In this clip will continue with revisions of the arms and had no right to have them back into the hand
where we left off into his palm here.
It's going to go ahead.
And move out the details we laid out before go ahead and redo that little bit cleaner or the nicer amps
using the Polish D brush to smooth out those previous details.
The foundation of the hand re-established here
are right now.
My mass brush I'm just masking off the portion of the palm here like so and just filling in just like
that.
All right I'm trying to come in here.
We look from a few angles.
You.
Edit to this some pretty happy with it.
Go ahead and bury it and we're gonna go ahead and inflate it bit twenty one.
All right let's go ahead and scale it down a bit.
All right.
And I'm getting to edit this piece below.
The smooth and trim dynamic here just cleaning up some are looking better.
Just use my move brush to kind of skew things in a nice manner right.
Okay.
Just go ahead and draw in a seam here middle of your palm
and Just smooth it out.
All right.
Just get that shape going in there.
I'm just polishing the net
and will mess with the shape of the thumb over here near the palm.
Just use that move brush.
Get things looking just right.
All right tune Tina tuck in tweak turn us down the stairs shape and then we'll come back and fix some
of these things here.
Big place holder right there in the center of the palm.
Want to make sure you nail that.
I'm just gonna tuck these into the palm here.
These edges here right into our hand.
All right.
Keep on tucking away.
All right.
It's like a poly groups here and isolating the inside making sure I hide a mask off the other fingers
OK.
Look around and I'm going to master outside actually and just pull back for a bit of a bevel.
And it's one of the great things about the program is learning everything getting a different color
and you'll have that to use to make your collection of selections more beveled or hard surface like.
OK.
Same variant that can really use them to tweak your edges.
All right okay.
Let's continue to tweak and nudge and get where we're going here
right as art.
Thanks of panel loops given us these poly groups everywhere we want them for further adding like so
right now or some Polish D going around and leveling out so many surfaces again and look a little bit
more more smooth as if they might be made of metal.
All right
and I'm just making sure I get a good good grapple on this edge here before we move on a little bit
smooth here.
All right
all right Tina.
Know that.
Just tweak tweak away
just go ahead and move on to his arms here and go out and move these kind of muscle fibers here we get
drawn in before kind of a place holder and I'm just using a smooth brush and now some clay brush you
know I have a Alfa on in there from before just filling in the gaps here just a level of things a little
bit better goal goes not to totally eradicate them but to get it really smooth for the creation of the
next next set of tendons here muscle fibers.
All right Polish d come in there and do just that.
Even at the top here.
Just need it clean enough for those necks muscle fibers.
All right.
That should just about do it.
All right.
No way around.
All right.
Pretty happy with that.
OK.
So next ideas go ahead and start laying our foundation here for what we want these muscles a lot like
some internal my lazy mouse suit that looks like it's a little loose or something harder in age.
I'm going to pull my folks will show down to negative 100.
All right.
Pretty solid right.
So next I'm gonna go ahead and turn off my tablet pressure so we can keep one consistent line thickness
like so.
All right.
You got the right stroke we want here.
I must go here and start from the center of his palm.
Pull upwards to the top.
Those are on the side here like so.
And another one to love that.
All right let's try it one more time.
So we'll be more difficult with the curve surface and
I think that works.
So let's go ahead now and zoom in here do a little editing.
All right.
Still more target just in case.
All right.
Invert and blur my mask a bit.
And next I'm just going to go ahead and go back a little bit.
Turn lady mouse back off.
Forgot to widening the tops of this supposed to be a bit of a taper.
I forgot to add some scaling back and the thickness here tops.
All right
OK.
There was a little bit bigger at top.
Just get back to where we were before we necessarily inflate these blurred masking Skyway to inflate
to about a good 50 angle had a smooth like so come on that round this puffed up.
Now I'm using as Didi Kendall flatten a little bit go a little bit higher than I anticipated.
All right I'm just flat now a little bit polished D and then decide to kind of go to flatter look than
the original round looks we had before with the muscle tendons here muscle fibers OK that's what my
mom cut a brush on the examining and storing the more target and I'm just gonna outline the tension
and we just inflated like so all around size here just creating a bit of paneling a bit of separation
between the fibers and it gives us a much more pronounced look on top of the inflated areas here like
so.
OK let's try to keep in.
All right.
This is really coming along.
Let's go ahead and grab my morph brush and kind of clean up some of these areas prior to the prior to
the cut there.
All right.
Still another more target just in case you never know when you might want to go back easy fashion here.
So I'm just continuing to edit these fibers here to smooth out polished D that over the tops.
Now with the damn standard brushing and start to draw out and kind of plan the lines or boundaries of
where these new fibers are going to overlap a cross over in the previous ones here some kind of be a
little loose little rough what it has we find out the exact flow needed to establish this we're going
to have to check it from various angles here and now the clay build a brush just sculpting that in there
as I envision it just taking advantage of the concept of using muscles to kind of define arm but not
not at all either.
So the idea behind this kind of cutting you some Polish D
and just clean things up a bit here.
Like so I sort of mock a nice clean increase in air and then when I start to examine it from a few angles
and make sure it looks all right nothing's too weird.
All right mark a year and just pick an angle and get that going all the way down to the Palm.
Right.
Come in and carve and some extra fibers in here and just kind of figure out how the layout of these
fibers are going to work together.
I'm using the Polish to do that as well as a move brush kind of get what I want.
All right
and keep Cari
like so
cane down and to his palm as it would be.
And we just about got it.
I'm just going around in refining and touching up what we've already established here the Polish D and
ah damn standard brush trying to figure out where I want the fibers to go here.
All right.
Definitely kind of a tedious process at this point but since we're we're almost practically done with
starvation and design and the character this is where a lot of the NIT bit things come into play here
such as use of the mock aid to get a nice clean lie write an unbiased move moving usually things kind
of take about this amount of work to kind of get them on a solid appreciation level.
And usually I take things for a spin but this particular video I'm just kind of freehand in it.
All right.
So it's probably not the most optimized approach but it's more closer to the way I work naturally.
All right.
So just about happy with that side of the hand when I fixed these fibers that we went ahead and added
in here just pinching them close them up a bit and a little clay pots to close that gap but that gap
was a bit much demanding too much attention.
So I'm just gonna re carve it like so keep it thinner.
All right
it's all way back down and we established the overlap and layer of the fibers
and just go ahead and clean everything up like so
all right.
Oh back to the top.
Now decided go ahead and mask off edit the brush mask off the
Chris here in just go ahead and fill in this portion thanks so
just M.A.
and try to keep it clean around the edges here.
All right.
And that should just about do that area I'm trying to work with.
All right.
I want to go ahead and pull these fibers and tuck them into the overlapping lines we just created.
All right.
As well as do some editing.
OK.
So I'm going to go ahead and give a slight tug.
Kind of tuck them in there.
And I'm gonna go ahead and re stroke these.
Just to give the.
Look as if they came from under the other fibers.
All right.
That's kind of the goal here.
All right.
Okay.
So smoothing out a little bit
and some seams down at the Palm here right at the wrist area.
Okay.
And we're gonna go in the mast head off as well and perform the same thing on those those fibers tucked
underneath the palm.
All right.
So and just grab a nice sized large move brush and pull into the pot so you get a bit of a crevice there.
But we can fixed it.
All right.
Let's turn back.
Fix masking on our move brush and pull into the arm.
All right.
So leave it like that
right.
There's not much geometry there so let it stand to be redone.
Also we go out and down a mesh
right and a few details here around the hands and knuckles carve that out.
So and it's a good idea to have an idea of what type of features will be seen in your final draft or
your final pick or your or your final polls.
That kind of focus your attention on that if not just give that detail to every piece of your character
just in case.
But if you know how it's going to look at the end I was going to be pole angles a prominent definitely
save your time and focus on those parts
all right.
Continue to edit up top here
an elbow to find in that portion of the well
okay spell happy with that smooth brush Polish d All right.
Just round them up
and call that done in.
Go ahead and move on from here.
All right go ahead and pick up where we left off here into the palm here.
We're gonna use our insert mesh brush and go ahead and grab a cube place in the center like so.
All right then go ahead and bring up my gizmo 3D and switch it to a public you look better topology.
All right.
Then use one of our modifiers in the set to cover X. We're gonna go ahead oriented and squish it down
to a nice thin cube like so rectangles now and just placed on top.
Stretch it and recreate those fibers or tendons we have when we first started this clip.
Got put in place starting with the center of the pole.
This will be our first one here for which we will duplicate the other two.
I'm just viewing my angles and making sure I got it lay just right to push it in.
All right.
Okay so now go ahead and isolate it hide it and then go ahead and split.
Hidden to us on the sub tool.
All right.
Next we're going to go ahead and use Ozzy Moller to go ahead and tweak the geometry a bit before we
duplicate it a bit of devil always was a good idea.
Here some support edges like so somewhat top towards a bottom I say I want to touch.
Just in case.
All right get a few subdivide.
Okay.
Ah that's looking good.
Tweak the hand a bit more.
Everything is linked up.
I'm going to go here.
Team to line it up okay.
I'm going to go ahead and delete our cell division levels.
Control click and drag to duplicate.
Place one here to the right
doesn't line it up as best possible like we do the previous one.
All right.
Nice way to do that is to keep rotating around your model checking your angles and another onto the
left.
Repeat the same process all right.
Just about right.
And I'm just positioning in between the fingers as my goal here.
All right
and that looks just about good to me.
Was ready for the next stage of tweaking these guys all right
just about their side.
Go ahead and give that a bit of a slant.
All right go ahead and poly group so everything has a solid poly group now.
All right.
And given things a bit of a slant make you look a bit more a bit more is better looking.
So a straight undo that and just clear my mask.
All right Erica.
Think so and get it over rotate.
All right just about their
lot of tweaking from here on now.
So you think that's good.
Let's go ahead and tweak it a bit more by hand and grab a move brush isolate each part like the middle
one and I'm going to curve it using my move brush and tentacle form into the hand just a little bit
more and took off the ends like so
towards the edge.
All right.
Well I'm sticking out like they are now and just tuck them into the hair right around the tip here.
Thanks so much.
Pressing Ault and dragging my move brush to to push it into the hand like so are saying for this one
right now I'm pulling it for it just to keep it straight and pull it towards the edge
All right go ahead and a little subdivision
right.
She knows this over.
All right girls go to the hand and tweak a little bit of the hand just to get it to line up with these
tendons here is kind of cyber fibers like that better cyber fibers.
All right.
It's about happy with that.
And we could you could go ahead and detailed this like nobody's business but pretty happy with that.
Let's rotate around a hands what we have.
OK.
I'm just gonna go ahead and carve in a seam right between the fingers like so using the mocha a brush.
I'm bringing it all the way to the other side.
The hand.
Internally at the other detail there are a little bit of action here but that just about concludes this
clip.
I will see you and Alex.