I can delete and start from us.
I really really,
really using the Morph target to control.
Why would then you see,
I add a little sculptural points here and there,
and there's your beard.
Not too shabby.
Right?
So the beards all captains accepted.
No,
it won't work in layer mode.
It's got a.
you've got to use a Morph target because that's what the feature is looking forward.
That's what this way down here.
Since more target guide,
that's what it's looking for is looking at more of target.
See,
there can be a hairy man.
Or not,
a hairy man just appeared.
OK.
It looks like I got your question.
Yes,
Brandon thinks got it,
OK,
any other questions about that?
I might miss for the mother anything you're seeing here that it is,
of course,
the missiles.
This is a cylinder that I started with,
and then these are just cubes.
And I have a render of them donning key shot.
So what I did here we can we can go to that here.
We're at again.
Let me end with this zebra.
It has been announced October six through the eighth,
so that's a Friday Saturday Sunday.
That's what I'm doing.
All of our presentations were doing the workshops we're having.
The award ceremony were having a party.
you wanna be here if you've never been here,
it's a fun time.
were all about.
artwork are all about the people in art and right now the white caps who look like an earthquake as it was smack in the table,
where the webcam has just go with it so but what's different this year is the sculpt off is taking place on Thursday online.
Only so you can't be here right.
so.
If you want to compete and I'm already getting people flooding and I want to compete,
you just click on the supply.
To compete right,
and then you come here and you reflect your category.
I'm going to be honest with you.
I obviously get a larger percentage of people wanting to be an organic side,
so if you're confident that hard surface sign you're comfortable there,
you might have a better shot at getting in the contest right because we got a siphon through weak.
We pull everyone's work up and look out everyone's doing,
and then we go from there.
OK,
So the summit is a great event.
If you never physically been here,
we keep adding things to every year to make it be fun.
So vote now also for the award.
So how we vote with their words with Zebra Central.
So all you guys gotta go do is just go to Z brush.
Central.
Right so we're going to go.
Numerous central,
I love it.
It's all in caps.
UPS,
ups.
It's all in caps here.
So let me.
Let me get out on a cat mode here.
The brush centre aisle.
Matt all my Internet is not enjoying me right now.
Soap.
Again to vote you guys just go to your main forum right,
and then you just click on anything.
What obviously CBC?
We'd be more beneficial for you,
so if I say,
hey,
I want to vote for this samurai,
He click on this piece all right,
and then that's what the vote button is here.
That's how people get nominated for the zebra shorts.
OK,
so that's what's involved with the award ceremony.
But if you want to compete,
you're going to be able to compete like this.
Right,
you're going to be able to get in there we want to.
We always want to have so.
The returning champion,
his fury on a hard surface vies sighed,
and Dmitri is on your organic side.
and if you want more information,
you got the view,
details and complete info and you can see more information.
the last year you know the first place where we got a form to printer,
a fun cold,
peace and three for medical second place got the full version,
Kishu Pro,
which is two thousand dollars,
a funkal piece and three for medical.
and everyone else,
gets a fun co and a three D for medical.
That's what the prices were last year.
Rises this year haven't been determined,
but that's what we give every last year.
and then you guys get to sit with Joseph dressed,
of course.
so let's be honest,
that's the real prize.
Because he does the play by play with Jessica drew Johnson,
usually from Blizzard.
So definitely get in there.
If you want to compete,
get on their compete and register to get all your updates.
So this is just the first launch page.
We haven't announced any of the presenters yet.
So that'll be coming up in a few months were rounding up,
We've already got some presenters secured.
So don't forget about that,
and there is our Did you know that?
on the modeler.
Is there any other questions that I miss?
Now's the time to fire away,
and I can't answer the last question before we go,
but we're going to have to get going here.
It's a quarter to want to bet on here for an hour and forty five minutes.
I'm sure you guys are tired of listening to me,
yet the sculpt off is on site.
Here you had to physically be here,
because you are in a room and everything's hooked up.
so.
Twenty four contestants,
twelve an organic side,
swollen hard surface and twelve.
You compete,
so there's two times lots that you guys are competing.
So,
yes,
you have to physically be here.
The order to compete.
OK,
so did I miss anything?
I'm just,
I'm just scrolling through me and showed it miss anything.
So read topology when the topic on Kingsley Kingsley,
saying sixty five percent of you want to talk about real apology in the next.
Did you know that all right you spoke?
I'm just making the ideas and you guys are picking the topics.
We need a Paul one too.
What's that?
o ne Mo G.
Yeah,
you could probably make a lot of stupid of motives of my silly expressions.
All right,
thanks so much for partaking and taking some time out of your day to sit with me to go through this case and looking at Z Mother.
Hopefully you guys took away a lot of stuff from that.
I don't see any other questions here coming through.
So we're going to call that Ann.
Episode Let's do it together.
I am so.
I don't know why I've started saying that.
It's ridiculous.
Donna,
you gotta have fun right,
you know you want to have found what you're making to have fun at work.
Can't complain.
Our effort is giving the last couple make sure I didn't miss any question.
Alright,
thanks for,
come,
and see if that gauss ski.
And Dylan,
thanks for come,
and I know you didn't know any mode,
See,
Mother,
I thought,
if I remember right,
so hopefully you enjoyed that Brandon.
Juballa,
two rebel rebel milk.
It's always difficult to pronounce all these by the way dog.
Thanks.
That's an easy one picks a logic.
Kyle,
thanks for coming puts the logic Kingsley all right not vex tonight.
We have Michael Popovich dont want to miss that.
get on here.
He's on again tonight,
so he's always done a great job of presenting some ensure each up on there for him as well.
And then the last Bam is happening now.
Our guys have a wonderful day evening wherever you are in the world.
thanks again for coming the next.
Did you know that topology?
So again We're going to go through.
I want to touch base with disease for topology,
topology,
brush.
Xie remember where we can talk about those topics and look at some tricks and everything there.
All right.
Thanks for tuning.