In this clip we'll continue with revisions to the face of our characters.
All right.
Diving right back in here in and it's like this portion of what would be a mask on his face here.
And this is a revision so I'm going ahead and blurring out my smoothing some of these details we previously
add here and now I'm going to go ahead and append a sphere right in the center here.
All right.
And I'm just going to go here and manipulate that with my gizmo 3D and begin to stretch that.
And my goal here is just to cover the center section of this mass portion here with this new geometry
and then we're going to go ahead and Diana mesh it for one solid piece here.
So I'm just gonna go ahead and use my transpose tools to just curve things out a bit.
Holding all and clicking and move transpose to get that curve like feature there.
All right.
And now to my move brush to finish it off here.
Just tuck things in a little bit better so that when we die in a mesh we don't have too much to add.
All right.
Continue to tweak this from here.
Gonna go ahead and dynamic and glide and smooth this out a bit of polish D as usual and I'll take that
move brush and continuing to reshape this as it is and our new revisions of our character here.
Kind of got the old ninja mask going on.
Go ahead and do a little cheating and move his his skull around and edit some features here is going
to get in my way.
Right.
And kind of polished down his chin a bit.
All right.
Back to the mass and some tweaking with the move brush just to get the relatively solid.
That's how they look on the only new design here.
Pawn it for holding alt and move brush.
We'll just put things in the normal direction towards the camera.
More push it back.
All right.
Just checking this out from a few angles.
Polish D is trying to get a bit of a lip here.
I'm going to bat face mask and use my move brush to add that depth there.
All right.
Just about there.
Go ahead and delete this piece here as well as this piece as well.
OK.
Make more room for our new additions here.
You can go ahead and edit this piece with some trim dynamic just smoothing out the edge here.
Not too important though more likely to get covered by some other geometry.
All right.
Back to the mask continue to inflate the cheek area here.
All right.
And I'm going to mask off a portion here to create another piece of geometry just carefully and draw
that out like so to get the shape I'm looking for.
All right.
And best not to rush this.
The closer you get to get the nail in the shape that you want the less edits you'll have to do later
on down the line.
So best to go ahead and make sure or you can just undo an event is not perfect.
So to each his own with that it's going to continue to work around this.
Like so let's clean up the back here I'll need to go all the way back.
There's geometry covering this section.
All right.
That should do us.
All right.
So let's go ahead and invert the mask.
I'm going to go ahead and Edge a loop mass border tighten things up a bit invert again.
And now I'm going to go ahead and set my extraction to a zero value and hit a strike.
And this will give me a one sided piece of mesh here.
All right.
So we're going to go ahead and do now zooming so I can see my edges clean things out with some polished
by features with the Open Circle.
You can go ahead and group that.
All right go ahead a few times there.
All right.
Now I'm going to go ahead and go down to geometry and then then navigate down to edge loops and where
and we have panel loops and just kind of click the feature you we got edit my thickness
and I think we will work with that.
All right.
Now polish a little bit because we have a couple age loops running around the edges here.
I'm just cleaning it up with some polish by features.
All right.
Now it's time to go ahead and edit this a bit more with our move brush.
Things are a bit more inflated than I want.
We want to kind of clean to the surface a bit more slick and a bit balloon ish.
All right.
So just get to doing a bit of tweaking as normal.
All right I got things to look at from this angle just continue to nudge.
All right.
So things are looking at a poly frame just mast off this piece up front here just so I can pull this
portion up on his nose back a bit.
All right.
I really wanted to capture that from the concept.
There was a plan that I'm just gonna edit this portion just to get it to look a little bit straighter.
All right.
Like so I'm going to come into this piece and get it to kind of line up with what the piece we're working
on it to look a little bit more parallel.
All right a clay mask.
Spell that out.
All right.
Come back to this original portion of the mask and just clean it up with some polish these things are
going on a little bit tighter.
No need to clean up the whole piece for it's hidden in okay.
And just looking around the mass sand what we can tweak just point back to the ridges to get a bit more
of a bevel and thickness around the edge here.
That's one of the powerful features of using panel loops because it gives you these these edge loops
running around your piece of geometry that you can tweak to get things to look very different.
All right.
Definitely explore that.
All right.
We'll continue to nudge and tweak things for a bit here just to get to this portion of the mask.
Looking just right pilot that overlap here towards the size here.
This piece should be underneath the one we're working on so push it underneath my move brush pull this
piece back
and nudge away.
All right.
And this is definitely the type of stuff you want to do when you're pretty sure about the piece you're
creating.
You know we're doing revisions is hard to say what's going to stay and not stay.
When you're in a production pipeline.
All right.
Moving on here.
Go ahead and use my insert mesh brush to add a cylinder.
And this is going to fall on what will be the gas mask looking apparatus on its face here.
And just duplicate that you can control click.
All right.
We're going to edit my transpose to be smaller.
All right.
Making sure our line that that point to the center of the cylinder
All right.
Here we go.
I'm just gonna hide these and plate from hidden onto their own sub too.
All right now let's play with the placement of this is very particular to the concept so let's continue
to move this around to the looks just about right.
All right.
A bit of a rotate here on the Y XY okay.
I am gonna scale it up a bit like so.
So a little bit bigger in our mask but I'm gonna keep those proportions.
All right.
It's a bit stylized
OK.
Now let's go ahead and add some battles here.
Let me go ahead and get Mozzie Moller brush grab Bevel and add some unique pebbles to each cylinder
here.
So now some support edge with insert just to hold the shape and make sure we get what we have here.
Once we start subdividing some and grab this inner portion and hold it out and dragging my mouse around
him and now with poly group select it I'm just going to use Q mesh selected and we're just gonna go
ahead turn to poly group all and create a bit of an inset.
They're going to mask all the poly group scale it in get a bit of a bevel towards the edges there
another insert and another one making sure to create a little edge loops would create an extra levels
in there.
All right.
Another Bevel in there.
What they do with the bevel transpose and now some support edges just to hold things together.
All right just go ahead and add a few more of those insert edge loops here like so far just about done
here click add a few more subdivisions just to see what we have.
All right.
And looking at it from the front here.
Looking good.
Go ahead and tweak are positioning a bit near you a bit of a rotate like so right.
And this continued to reference ah concept good.
Insert a cue from my answer Rush got rid of my subdivisions to do that though stretching out this cube
more rectangle and is going to intersect it with our geometry here for the count like the filters for
the gas mass all right Stretch in it.
All right.
And we're done with that.
So move on.
Just go here and isolate this piece.
We can go ahead and edit it with a bit of a mass some sun and go ahead and oriented in my screen.
Mask it off.
Blur it an X is gonna come along a bit.
All right.
Reveal the rest myself.
This portion and kind of go ahead and scale it down a bit.
Just try and get those proportions to match some lines from the concept slash reference all right.
Think we're just about happy with that piece.
All right now we're going go ahead and create the tubing.
It's gonna run from this mouth in the mass here and using my masking create a bit of a opening here.
I'm just going hit extract and tweak my values and get something that's not too extreme and go to zero
in the set and we can kind of work off that hope and circle published by features.
Okay.
And we're gonna go in pencil a bit this week our site and all right.
Like that so thick that I might want it to be open a little bit more.
Widen the hole a little bit.
So it's gonna go ahead and mask off this portion here.
All right Mike so I am gonna go ahead and grow my selection growing from there.
All right let's keep growing it.
Mask it off then give it a blur like so transposed to turn off symmetry center it and just scale out.
All right.
Go ahead and polished it up a little bit.
Not too much.
OK.
That looks good.
So divide.
And this tweak it from the profile view as well.
All right.
Smooth out a little bit with Polish making sure I like it before we start making this too here.
All right let's go ahead and grab our curved tubes and just go ahead and make sure we have the settings
we want and select the mass.
All right.
Let's turn out dynamic and we're just going to draw this out from here.
So make my breast size smaller to get the thickness I want and tweak and pull on the edges to get it
to tuck in to geometry and intersect the way I want it like so diverse 2018 has all actually we believe
like two to three new actually probably more than that features for the curve brushes which are really
nice.
I did initially try them out for this piece but I really didn't need them.
So definitely play with those or last egg and the twist features and the smoothing features for the
curve brush.
Now in 2018.
All right.
Now I'm just pointing as normal we do with the curve brush to get things into place and continue drawing
it make sure that little red band connects before we start drawing.
All right.
Continue to tweak shape.
I want to go over your shoulder which will hold in place with a strap later on and continue drawing
and to our end point here.
All right.
And I can't say for sure but I think even the default curve brush might have had some tweaks made to
it because it seems a bit easier to work with in my opinion but definitely definitely not the hardest
to work with.
Just takes a little patience all right smoothness and please change changing my breast size to move
the amount of John Travolta.
All right
OK let's look and continue to edit and I could stop now but I really think it's best to go ahead and
get as near perfect as possible while still in curve mode before you start using your move brush on
it.
So strap over your shoulder here we can go ahead and get that pretty squared away before committing.
All right.
Think like what we have here
almost perfect.
I was going to click to commit.
Get my move brush and start nudging a few things around here.
All right.
Pal.
Good.
Go ahead and move on from there at the split in two assignments up tool.
All right few subdivisions.
All right combat to the base hole here and just add a bit of in-flight.
And now I'm going to go ahead and tweak the edges here.
So I'm seeing what we have as far as geometry
and it's gonna go and polish it isolate grow my selection.
All right.
Like so assuming we have them the embers mask it off.
All right.
It a bit.
And now I'm just gonna go ahead and nudge and edit this particular portion here using these dismal 3D
to do that.
Go ahead and center it and just scale it in.
All right.
So one good thing to note is to really have your heart's content with editing your geometry some proficiency
with your transpose tool and Gizmo 3D is really necessary.
It is really critical to the way a lot of things can work and do work your modifiers definitely work
off the placement alignment of your gizmo 3D and your ability to work from the center of your objects
definitely is important for that as well as a transpose tool so definitely make sure you spend some
time playing in and even mastering the use of that.
All right.
So let's go ahead and just clean this up.
I'll just stretch it out around the two that we created just to make sure it fit in there airlines up
and that is still on his mat even though I have a curving off the edge a bit towards the bottom.
Just want to make it all look smooth and connected.
All right.
Trying to make it look like a manufactured piece and not you know something I I hacked together in 3D.
So
let's continue to tweet here.
All right.
Just about done with this.
We're about ready to move on from there.
All right.
Go out and grab my slice curl brush here and on the mask.
I'm just gonna slice the area off.
Mm hmm.
Let's undo that one.
And like that curve.
All right.
So much better.
And I'm just trying to kind of copy the curve of the uh the filter there and now I'm just gonna isolate
this portion of the slice and it was going to split the hidden putting in sub tool to close holes.
And that's given us a poly group on the edge.
I'm just gonna mask off transpose it transpose tool that is on the center and just pull it out and give
it a transpose Bevel treatment by scaling in our right and get my transpose lines kind of pull it in
and turn it like so all right.
And I going to orient and pull out a bit more and we'll get on a little bit.
All right.
When do you sign for this piece over here.
Can't really see you here because it's being covered by the other piece.
All right but we will see it.
I'm just gonna go ahead and move this piece back a bit to allow some room for this next Bevel we're
gonna create the same process.
Close holes mast of the CAP
control.
Middle circle click and pool scale it down.
All right.
I like the way it looks so I clear my mask and I'm gonna pull back a bit more but making sure they connect
and intersect just a little bit right.
That's looking good.
Let's go and move on to the mask portion here.
We're going to do a little bit more editing on this piece here.
It's gonna come in here and tweak the devil a bit.
Squeeze it a bit.
There we go.
Now we'll get a little bit more light on the edge.
Making it way more noticeable.
All right.
But that concludes this clip.
I'll see you in the next.