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+  "text": " Before getting started on some of the high poly techniques, I also just wanted to give a shout out to a couple of really great artists that have helped me with some of the tutorials and learnings here. The first artist is Alex. I think his name is Alex Senichal. I don't know if I'm butchering his second name there, but he's got some really great work. his art station and he has an amazing tutorial which is visual design basics. So definitely worth checking this tutorial out. I would highly recommend it. It's a really great tutorial for high-poly design work. And then the other artist is Ben Bolton. Again, really like his work. He's got a YouTube channel with a bunch of modeling and different things there as well. And then in his blogs he gives some advice about modeling, designing, different products and and things like that. So I definitely would recommend reading through some of these. They're really helpful. One of the ones I wanted to just point out, which I found personally very helpful for high poly detailing is he has a workflow for how to add detail and it focuses on going from larger shapes down to more of the tertiary style details and smaller details. And so this is a great blog. It's definitely worth reading. But one of the things that I found really helpful about this was how he breaks down. He's always looking at the silhouette from different angles when he first starts things out, tries to break it up and make it interesting. And then he's breaking things into parts like breaking stuff into individual chunks, working on the different surfaces and the details and tweaking the edges and everything, and then adding smaller details such as screws and bolts and rivets and that type of stuff. So that's the process and it's a similar process to what I followed when I was working on my own high poly stuff, trying to keep the shape simple to begin with and then adding detail over time. So I thought that was just worth calling out. Again, shout out to both of those artists because they're really helpful in terms of the tutorials and learning there for sure. Okay, so now we've got some of the adjustments made to our blockout and the tweaks that we would make at this stage. I wanted to show the main part of the assignment that we're gonna be working on for this particular session. So we're going to be working on the high poly or more detailed mesh for our leg And this is what the end result actually looks like this is the different portions of the leg So this is how it would look assembled as a final leg without any I'm not rotated any of the elements and everything but you can see these are parented to each other In the same way they were before so we can just make adjustments and see how the leg is working and how it's rotating and everything And this is enough in our actual in the final result here I actually have this set up in the same way so these are individual collections with the leg pieces Contained within them. So this is the femur. We have our tibia section here, and then we have our foot So we'll probably work on the foot portion first But I want to also show some of the techniques I actually used when I was modeling this stuff So we're going to break those down first and then we'll actually be working towards our final meshes here So now I'm going to talk about some of the techniques I use to actually approach the modeling for this particular prop and So I'm going to split this into two categories One is going to be the techniques I actually use when I'm modeling the shapes and tweaking the design and everything and then the other Another technique is how do I approach designing shapes I'm not sure about. So if I'm struggling with a particular shape, what types of techniques do I use to actually figure out my design or figure out my shape? So we'll start with the modeling to begin with, the techniques for actually modeling, and we're going to use this example of the foot here and how we actually take this block out into more detailed areas. And then we'll probably show some actual progress of this as well. Yeah, so we'll start off with this and then we'll move on to the actual design. How do we design shapes as well? So the first technique we're going to show is a bit of an extension on our box modeling and sub diff workflow that we showed When we blocked out the assets so For this it's essentially just detailing up the asset more so you can see here that we started with real kind of basic Primitive shapes so if I wanted to start detailing this up, I would start to add more loop cuts to this you know subdivide it a little bit more maybe adding some bevels into here to sort of smooth out the shapes and tweaking the geometry until I get Roughly the shapes that I can see here So that's the sort of first technique that I would use to sort of start to detail things and then I also would use that in combination with Bevel modifiers and subdivision workflow So in this case, you know, I can add the subdivision to create the nice smooth shapes that I want and then I can tweak My crease sets to get and the form so if I want to round this out a little bit more I'm going to be using Reducing the crease sets and you can see that we can start to get this shape and this form that we see in here So just tweaking the creases so that would be the first Technique is going with a sub div workflow So for this particular shape that you can see in here, that's the approach that I would follow and then in here The next technique I would use is the same the same process except I'm gonna rely less on the subdivision Workflow and more on a bevel workflow. So here. I'm just adding a bevel modifier to the shape and most of the time I want to smooth this particular bevel based on the bevel itself So we have this kind of result something along the lines of this and then we can tweak our shape So here I can you know sham throughout some of these Let's just sort of tweak the edges a little bit here So you can see as the end as it comes towards the end here It's going to struggle with the shape of the bevel So we're just gonna Thicken this out a little bit here and you can see that we can create that nice result So I'm just coming in and tweaking this So you can get the sizing and everything right So if the bevels are too large they're effectively overshoot like this so you can just kind of tweak the size of it to clean it up and fix it there so this would be how I would approach that you can see in this example I actually have quite a small bevel and then I actually sham for this edge so we could do something similar we come into this guy we'll just sham for this out to create that nice smooth result and then now that we have added the bevel back in we need to tweak the size of our bevel a little bit here we're We're just going to punch those numbers in. So this would be another technique that I would commonly use is actually just hand modeling stuff with the Bevel modifier. You can also start to add subdivision over the top of this to smooth it out even further. So you can see that we can get that result just by adding a sub div on top. So those are two of the more common techniques that I would use when it comes to approaching more of a box modeling and with the Bevel modifier or just using subdivision increases. Okay, so the next technique I wanted to show here is Boolean workflow. So we've got our shape. So you can see that in the actual design that I created, I have separate sections where I'm actually detailing different parts with different materials. We're separating them out, but it's keeping the shape. And the way that I approach that is using Booleans. So there's a couple of different ways to approach Booleans. You can simply start by just adding in meshes. So if we come in and just add in a cube in here, we can use this to basically cut away our geometry. So there's a couple of ways to do that. You can either do that through hard ops itself and just do a difference boolean. You'll see that it will cut away the shapes or you can also use shortcuts. So if I press control plus, this is gonna do a union style boolean. Control minus will do a difference and then control slash will do a slash boolean. So that's one way to approach it. And then once you've done this, if we just set this up and do a slash Boolean, you'll see that this has effectively separated these into different chunks controlled by the Boolean. I can then take this Boolean here and add geometry to this. So we can start cutting into this and modeling into this. And you'll see that we have that section that's sort of similar to what we have here. So just by manipulating the shapes here and deforming everything, we can get a nice transition. One thing you might also want to do with this is the good thing about working in this way with hard ops is that it will sort it into this cutters collection so you can easily hide and unhide things. And if you wanna recall the cutter, you can just recall it this way. So that's pretty handy. I like to work in that particular way. And then I'll also, in this case, where the shapes are the same, I would instance one from the other, so we'll just link the data together. So what we can now do is as we manipulate our shape, you can see that it's adjusting for both of these at the same time. But I might wanna change the material of this one. And to do that, I would come over to this little drop down here where it says link, and I would set that to object, which now allows me to override the material, but still keeping this as an instance. So that's a pretty handy tip when you're starting to detail up different sections. So definitely advise working in that way. Another way to do the Boolean approach and we'll just duplicate this guy off so we can show this, is to use box cutter. So we just press alt W to switch to box cutter here and then we can just come in with a cutter and actually cut in the shape. So this is actually doing a line box. So let me switch this over to, from the line box to a regular box here. So just click this guy here. And then now I can just basically cut out my Boolean shape. If I'm doing that from an orthographic view, it's gonna cut all the way through. Or I can also just cut in 3D as well. So we can just draw out our box and use that to slice away the shapes. And then again, this will work in the same way. So we can just recall our cutters and start using that manipulating those. So this is the basics of the Boolean workflow. And then once I've got this all set up, then I can start to edit and manipulate my booleans here. Sometimes I'll also just run a smooth on this as well so it keeps a nice smoothing groups and everything as well. The final technique I wanted to showcase here for modeling approach is once we've approached things with a boolean style workflow, you can see if we jump over to this example that we have nice smoothing and edges bevels between these shapes. And so one of the ways that I can approach that is to remesh using the techniques that we covered in the blockout portion. So in this case, I'd actually use the remesh or quadrimesh to do that. And there's a couple of ways you can approach this. So if you want it to stay symmetrical, you can use the symmetry that you have here. And then we also have these controls which we didn't cover in the blockout portion. But essentially what this will do is it will remesh the object based off of things the hard edges based on an angle it can also do it based on normals or materials as well. So if you had cut things out with different materials in there you can use that to control the topology. So what I would do in this case is usually from an organization perspective is I would move things that are temporary geometry into just a reference folder. So if I just do that here and then I run the remesh on this, we should get a new meshed version of our topology here which is going to hide the previous one and we can just use this to basically test our results. So this is what it's looking like when I don't select any of those objects, you can see what it's doing with the topology there, it's not particularly clean on some of the edges. So if we jump back over to this previous example that we were just looking at here and we run this again but we're going to turn on the normal splitting or maybe the hard edge splitting as well and then now this will run that with a much cleaner result on those edges. You can see the result that that's giving us and then if we were to just add a smooth a subdivision to this this is going to smooth out the geometry there. It will also add hard edges and things into this as it creates them so you can just clear the sharp edges on that and you'll get a nice smooth result on this so that can be pretty good. With Quadrimecia for this particular workflow you usually need to have a lot of topology otherwise you won't get particularly smooth results. So just to sort of demonstrate that we can turn down some of the subdivision on this one and run the remesh. What you'll notice is that as we try to smooth this it's not always going to give particularly nice smooth results with that workflow so you can see some issues here with the smoothing as well so if we delete that and just come back to our previous result we're just on hide the cube that we had there so now if we were to increase our divisions on our objects and keep this nice and smooth when we run our retopo over the top we're going to get a really smooth result so that's going to give us nice smoothing on all of these areas so that's just a couple of little tips when it comes to this particular type of workflow so usually I just like to keep myself nice and organized and I'll work in this way where I have the geometry that I've run the quadrimesh it on and then I'll have my reference geo hidden so far what's good about this workflow is this is quite a nice way just to preview how the high poly is going to look or the final mesh will look and then when I come to doing our low poly geo or lower density geometry for the final mesh then I can actually come back to these and tidy these up manually and actually weld up the geometry and make a nicer topology there. So that will be covered obviously once we get more into remeshing and making our low poly nanite geo for game mesh but in this case this is a nice way just to preview the result and see how these different things are interacting there. So yeah, hopefully that showcases that technique.",
+  "segments": [
+    {
+      "text": " Before getting started on some of the high poly techniques, I also just wanted to give a shout out to a couple of really great artists that have helped me with some of the tutorials and learnings here. The first artist is Alex. I think his name is Alex Senichal. I don't know if I'm butchering his second name there, but he's got some really great work. his art station and he has an amazing tutorial which is visual design basics. So definitely worth checking this tutorial out. I would highly recommend it. It's a really great tutorial for high-poly design work. And then the other artist is Ben Bolton. Again, really like his work. He's got a YouTube channel with a bunch of modeling and different things there as well. And then in his blogs he gives some advice about modeling, designing, different products and and things like that. So I definitely would recommend reading through some of these. They're really helpful. One of the ones I wanted to just point out, which I found personally very helpful for high poly detailing is he has a workflow for how to add detail and it focuses on going from larger shapes down to more of the tertiary style details and smaller details. And so this is a great blog. It's definitely worth reading. But one of the things that I found really helpful about this was how he breaks down. He's always looking at the silhouette from different angles when he first starts things out, tries to break it up and make it interesting. And then he's breaking things into parts like breaking stuff into individual chunks, working on the different surfaces and the details and tweaking the edges and everything, and then adding smaller details such as screws and bolts and rivets and that type of stuff. So that's the process and it's a similar process to what I followed when I was working on my own high poly stuff, trying to keep the shape simple to begin with and then adding detail over time. So I thought that was just worth calling out. Again, shout out to both of those artists because they're really helpful in terms of the tutorials and learning there for sure. Okay, so now we've got some of the adjustments made to our blockout and the tweaks that we would make at this stage. I wanted to show the main part of the assignment that we're gonna be working on for this particular session. So we're going to be working on the high poly or more detailed mesh for our leg And this is what the end result actually looks like this is the different portions of the leg So this is how it would look assembled as a final leg without any I'm not rotated any of the elements and everything but you can see these are parented to each other In the same way they were before so we can just make adjustments and see how the leg is working and how it's rotating and everything And this is enough in our actual in the final result here I actually have this set up in the same way so these are individual collections with the leg pieces Contained within them. So this is the femur. We have our tibia section here, and then we have our foot So we'll probably work on the foot portion first But I want to also show some of the techniques I actually used when I was modeling this stuff So we're going to break those down first and then we'll actually be working towards our final meshes here So now I'm going to talk about some of the techniques I use to actually approach the modeling for this particular prop and So I'm going to split this into two categories One is going to be the techniques I actually use when I'm modeling the shapes and tweaking the design and everything and then the other Another technique is how do I approach designing shapes I'm not sure about. So if I'm struggling with a particular shape, what types of techniques do I use to actually figure out my design or figure out my shape? So we'll start with the modeling to begin with, the techniques for actually modeling, and we're going to use this example of the foot here and how we actually take this block out into more detailed areas. And then we'll probably show some actual progress of this as well. Yeah, so we'll start off with this and then we'll move on to the actual design. How do we design shapes as well? So the first technique we're going to show is a bit of an extension on our box modeling and sub diff workflow that we showed When we blocked out the assets so For this it's essentially just detailing up the asset more so you can see here that we started with real kind of basic Primitive shapes so if I wanted to start detailing this up, I would start to add more loop cuts to this you know subdivide it a little bit more maybe adding some bevels into here to sort of smooth out the shapes and tweaking the geometry until I get Roughly the shapes that I can see here So that's the sort of first technique that I would use to sort of start to detail things and then I also would use that in combination with Bevel modifiers and subdivision workflow So in this case, you know, I can add the subdivision to create the nice smooth shapes that I want and then I can tweak My crease sets to get and the form so if I want to round this out a little bit more I'm going to be using Reducing the crease sets and you can see that we can start to get this shape and this form that we see in here So just tweaking the creases so that would be the first Technique is going with a sub div workflow So for this particular shape that you can see in here, that's the approach that I would follow and then in here The next technique I would use is the same the same process except I'm gonna rely less on the subdivision Workflow and more on a bevel workflow. So here. I'm just adding a bevel modifier to the shape and most of the time I want to smooth this particular bevel based on the bevel itself So we have this kind of result something along the lines of this and then we can tweak our shape So here I can you know sham throughout some of these Let's just sort of tweak the edges a little bit here So you can see as the end as it comes towards the end here It's going to struggle with the shape of the bevel So we're just gonna Thicken this out a little bit here and you can see that we can create that nice result So I'm just coming in and tweaking this So you can get the sizing and everything right So if the bevels are too large they're effectively overshoot like this so you can just kind of tweak the size of it to clean it up and fix it there so this would be how I would approach that you can see in this example I actually have quite a small bevel and then I actually sham for this edge so we could do something similar we come into this guy we'll just sham for this out to create that nice smooth result and then now that we have added the bevel back in we need to tweak the size of our bevel a little bit here we're We're just going to punch those numbers in. So this would be another technique that I would commonly use is actually just hand modeling stuff with the Bevel modifier. You can also start to add subdivision over the top of this to smooth it out even further. So you can see that we can get that result just by adding a sub div on top. So those are two of the more common techniques that I would use when it comes to approaching more of a box modeling and with the Bevel modifier or just using subdivision increases. Okay, so the next technique I wanted to show here is Boolean workflow. So we've got our shape. So you can see that in the actual design that I created, I have separate sections where I'm actually detailing different parts with different materials. We're separating them out, but it's keeping the shape. And the way that I approach that is using Booleans. So there's a couple of different ways to approach Booleans. You can simply start by just adding in meshes. So if we come in and just add in a cube in here, we can use this to basically cut away our geometry. So there's a couple of ways to do that. You can either do that through hard ops itself and just do a difference boolean. You'll see that it will cut away the shapes or you can also use shortcuts. So if I press control plus, this is gonna do a union style boolean. Control minus will do a difference and then control slash will do a slash boolean. So that's one way to approach it. And then once you've done this, if we just set this up and do a slash Boolean, you'll see that this has effectively separated these into different chunks controlled by the Boolean. I can then take this Boolean here and add geometry to this. So we can start cutting into this and modeling into this. And you'll see that we have that section that's sort of similar to what we have here. So just by manipulating the shapes here and deforming everything, we can get a nice transition. One thing you might also want to do with this is the good thing about working in this way with hard ops is that it will sort it into this cutters collection so you can easily hide and unhide things. And if you wanna recall the cutter, you can just recall it this way. So that's pretty handy. I like to work in that particular way. And then I'll also, in this case, where the shapes are the same, I would instance one from the other, so we'll just link the data together. So what we can now do is as we manipulate our shape, you can see that it's adjusting for both of these at the same time. But I might wanna change the material of this one. And to do that, I would come over to this little drop down here where it says link, and I would set that to object, which now allows me to override the material, but still keeping this as an instance. So that's a pretty handy tip when you're starting to detail up different sections. So definitely advise working in that way. Another way to do the Boolean approach and we'll just duplicate this guy off so we can show this, is to use box cutter. So we just press alt W to switch to box cutter here and then we can just come in with a cutter and actually cut in the shape. So this is actually doing a line box. So let me switch this over to, from the line box to a regular box here. So just click this guy here. And then now I can just basically cut out my Boolean shape. If I'm doing that from an orthographic view, it's gonna cut all the way through. Or I can also just cut in 3D as well. So we can just draw out our box and use that to slice away the shapes. And then again, this will work in the same way. So we can just recall our cutters and start using that manipulating those. So this is the basics of the Boolean workflow. And then once I've got this all set up, then I can start to edit and manipulate my booleans here. Sometimes I'll also just run a smooth on this as well so it keeps a nice smoothing groups and everything as well. The final technique I wanted to showcase here for modeling approach is once we've approached things with a boolean style workflow, you can see if we jump over to this example that we have nice smoothing and edges bevels between these shapes. And so one of the ways that I can approach that is to remesh using the techniques that we covered in the blockout portion. So in this case, I'd actually use the remesh or quadrimesh to do that. And there's a couple of ways you can approach this. So if you want it to stay symmetrical, you can use the symmetry that you have here. And then we also have these controls which we didn't cover in the blockout portion. But essentially what this will do is it will remesh the object based off of things the hard edges based on an angle it can also do it based on normals or materials as well. So if you had cut things out with different materials in there you can use that to control the topology. So what I would do in this case is usually from an organization perspective is I would move things that are temporary geometry into just a reference folder. So if I just do that here and then I run the remesh on this, we should get a new meshed version of our topology here which is going to hide the previous one and we can just use this to basically test our results. So this is what it's looking like when I don't select any of those objects, you can see what it's doing with the topology there, it's not particularly clean on some of the edges. So if we jump back over to this previous example that we were just looking at here and we run this again but we're going to turn on the normal splitting or maybe the hard edge splitting as well and then now this will run that with a much cleaner result on those edges. You can see the result that that's giving us and then if we were to just add a smooth a subdivision to this this is going to smooth out the geometry there. It will also add hard edges and things into this as it creates them so you can just clear the sharp edges on that and you'll get a nice smooth result on this so that can be pretty good. With Quadrimecia for this particular workflow you usually need to have a lot of topology otherwise you won't get particularly smooth results. So just to sort of demonstrate that we can turn down some of the subdivision on this one and run the remesh. What you'll notice is that as we try to smooth this it's not always going to give particularly nice smooth results with that workflow so you can see some issues here with the smoothing as well so if we delete that and just come back to our previous result we're just on hide the cube that we had there so now if we were to increase our divisions on our objects and keep this nice and smooth when we run our retopo over the top we're going to get a really smooth result so that's going to give us nice smoothing on all of these areas so that's just a couple of little tips when it comes to this particular type of workflow so usually I just like to keep myself nice and organized and I'll work in this way where I have the geometry that I've run the quadrimesh it on and then I'll have my reference geo hidden so far what's good about this workflow is this is quite a nice way just to preview how the high poly is going to look or the final mesh will look and then when I come to doing our low poly geo or lower density geometry for the final mesh then I can actually come back to these and tidy these up manually and actually weld up the geometry and make a nicer topology there. So that will be covered obviously once we get more into remeshing and making our low poly nanite geo for game mesh but in this case this is a nice way just to preview the result and see how these different things are interacting there. So yeah, hopefully that showcases that technique."
+    }
+  ]
+}