Add transcription for: frames_zips/CGMA_IntroAssetCreationGames_DownloadPirate.com_Week 4 - 4 DetailingtheHead_frames.zip

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+  "text": " Okay, so now we've modeled out our mesh to a little bit more of a final state and we've covered some of the techniques that I'm going to use to detail this up. I want to just take a portion of the head and start detailing this. So the bit I'm going to work on I think is the this main section here where we have the different shapes because it's probably the most complicated bit and a lot of the underside and other pieces are just repeats of the same kind of techniques and things. So we're going to focus on kind of detailing this up more. So I want to start just by showing, in one of the other videos, I also talked about this idea, which is that I wasn't a hundred percent sure about how I wanted this to actually look. And so the design of the head, I kind of roughed this out by just basically sculpting it. So I just wanted to start by touching on that in terms of understanding how I wanted to divide this up. You can kind of see that it sort of matches what the final result is here. So we just move this over You can see that I wanted the ears to feel like they were separate kind of pieces separate sections Maybe this robot could almost have different attachments you could plug into the head and this could be like more radar based or Whatever it is in in these parts. So I wanted those to feel like they could be separated out and then I tried to give this more of a areas of rest like places where it wasn't so detailed. So some of these panels are a little bit flatter and smoother with not a great deal of detail in these places. And then I try to picture frame the detail more around the edges. So I give this kind of more central focus which will kind of draw attention to the middle of the head and the horn and all that kind of detail. And I tried to cluster most of the detail in this particular example. try to focus all the detail kind of coming in and around his head so the main kind of focus is here and then all of the flow of everything kind of brings you back into the head even the tendrils do the same kind of thing right so the focus is very much in this particular portion that was kind of what I was trying to get across when I was looking at this so I wanted to keep these kind of areas pretty free of detail keep this as clean as possible and then focus everything there so that was the kind of aim when I was thinking visually about how I was going to work with this type of stuff so the sketch that I did here is is sort of trying to figure out how can I separate out the pieces what kind of details can I bring in there I was originally thinking about maybe having a vent in on the side of the face but decided to keep that pretty clean and and then also just where the panel lines and how it could be kind of cut up into sections and segments there and how we could work with that type of detail. So that was the idea behind the sculpt and how we got into that sort of place. So as far as detailing this up is concerned, getting the base mesh working correct is probably the most important part of this because everything you do after that is going to be more destructive over the top of your base. So you want to make sure that this is smoothing pretty nicely has a lot of the base forms that you want in there So I had this kind of nice Lip that goes around here. So I just did that using the crease sets or the smoothing here just to give us a nice smooth result So when it gets subdivision applied, you can see That it sort of smooths out those sections really nicely So that's the base kind of thing. I want to make sure is corrected whenever I'm working with any piece That's kind of the same scenario So, you know, I want to make sure that things are smoothing as best as they can and In these kind of scenarios where we have this kind of shape We can always add in our subdivision to begin with and then as we start to cut into these shapes It's going to retain the nice smooth result that we have So that's what we're trying to trying to work with in terms of the shape here So I'm gonna hide some of the other areas here We'll hide the eyes and the horns and the tendrils and just work purely on this kind of section So as far as this is concerned, it's really straightforward. All I start to do is like with most of the other workflows In this particular one when I'm doing something organic like this I like to try to just use the Boolean workflow to kind of subdivide this up and everything So that's sort of my my plan with that top head shape is just to cut into it using Boolean shapes and separate it So I usually start just by I don't like to necessarily use box cutter because sometimes I would find That that with complex meshes that was a little bit harder to use or a bit more It would tend to lead to crashes depending on how complicated things are so I like to kind of cut things up by Basically making a geometry Before I cut it. So that's something that just as a personal preference as well I just tend to find is like a better way to work you can essentially just you know start creating your geometry Getting the shapes that you want in there and then once you're done with that then you can start to kind of cut them in So in this case you can see that I'm doing that. I'm just adding divisions in here And then we're just gonna scale these up depending on different objects there We can scale them and then we can use this to kind of cut into the shape So for this I want to leave the pieces behind here. So I'm gonna use a slash boolean there, which is basically just gonna cut this into a new section. And then I can just start by assigning this in the same way I did with the legs before. So we're working on large shapes first. We just want to start kind of segmenting this up into different pieces. So I like this kind of idea of there being a big strip down the middle, as I mentioned, draws focus down into the face and into the horn. And then we wanna cut up the other pieces, so where we have the ear and everything there, so I'm gonna do that by adding in, let me just remove the cutters for now. And I'm just gonna add a mesh in here, we'll add the cylinder in and we'll scale this guy down. And then I'm just gonna position this using the face and align rotation, so we can just sort of roughly get that aligned. And then once we've done that, we can fine tune this as well, but just trying to get that in there. And I wanna smooth this as well, and then I'm gonna do the same thing. We're gonna slash this. So that isn't quite the rotation and orientation I want. So we're just gonna sort of move that into roughly aligned, and then kind of relocate that a little bit. So I'm not too worried about, you know, we can see here that we have some smoothing issues. I'll just go to shade auto smooth and set that to a 30 degree smooth. and you'll see that that will fix up those issues. And then if I want to preview how this is gonna look with bevels, then I can come in with my workflow from before using the quad remesher and we'll set this up here. We'll turn off the symmetry as well. And you can work with symmetry enabled, but it's up to you if you wanna go that route or you just wanna do one of them and then resymmetrize it later. So we can run our remesh and you can see that this creates us a nice geometry which we can then smooth out. So that gives us a really good idea of how that panel line is gonna look. We could do the same with this piece. So we run our remesh and sometimes this will take a little bit longer if the geometry is a bit more dense and then we can run a smooth. So you can kind of see how that looks. In this scenario, you can definitely see that it's looking pretty almost like a little bit soft at the moment. So in that scenario, I would probably want to go back and add more geometry to my remeshed version there, but we're going to cut more into this anyway. So we don't need to worry too much about that. So that's all good. So next up, I want to try and cut this. I've got this side panel that I added in to add a little bit extra detail there on the edges. So again, you can do the same thing. We'll just add the cube in here and I'm going to start to divide this up. And this original piece is going to start to have quite a lot of modifiers as we get through into that. So I'll just kind of unhide the piece that we have here. You'll see that we start to stack up a lot of different Boolean shapes. And that's okay. Like it's not a problem. Blender will usually handle that really well. So you can just work with lots of Booleans and adjust. When you're going around corners like this, this can be a little bit of a challenge because you can see that we need to sort of like flow this around. So you just have to try to add divisions in there and sort of model out the shapes, which is why I tend to find working in this way by modeling out the shapes that you want to cut in first to just be a little bit easier to manage. And then you can always adjust those afterwards. So just get the basics in there and then just just do your boolean and then you can sort of see how this is kind of coming together. I want it to be pretty thin, I don't want it to touch the ear in that place there so we can just move back these pieces a little bit and then if you need to smooth stuff out you can always add a bevel but you can see that because this is pretty dense it gets a little bit more harder to work with so you can work just with the subdivision disabled as well that's like another good way to work just while you're kind of blocking stuff out and figuring out the designs and the shapes so then we can sort of adjust without it being too bad on performance and things there. So you can kind of see how we're just starting to do that then we can turn back on our subdivision and actually see the shapes and everything. You've also in Blender got a way to disable subdivision entirely by jumping over into the options here so if we come over into here I always forget whereabouts it lives. It's in one of these options So I'll just try and find it. So yeah, so it's under the render properties We've got the simplify option. So if we enable simplify and then wait for this to kind of kick in Once that's kicked in there, we can drop our max subdivisions down So if we put that to zero, this is now going to turn subdivision off on all the objects So as we increase that you'll see that it will enable the subdivision now Up to a certain level so we can enable it say up to two subdivisions there There's just a quick way to work if you've got lots of subdivision modifiers in the scene that can be pretty handy, right? Okay, so now I want to start kind of cutting into some of these shapes a little bit more and you can see that The on some of these basic simple shapes I also add kind of connection ideas like so it can just be little tabs and panels It can also be screw bolt holes and things like that Smaller little screws those kind of details. That's more of our Getting into the detailing past and tertiary past But we want to start by just adding in some kind of secondary breakup and things here. So I have this really basic Shape and look to things but I want to sort of break that up a little bit more And I want to try and once you got the the bevels and things in there You can also adjust these later as well because these are still all live Booleans as well. So that's one thing that can be really handy with this type of stuff So here we can start kind of coming in we can add in let's add in another cube I want to add in some larger more secondary details to these forms, which is pretty good So we can start breaking up this central section a bit more. So we'll come into here and I'm just going to do a difference boolean here so we'll kind of remove that. You can see straight away that we have a bit of an issue here with the way that it's creating sort of like a hole in the design and everything. I'm going to sort of start to move some of these areas around so we can kind of do something a bit more like this. So let's have a look at this piece and figure out why that's creating a hole. It's likely because we've done this in the wrong order. So what you can see here is we're boolean shapes with the mirror. So sometimes the sorting of this will organize things incorrectly. So if you're using the hard ops workflow, you can see that it sorts, say mirrors before boolean. So what I tend to do is just turn that off so then it won't do that. So you can just control what's happening there. So that's creating like more of this cut. I'm probably gonna come back to this, recall the cutter and I want to just sort of adjust the scale of this as well. So we get like a little bit more of an interesting shape. Can sort of start to something like that, which is pretty good. And then I can adjust, what's nice is I can now adjust some of the other things here. So like this particular shape, we can just pull this in a little bit here to create that design. do this, something more like that which is looking pretty good. This doesn't look like it's mirroring particularly well so I'm going to just adjust my mirror on this in fact let's try and get that sort of looking pretty good and then we want to mirror along the mirror axis so let's do that and I think I'll adjust this mirror to do the same as well so we can get okay and then I think Let's have a look. Okay. And I might do this one kind of after the mirror. I think something like that's looking pretty good. Okay. So now we've kind of got that basic shape sort of plugged in there, which I think is working quite nicely. And then what we're trying to do is just get the base kind of option there. And then we can start to cut in some of these other areas. Right. So you can see here that we have these nice like Secondary panels that kind of come down the side similar to what we did here So then we can just basically sort of mirror this guy as well and then what I'll do is I'll probably Duplicate this cutter and just pull him out and then we can use that to basically do another cut along here so now these are broken into these new separate pieces and For this one, I want to do some adjustments to it So we're going to actually kind of grow our selection here, and then I'm just going to fill This guy and we'll move him Back a little bit. So essentially what we have now is a panel that kind of runs down the side using this new cutter So we're just dividing this up into different kind of shapes and forms For the more silver type result. We can do this exact same thing. So we'll kind of cut out we're going to add in another cube in here and we're just going to slice this up. So we're just working with the cutters and trying to divide up our shapes and create interesting designs and everything here. So let's do that. So yeah, I'm I'm focusing on trying to add detail based on the location. So I'm trying to divide this guy up into sort of picture frame detail. So we have detail kind of around the edges and keep some of these areas pretty flat. And I'm basing that obviously on my original sculpt that I had as well, like where I'm cutting those things up. And then as I've segmented things, and then looking for opportunity to do the same, but as a secondary detail. So basically something that's a bit smaller and try to reinforce the shape language that we have. So in this case, you can see what I did was I have this kind of chamfered sort of shape that comes up. It almost looks like a key or something like that. It's like the shape of a key. And you can see that it kind of flows up and then we're trying to reinforce those shapes by putting more panels kind of into that, into those areas basically. that's kind of what we're currently doing. So the same kind of idea here, we've cut this up and then we can create another one, which we're gonna add in here into the center. So we'll just sort of scale this. Let's do that here, scale it on the X axis and then we'll just slash that as well. So yeah, we can kind of start to see how this is coming together. And then we can always, for some of these as well, you probably will get away with just adding, depends on the topology and things like that, but you can start to add bevels just to sort of see how these different pieces are coming together. And if you get some issues like this, then you can always experiment with adding inner weld modifier in between the bevels as well. So if we were to do that for here, see if we can fix some of this topology so that it actually smooths out a bit nicer, right? So you can see that just by adding a weld that can fix some of those smoothing issues as well. We're not getting great situations kind of down the side here as well, but by adjusting the numbers, you can usually get a pretty good result with that kind of stuff. So that's like a quick way just to preview things as well. We could obviously manually clean up the topology kind of later on, but while we're just working along these kind of lines, this can be a pretty nice way to go. So yeah, so we're just sort of adjusting the sizes and the shapes and we're gonna be adjusting the these guys as well. Let's just reset the scale on that one there. So I'm just trying to find opportunity to basically cut interesting shapes and things in there, right? Let's look for the world modifier and then we can also copy our bareful as well. So this isn't perfect like on the smoothing and things like that. And you know, when we've got pieces like this, the other thing that we can also do if we want to quickly preview is the same technique that I showed before where we just, we take a section and we chuck it into a reference folder there. And so we keep that as our backup. And then once we have that reference mesh, we can just run our quadrumeche on that particular geometry and then just run a smooth. And you'll see that that gives us a pretty decent result without any of the smoothing issues. So again, we could do the same thing here. Make sure that you want to make sure that this is smoothing correctly in this form before you run the quadrumeche. Once you run the quadrumeche, it will take that geometry as its kind of basis, right? So that's the important thing you wanna do. We want to make sure that you increase the geometry if you've got something that's quite complex like this. You can also make sure that we have our symmetry enabled. And then once we run the smooth, you'll see that we get a pretty decent result there. When we've unhid something or we can always move that back into our reference. So yeah, some of these guys, we're just gonna got this one here. Let's move that out of the reference folder. So just try to keep yourself as much as you can. tried to keep yourself organized while you're working with this sort of stuff, but you can see how we can just quickly get the results that we're after. I'm not worried at the moment about perfect smoothing on edges and things like that. I'm just trying to flesh out the design really and figure these kind of things out, right? So same with this guy, we can just make sure we have some smoothing on him. Um, and then for this guy, if we've got, um, cause we've already got our edges and things here, uh, we can apply, can grab the sharpness there. And then we can just apply a, let's just do, I'm just gonna add a crease to this. So we can just crease that out. So it's gonna be really smooth. If we wanted to go for say a slightly less kind of, a bit more sharper on those edges, then we can just apply a crease to those, which will basically keep them pretty sharp, right? So that's a pretty good way to go as well. And then also, if you want things to be generally sharper, you're gonna wanna up the count on the quadrume-mesher. So if we were to use, say, 20,000 for this one, you can see that it's gonna be a lot denser than what we see here. So when we go to smooth that, our edges and things are definitely a lot sharper, right? So that's the way that you could control the smoothing. And you can see here at the moment as well, suffering from that faceting style issue that we had before when we worked on the leg. So to fix that again really really straightforward, all we want to do is just kind of come into the quadrumecha and on the subdivision amount. I think as we've got Simplify potentially still turned on, so if we disable Simplify, this isn't going to limit it to being two divisions on the on the subdivision modifier. So now this is a lot smoother. When we run the quad-remeasure, we won't get those faceting issues when it comes to actually smoothing that out. So you can sort of see how that's looking a lot nicer now. So that's pretty cool. And then we can start to just sort of organize ourselves a little bit more. We've got this guy, which is our retopode version. Just trying to hide. I wanna hide things that we're not essentially using, right? So, let's grab this one, which is our, has the modifier, so we can bring this into there. And then, not sure what's going, something has messed up with this stuff, so let me just try and fix these issues. That's probably because we've enabled the subdivision now, and it's, now the geometry is a lot more dense, so when you do the weld, you can see that that's causing us issues. So we can just drop our subdivision back down again and adjust the bevel. And now that should be pretty good. Same for this one as well. We can just come in and do the same thing as before. So, okay. And then we can always, as I said, you can just clean these up later as we work through. So, okay. So now we're starting to get more of that kind of feel and the design. The process for just kind of continuing to detail out is basically exactly the same as what we've already been working with and towards. So it's very straightforward as we start to kind of work with this stuff, we just get more and more detailed the further down we go. So we start to add in these details. If we've got this kind of piece here, we can again do the same kind of thing. So like if we take this kind of middle piece and we start to look at how could we detail this middle piece out, it's very straightforward on that. So what I did there was add a few more divisions. So just kind of come in here. And then me trying for the middle section, I wanna also make sure that, cause it's, you can see that it's kind of coming to a bit of a point at the moment. That's basically because my original topology just sticks out a little bit too much. So we can just adjust the verse and try to get more of a smoother result here, which is gonna be pretty good. And we'll move this one down. try and get a bit more of that flow in. If you wanna add some kind of nice detail to things as well, one of the things I did in my original was I had things like this happen where we've got like a sharp, an angle to something where it kind of smooths a bit differently. So to do things like that, we can still use things like the Cresets, right? Because all of this geometry in here is just low poly. So you can just come in with here and add say a preset to that and that's basically going to or also a Sharp edge to it. So if we just do mark sharp We can create that on a sharper Division and we can tweak the scale and everything of that Some reason this isn't letting me oh, yeah, there we go So mark sharp so you can see that kind of change in smoothing which can be really nice And if you are Instancing so this is all part of the same kind of geometry, right? You can see that it's part of that original shell, but when we've actually Added in the booleans and things we've kind of cut these into pieces, right? So what we can still do is just kind of instance that data and it will retain the same information now So you can see that that can be really helpful for this kind of stuff. I'm just going to turn off some of these Bevels so that's a really nice way when it comes to actually working with the topology is that you keep all of these guys Instanced so that you can make adjustments that are a bit more global like putting in that extra Smoothing or subdivision change there. So that's something that I definitely would advise keeping those as As instance if you can then we can kind of work this piece up now that we've got it. So We'll just kind of come in here with a box here, and I'm gonna Just make sure that this is set up. It's not letting me actually draw onto the object. I think maybe because Yeah, I think it's a bug sometimes The adding cubes and objects in there can get a bit It doesn't always Align to the axis that you're trying to actually draw on and it creates like a bit of a bug there So we'll just work around that. I'm gonna Basically just add in a mesh and a cube in here I want to add some slightly smaller details into this now we've got this piece and we're kind of happy with this piece I can start to cut those things in so we're going to Just come in here and and create like more of an angle change in this section here So this stuff is really nice as well just to create like a bit of variation to what we're actually creating here, so I'm just going to scale that out and and create that kind of smooth transition change, which is actually something that we have kind of in this version here. You can see that it's like a change in transition there. So that can be pretty nice. We'll just hide some of those cutters as well. And then if we want to change the smoothing on that, we can just come in with a slightly smaller tolerance. And then I usually like to cut some more details in. So another thing we can also add is some more kind of screw bolt holes and things like that. So we could come in maybe with a cylinder here and we'll just sort of rotate this one around, get that sort of scaled up, and then we can just cut that in, which is cool. We'll try and keep that relatively small. And then I'll probably we'll mirror this as well. So we get some of these details there as well. And then I also wanted to just show adding in some slightly more, again, more detail, but we're just trying to cut this stuff up. And I wanna keep that, I'm thinking I wanna keep that kind of extending in here. And I'm just, before I do this, I'm just gonna duplicate it because I wanna cut it away, but then I also wanna have an object that's gonna basically sit in that space, right? So we have our cutter and then we have our object. So we're creating this kind of middle piece section here, right? And I'm gonna move my mirror back up to the top here. So this is sometimes really nice to do is you basically create a hole for a new type of detail to go into. So this could maybe just be like a support structure or some sort of beam or something like this. And you can start to kind of model that type of shape in there. And then I'll try and also I want it to sort of get bit smaller as it gets closer in here and then we can just kind of work with our bevels and manipulation here as well. Let me reset the scale on that too. Yeah so for simple kind of objects as well I'll usually just go with the bevel modifiers and everything and you can get some pretty good detail going that way without having to worry too much. You don't have to use sort of subdivision modifiers and things like that. You can get pretty good detail with simple shapes like that. So yeah, kind of starting to cut those things in and then in this one we could also, so we can add a bevel to this. I think it's probably gonna be, it's not gonna work great. The bevel is also kind of shoot like doing some weird stuff on the edges here. This is likely because the sort of scale of things is inverted. So you can see here that when we jump over into the face orientation mode that a lot of these faces are flipped the wrong way. So I'm going to get into that detail it's because of the this guy right it's because of the cutter that we use to cut this out. So if we just flip the faces of that it should hopefully work. Let's have a look. So if we go through this so Yeah, that's looking pretty good. And then we've got just kind of go through these details. Let me see. It might actually be this cutter that's causing our issue. Yeah, there we go. So now we can just invert that cutter and you can see that now the faces are all the correct orientation. So if we do go into our bevel modifier now, you can see that it's working pretty nicely. It is causing a a couple of issues and overshoots in places. So for a lot of that stuff, as I said, you can either fix it by tweaking the Bevel modifier and we can also add a weld in there. So this one actually is like pretty minor, so we may find that just adding a weld modifier into these, we can actually probably clean up some of this geometry pretty nicely. So we're just looking at the details there. It's not doing a great job of these cylinders where we have quite a lot of polys there. So I'm just going to look at tweaking some of that so we can get this looking good. Yeah, sometimes as well, you can just get around a lot of this type of stuff by adjusting and moving these guys around. So you can sort of see that there. We can just remove a lot of our problems, which is good. Sort of see the same issue here, I imagine just by moving some of these modifiers, we can probably get some of those errors to go away, right? Or even just adjusting the topology from the underlying shapes and things there can also be another good way to solve these problems. So just adjusting that, for example, you can see that we can get a pretty reliable shape working quite nicely. So that's looking pretty good. And then we can always kind of clean this up once we get Into the final mesh version of this it's going to be really easy just to optimize the geometry and clean that up Which is something that we're going to work on a bit more in detail later So that's essentially the process as far as like detailing things up and it's just Repeating that over and over again until you get to like a really nice place with the detail so Yeah, that's kind of what I wanted to show as far as like detailing stuff up is concerned so The sort of overview of this is you want to make sure that your original kind of geometry that you have in here So if we come back to some of these references that we have in here, let's take a look at one of these These guys here. So this is our sort of original geometry for that shell You want to make sure that this is in a good spot like it's smoothing nicely with the subdivisions And then you can start to kind of slice that up into pieces and everything here And then you can either work with the quadrille measure to sort of add more detail to those in the way that I kind of showed here Just to preview the result and everything Sometimes quadrille measure can actually do a good job for the final geometry as well Depending on the detail and how dense it is so in this particular case This actually wouldn't be too bad for final geometry if it just was cleaned up a little bit So we could remove some of the edges and things in here that are not needed So we could just kind of come in here and select a bunch of the loops And remove those and then you know we could easily start to optimize The geometry that we can see here And so if we go with that kind of approach then you can get final geometry pretty quickly from the quadrary measure as well So that can sometimes be pretty handy too. So yeah, there's ways to work with it Which is pretty nice, but yeah, the general process is start by working from large to small detail again So once you've got your base shapes cut them up And I as I said I found having a sculpt for this to give me an idea of what to aim for was really helpful And then I could kind of slice things up Based on my sculpt and then I sliced those into smaller and smaller pieces essentially so we have And focusing on the edges as well trying to keep things focused around the flow of the object and where I want to direct the viewer's attention and then from that I would add in the different detail and everything I would start to then add more secondary detail So if we take a look at some of these areas, I start to kind of cut in different detail into these we start to Add more information into this like start to think about okay. Well, this could potentially turn more into ventilation, these could be kind of bolt-ons and you think about how they kind of connect together and what types of fixings and fittings they have as part of that and everything and then you can start to add some more of that detail. It's the same process for kind of everything else you know in all of these sections like most of this I just added in panel lines and cuts and then some smaller rivets and holes and details and that's pretty much the the way I I went with it so we'll go over some of more of these types of details and some of the Individual sections and what type of detail I added to them in the in the next video But I wanted to show the process in a little bit more detail of how I start to actually You know finalize my measures and this is obviously a process that takes Quite a while to go through as you start to design out your your mech But so it's difficult to kind of cover all of that in a shorter video But that is the general process and hopefully that kind of helps. Okay, so by the end of the videos You should be somewhere along the lines of of this where we have Most of our shapes and forms of the head figured out at this stage We started to detail up the main part of the head here and so to finish this off I just wanted to go through some of those individual elements that we have in there and I'm just going to cover how I actually finished off the rest of this model. So I'll just go through, let me just hide this head that we have here. And I'm just gonna make sure that, I think these guys actually let's move those into the right collection. So should go into the head. Okay, cool. So we'll just go through this like piece by piece. And so we obviously covered a lot of detail around this guy. Mostly, as I said, this was sort of cutting things in using the Boolean modifiers. And then I was using a combination of the quad remesher plus you're just manually kind of cleaning these up, which we're gonna get into later as we go into more of the final topology for the model. So yeah, so that's the idea behind that. The only other bits that are kind of missing is We have this section, this is very straightforward. Again, we just did the same kind of thing, just cut a few details in. I also modeled in this extra little lip here, which is to show something similar to what we have with the eye there. So that was the plan with that particular area. We obviously covered how to do the fibers, and then this stuff is exactly the same process. Like I just cut these up and subdivided to add the panel lines in, and then cut in a few little extra details and pieces in there. So that pretty much covers most of this. The outside ring, as I mentioned, was using the splines. So that covers that head top piece. For the horn, this is pretty straightforward as well. The only real detail I added to this was, I used a little bit of smoothing here to just try to smooth out sections and give it some sharpness to the edges of the horns there. And then again, I used some cutting in there just to add a little bit of extra secondary detail to these different forms here, but I wanted to keep the horn pretty simplistic on the side and not too noisy. And then here we obviously add a lot of detail in with the tendrils. So yeah, that's the horn section. And then for the underside, so mentioned a lot of this was the same kind of process, but here we mostly just stuck with very simple modeling and I used the subdivision modifier to smooth out the different sections how I wanted it. And then if I wanted to cut out pieces, I would use the boolean and everything there. So that's how I got these kind of shapes. The same with this, like these are just really simply modeled with some creases and everything and then I just used a subdivision to smooth those out. We didn't cover this guy, but basically this is a piece that we reuse on the body. And so it's just a modeled out shape again with simple geometry and I have more of this sort of like socket piece where the leg is going to sit into. And so when this is smoothed out it looks something like this. And then for the body, and this is the same for the head and also for the body, is what I tried to do there is I use a lattice modifier to just deform that into the socket that I have, and that's the same for the body as well. And then each one of these pieces is the same process again, like we just have these individual pieces that kind of slot together and I cut those using subdivision using Boolean workflow and just based off the original shape so we just add in these extra panel lines and things like that into these different pieces and same for all of this it's just using that workflow again using the Boolean cutting and everything so that covers that kind of underside for the eye this is pretty straightforward again this is just subdivision modeled so you can see here this is just a cut in some of the shapes And then I just mirror and smooth that out and that creates that type of design there And then we mirror that to the other side and then we have this little cutting section Which is done using the booleans and adding in some bevels and everything there So that gets a little bit more extra detail around the eye and then I made a shader for the eye So it gives this like nice depth to the eye where you can see the focus in there as well But that's the eye shape and then for the tendrils we already covered these but these are pretty much Exactly modeled in the same way the legs are So I did the exact same process here, but you can just see these individual pieces I don't know why these ones are Duplicated up like that that should just be like this But you can see it's just exactly the same process So we cut things up using booleans and then we add bevels and things and some of this is even reused from the legs So like this sphere section here is the exact same mesh from the leg just tweaked to be a slightly different color Again, same thing for these these little spheres in here. They're the same Geometry, so they're exactly as they were in the leg basically, so I reuse those So yeah, that kind of covers that whole process of how I actually Created the head so what we'll do as well is we'll just briefly cover the body because the body is exactly the same process and I'll just go over some of those parts in the body as well. So here we are with the final mesh and I just wanted to take some time to explain the other parts for the body itself as well so we'll just enable those and so we didn't cover the body in great detail in terms of the class we focus mostly on the head and on the legs but a lot of the techniques that we use across the body are very similar and so in the final version of this body I actually model quite a lot of the underside parts including also wings and some extra pieces as well. So if you're taking the class and focusing just on the modeling, I wouldn't worry too much about trying to go into loads of detail on the inside. I would focus your attention much more on the shell and just getting those particular pieces that you can actually see visually completed. So focus on the shell and the underside of the body, would be my advice there. If you are going to be taking the class further into the animation portion of the class, then I would also try and figure out maybe something for the wings, because it would be nice to get this beetle to fly in terms of animation. So if you are going to do that, definitely focus on getting the wings done. But again, I still wouldn't put loads of detail onto the inside of here, because you're not going to see it that much. So yeah, the wings is something that definitely can be worth doing. So just to cover the wings very briefly, I'll hide the rest of the beetle. The wings are broken into two main sections. There's an upper wing piece and a bottom wing piece. The upper piece sits over the top here and the idea is that the wing basically will fold in on itself. So that gives you an idea of the design of the wing there. So you can work up your own design for that or copy one similar to this that's how I've got the wings actually set up and then just to cover some of the workflows that I used when I was approaching the body portions of this part so for the underside this is very similar to the underside of the beetle's head so a lot the same techniques I had modelled stuff out then split it up using booleans and then smooth these out to create these panel sections and then this is a the The leg section is a complete reuse there of the one we have from the head and I just lattice modified that into place. So that's the underside. So hopefully that should be relatively straightforward. For the beetle back and the shell itself, the techniques used here are exactly the same as what I showed in the class for the beetle head itself. So this one, the primitive is a little bit more simple. We're using more of a sphere type shape. And then I'm just cutting and dividing that up into different plates, trying to keep the design kind of running down the center of the object and having some rest areas as well. Cause I knew I wanted to put more of a texture design on these portions. So keeping the detail more centralized. And again, splitting this up with booleans, cutting it up and then using the technique shown in the class to try and get that across. So hopefully that should cover the techniques used to tackle the body.",
+  "segments": [
+    {
+      "text": " Okay, so now we've modeled out our mesh to a little bit more of a final state and we've covered some of the techniques that I'm going to use to detail this up. I want to just take a portion of the head and start detailing this. So the bit I'm going to work on I think is the this main section here where we have the different shapes because it's probably the most complicated bit and a lot of the underside and other pieces are just repeats of the same kind of techniques and things. So we're going to focus on kind of detailing this up more. So I want to start just by showing, in one of the other videos, I also talked about this idea, which is that I wasn't a hundred percent sure about how I wanted this to actually look. And so the design of the head, I kind of roughed this out by just basically sculpting it. So I just wanted to start by touching on that in terms of understanding how I wanted to divide this up. You can kind of see that it sort of matches what the final result is here. So we just move this over You can see that I wanted the ears to feel like they were separate kind of pieces separate sections Maybe this robot could almost have different attachments you could plug into the head and this could be like more radar based or Whatever it is in in these parts. So I wanted those to feel like they could be separated out and then I tried to give this more of a areas of rest like places where it wasn't so detailed. So some of these panels are a little bit flatter and smoother with not a great deal of detail in these places. And then I try to picture frame the detail more around the edges. So I give this kind of more central focus which will kind of draw attention to the middle of the head and the horn and all that kind of detail. And I tried to cluster most of the detail in this particular example. try to focus all the detail kind of coming in and around his head so the main kind of focus is here and then all of the flow of everything kind of brings you back into the head even the tendrils do the same kind of thing right so the focus is very much in this particular portion that was kind of what I was trying to get across when I was looking at this so I wanted to keep these kind of areas pretty free of detail keep this as clean as possible and then focus everything there so that was the kind of aim when I was thinking visually about how I was going to work with this type of stuff so the sketch that I did here is is sort of trying to figure out how can I separate out the pieces what kind of details can I bring in there I was originally thinking about maybe having a vent in on the side of the face but decided to keep that pretty clean and and then also just where the panel lines and how it could be kind of cut up into sections and segments there and how we could work with that type of detail. So that was the idea behind the sculpt and how we got into that sort of place. So as far as detailing this up is concerned, getting the base mesh working correct is probably the most important part of this because everything you do after that is going to be more destructive over the top of your base. So you want to make sure that this is smoothing pretty nicely has a lot of the base forms that you want in there So I had this kind of nice Lip that goes around here. So I just did that using the crease sets or the smoothing here just to give us a nice smooth result So when it gets subdivision applied, you can see That it sort of smooths out those sections really nicely So that's the base kind of thing. I want to make sure is corrected whenever I'm working with any piece That's kind of the same scenario So, you know, I want to make sure that things are smoothing as best as they can and In these kind of scenarios where we have this kind of shape We can always add in our subdivision to begin with and then as we start to cut into these shapes It's going to retain the nice smooth result that we have So that's what we're trying to trying to work with in terms of the shape here So I'm gonna hide some of the other areas here We'll hide the eyes and the horns and the tendrils and just work purely on this kind of section So as far as this is concerned, it's really straightforward. All I start to do is like with most of the other workflows In this particular one when I'm doing something organic like this I like to try to just use the Boolean workflow to kind of subdivide this up and everything So that's sort of my my plan with that top head shape is just to cut into it using Boolean shapes and separate it So I usually start just by I don't like to necessarily use box cutter because sometimes I would find That that with complex meshes that was a little bit harder to use or a bit more It would tend to lead to crashes depending on how complicated things are so I like to kind of cut things up by Basically making a geometry Before I cut it. So that's something that just as a personal preference as well I just tend to find is like a better way to work you can essentially just you know start creating your geometry Getting the shapes that you want in there and then once you're done with that then you can start to kind of cut them in So in this case you can see that I'm doing that. I'm just adding divisions in here And then we're just gonna scale these up depending on different objects there We can scale them and then we can use this to kind of cut into the shape So for this I want to leave the pieces behind here. So I'm gonna use a slash boolean there, which is basically just gonna cut this into a new section. And then I can just start by assigning this in the same way I did with the legs before. So we're working on large shapes first. We just want to start kind of segmenting this up into different pieces. So I like this kind of idea of there being a big strip down the middle, as I mentioned, draws focus down into the face and into the horn. And then we wanna cut up the other pieces, so where we have the ear and everything there, so I'm gonna do that by adding in, let me just remove the cutters for now. And I'm just gonna add a mesh in here, we'll add the cylinder in and we'll scale this guy down. And then I'm just gonna position this using the face and align rotation, so we can just sort of roughly get that aligned. And then once we've done that, we can fine tune this as well, but just trying to get that in there. And I wanna smooth this as well, and then I'm gonna do the same thing. We're gonna slash this. So that isn't quite the rotation and orientation I want. So we're just gonna sort of move that into roughly aligned, and then kind of relocate that a little bit. So I'm not too worried about, you know, we can see here that we have some smoothing issues. I'll just go to shade auto smooth and set that to a 30 degree smooth. and you'll see that that will fix up those issues. And then if I want to preview how this is gonna look with bevels, then I can come in with my workflow from before using the quad remesher and we'll set this up here. We'll turn off the symmetry as well. And you can work with symmetry enabled, but it's up to you if you wanna go that route or you just wanna do one of them and then resymmetrize it later. So we can run our remesh and you can see that this creates us a nice geometry which we can then smooth out. So that gives us a really good idea of how that panel line is gonna look. We could do the same with this piece. So we run our remesh and sometimes this will take a little bit longer if the geometry is a bit more dense and then we can run a smooth. So you can kind of see how that looks. In this scenario, you can definitely see that it's looking pretty almost like a little bit soft at the moment. So in that scenario, I would probably want to go back and add more geometry to my remeshed version there, but we're going to cut more into this anyway. So we don't need to worry too much about that. So that's all good. So next up, I want to try and cut this. I've got this side panel that I added in to add a little bit extra detail there on the edges. So again, you can do the same thing. We'll just add the cube in here and I'm going to start to divide this up. And this original piece is going to start to have quite a lot of modifiers as we get through into that. So I'll just kind of unhide the piece that we have here. You'll see that we start to stack up a lot of different Boolean shapes. And that's okay. Like it's not a problem. Blender will usually handle that really well. So you can just work with lots of Booleans and adjust. When you're going around corners like this, this can be a little bit of a challenge because you can see that we need to sort of like flow this around. So you just have to try to add divisions in there and sort of model out the shapes, which is why I tend to find working in this way by modeling out the shapes that you want to cut in first to just be a little bit easier to manage. And then you can always adjust those afterwards. So just get the basics in there and then just just do your boolean and then you can sort of see how this is kind of coming together. I want it to be pretty thin, I don't want it to touch the ear in that place there so we can just move back these pieces a little bit and then if you need to smooth stuff out you can always add a bevel but you can see that because this is pretty dense it gets a little bit more harder to work with so you can work just with the subdivision disabled as well that's like another good way to work just while you're kind of blocking stuff out and figuring out the designs and the shapes so then we can sort of adjust without it being too bad on performance and things there. So you can kind of see how we're just starting to do that then we can turn back on our subdivision and actually see the shapes and everything. You've also in Blender got a way to disable subdivision entirely by jumping over into the options here so if we come over into here I always forget whereabouts it lives. It's in one of these options So I'll just try and find it. So yeah, so it's under the render properties We've got the simplify option. So if we enable simplify and then wait for this to kind of kick in Once that's kicked in there, we can drop our max subdivisions down So if we put that to zero, this is now going to turn subdivision off on all the objects So as we increase that you'll see that it will enable the subdivision now Up to a certain level so we can enable it say up to two subdivisions there There's just a quick way to work if you've got lots of subdivision modifiers in the scene that can be pretty handy, right? Okay, so now I want to start kind of cutting into some of these shapes a little bit more and you can see that The on some of these basic simple shapes I also add kind of connection ideas like so it can just be little tabs and panels It can also be screw bolt holes and things like that Smaller little screws those kind of details. That's more of our Getting into the detailing past and tertiary past But we want to start by just adding in some kind of secondary breakup and things here. So I have this really basic Shape and look to things but I want to sort of break that up a little bit more And I want to try and once you got the the bevels and things in there You can also adjust these later as well because these are still all live Booleans as well. So that's one thing that can be really handy with this type of stuff So here we can start kind of coming in we can add in let's add in another cube I want to add in some larger more secondary details to these forms, which is pretty good So we can start breaking up this central section a bit more. So we'll come into here and I'm just going to do a difference boolean here so we'll kind of remove that. You can see straight away that we have a bit of an issue here with the way that it's creating sort of like a hole in the design and everything. I'm going to sort of start to move some of these areas around so we can kind of do something a bit more like this. So let's have a look at this piece and figure out why that's creating a hole. It's likely because we've done this in the wrong order. So what you can see here is we're boolean shapes with the mirror. So sometimes the sorting of this will organize things incorrectly. So if you're using the hard ops workflow, you can see that it sorts, say mirrors before boolean. So what I tend to do is just turn that off so then it won't do that. So you can just control what's happening there. So that's creating like more of this cut. I'm probably gonna come back to this, recall the cutter and I want to just sort of adjust the scale of this as well. So we get like a little bit more of an interesting shape. Can sort of start to something like that, which is pretty good. And then I can adjust, what's nice is I can now adjust some of the other things here. So like this particular shape, we can just pull this in a little bit here to create that design. do this, something more like that which is looking pretty good. This doesn't look like it's mirroring particularly well so I'm going to just adjust my mirror on this in fact let's try and get that sort of looking pretty good and then we want to mirror along the mirror axis so let's do that and I think I'll adjust this mirror to do the same as well so we can get okay and then I think Let's have a look. Okay. And I might do this one kind of after the mirror. I think something like that's looking pretty good. Okay. So now we've kind of got that basic shape sort of plugged in there, which I think is working quite nicely. And then what we're trying to do is just get the base kind of option there. And then we can start to cut in some of these other areas. Right. So you can see here that we have these nice like Secondary panels that kind of come down the side similar to what we did here So then we can just basically sort of mirror this guy as well and then what I'll do is I'll probably Duplicate this cutter and just pull him out and then we can use that to basically do another cut along here so now these are broken into these new separate pieces and For this one, I want to do some adjustments to it So we're going to actually kind of grow our selection here, and then I'm just going to fill This guy and we'll move him Back a little bit. So essentially what we have now is a panel that kind of runs down the side using this new cutter So we're just dividing this up into different kind of shapes and forms For the more silver type result. We can do this exact same thing. So we'll kind of cut out we're going to add in another cube in here and we're just going to slice this up. So we're just working with the cutters and trying to divide up our shapes and create interesting designs and everything here. So let's do that. So yeah, I'm I'm focusing on trying to add detail based on the location. So I'm trying to divide this guy up into sort of picture frame detail. So we have detail kind of around the edges and keep some of these areas pretty flat. And I'm basing that obviously on my original sculpt that I had as well, like where I'm cutting those things up. And then as I've segmented things, and then looking for opportunity to do the same, but as a secondary detail. So basically something that's a bit smaller and try to reinforce the shape language that we have. So in this case, you can see what I did was I have this kind of chamfered sort of shape that comes up. It almost looks like a key or something like that. It's like the shape of a key. And you can see that it kind of flows up and then we're trying to reinforce those shapes by putting more panels kind of into that, into those areas basically. that's kind of what we're currently doing. So the same kind of idea here, we've cut this up and then we can create another one, which we're gonna add in here into the center. So we'll just sort of scale this. Let's do that here, scale it on the X axis and then we'll just slash that as well. So yeah, we can kind of start to see how this is coming together. And then we can always, for some of these as well, you probably will get away with just adding, depends on the topology and things like that, but you can start to add bevels just to sort of see how these different pieces are coming together. And if you get some issues like this, then you can always experiment with adding inner weld modifier in between the bevels as well. So if we were to do that for here, see if we can fix some of this topology so that it actually smooths out a bit nicer, right? So you can see that just by adding a weld that can fix some of those smoothing issues as well. We're not getting great situations kind of down the side here as well, but by adjusting the numbers, you can usually get a pretty good result with that kind of stuff. So that's like a quick way just to preview things as well. We could obviously manually clean up the topology kind of later on, but while we're just working along these kind of lines, this can be a pretty nice way to go. So yeah, so we're just sort of adjusting the sizes and the shapes and we're gonna be adjusting the these guys as well. Let's just reset the scale on that one there. So I'm just trying to find opportunity to basically cut interesting shapes and things in there, right? Let's look for the world modifier and then we can also copy our bareful as well. So this isn't perfect like on the smoothing and things like that. And you know, when we've got pieces like this, the other thing that we can also do if we want to quickly preview is the same technique that I showed before where we just, we take a section and we chuck it into a reference folder there. And so we keep that as our backup. And then once we have that reference mesh, we can just run our quadrumeche on that particular geometry and then just run a smooth. And you'll see that that gives us a pretty decent result without any of the smoothing issues. So again, we could do the same thing here. Make sure that you want to make sure that this is smoothing correctly in this form before you run the quadrumeche. Once you run the quadrumeche, it will take that geometry as its kind of basis, right? So that's the important thing you wanna do. We want to make sure that you increase the geometry if you've got something that's quite complex like this. You can also make sure that we have our symmetry enabled. And then once we run the smooth, you'll see that we get a pretty decent result there. When we've unhid something or we can always move that back into our reference. So yeah, some of these guys, we're just gonna got this one here. Let's move that out of the reference folder. So just try to keep yourself as much as you can. tried to keep yourself organized while you're working with this sort of stuff, but you can see how we can just quickly get the results that we're after. I'm not worried at the moment about perfect smoothing on edges and things like that. I'm just trying to flesh out the design really and figure these kind of things out, right? So same with this guy, we can just make sure we have some smoothing on him. Um, and then for this guy, if we've got, um, cause we've already got our edges and things here, uh, we can apply, can grab the sharpness there. And then we can just apply a, let's just do, I'm just gonna add a crease to this. So we can just crease that out. So it's gonna be really smooth. If we wanted to go for say a slightly less kind of, a bit more sharper on those edges, then we can just apply a crease to those, which will basically keep them pretty sharp, right? So that's a pretty good way to go as well. And then also, if you want things to be generally sharper, you're gonna wanna up the count on the quadrume-mesher. So if we were to use, say, 20,000 for this one, you can see that it's gonna be a lot denser than what we see here. So when we go to smooth that, our edges and things are definitely a lot sharper, right? So that's the way that you could control the smoothing. And you can see here at the moment as well, suffering from that faceting style issue that we had before when we worked on the leg. So to fix that again really really straightforward, all we want to do is just kind of come into the quadrumecha and on the subdivision amount. I think as we've got Simplify potentially still turned on, so if we disable Simplify, this isn't going to limit it to being two divisions on the on the subdivision modifier. So now this is a lot smoother. When we run the quad-remeasure, we won't get those faceting issues when it comes to actually smoothing that out. So you can sort of see how that's looking a lot nicer now. So that's pretty cool. And then we can start to just sort of organize ourselves a little bit more. We've got this guy, which is our retopode version. Just trying to hide. I wanna hide things that we're not essentially using, right? So, let's grab this one, which is our, has the modifier, so we can bring this into there. And then, not sure what's going, something has messed up with this stuff, so let me just try and fix these issues. That's probably because we've enabled the subdivision now, and it's, now the geometry is a lot more dense, so when you do the weld, you can see that that's causing us issues. So we can just drop our subdivision back down again and adjust the bevel. And now that should be pretty good. Same for this one as well. We can just come in and do the same thing as before. So, okay. And then we can always, as I said, you can just clean these up later as we work through. So, okay. So now we're starting to get more of that kind of feel and the design. The process for just kind of continuing to detail out is basically exactly the same as what we've already been working with and towards. So it's very straightforward as we start to kind of work with this stuff, we just get more and more detailed the further down we go. So we start to add in these details. If we've got this kind of piece here, we can again do the same kind of thing. So like if we take this kind of middle piece and we start to look at how could we detail this middle piece out, it's very straightforward on that. So what I did there was add a few more divisions. So just kind of come in here. And then me trying for the middle section, I wanna also make sure that, cause it's, you can see that it's kind of coming to a bit of a point at the moment. That's basically because my original topology just sticks out a little bit too much. So we can just adjust the verse and try to get more of a smoother result here, which is gonna be pretty good. And we'll move this one down. try and get a bit more of that flow in. If you wanna add some kind of nice detail to things as well, one of the things I did in my original was I had things like this happen where we've got like a sharp, an angle to something where it kind of smooths a bit differently. So to do things like that, we can still use things like the Cresets, right? Because all of this geometry in here is just low poly. So you can just come in with here and add say a preset to that and that's basically going to or also a Sharp edge to it. So if we just do mark sharp We can create that on a sharper Division and we can tweak the scale and everything of that Some reason this isn't letting me oh, yeah, there we go So mark sharp so you can see that kind of change in smoothing which can be really nice And if you are Instancing so this is all part of the same kind of geometry, right? You can see that it's part of that original shell, but when we've actually Added in the booleans and things we've kind of cut these into pieces, right? So what we can still do is just kind of instance that data and it will retain the same information now So you can see that that can be really helpful for this kind of stuff. I'm just going to turn off some of these Bevels so that's a really nice way when it comes to actually working with the topology is that you keep all of these guys Instanced so that you can make adjustments that are a bit more global like putting in that extra Smoothing or subdivision change there. So that's something that I definitely would advise keeping those as As instance if you can then we can kind of work this piece up now that we've got it. So We'll just kind of come in here with a box here, and I'm gonna Just make sure that this is set up. It's not letting me actually draw onto the object. I think maybe because Yeah, I think it's a bug sometimes The adding cubes and objects in there can get a bit It doesn't always Align to the axis that you're trying to actually draw on and it creates like a bit of a bug there So we'll just work around that. I'm gonna Basically just add in a mesh and a cube in here I want to add some slightly smaller details into this now we've got this piece and we're kind of happy with this piece I can start to cut those things in so we're going to Just come in here and and create like more of an angle change in this section here So this stuff is really nice as well just to create like a bit of variation to what we're actually creating here, so I'm just going to scale that out and and create that kind of smooth transition change, which is actually something that we have kind of in this version here. You can see that it's like a change in transition there. So that can be pretty nice. We'll just hide some of those cutters as well. And then if we want to change the smoothing on that, we can just come in with a slightly smaller tolerance. And then I usually like to cut some more details in. So another thing we can also add is some more kind of screw bolt holes and things like that. So we could come in maybe with a cylinder here and we'll just sort of rotate this one around, get that sort of scaled up, and then we can just cut that in, which is cool. We'll try and keep that relatively small. And then I'll probably we'll mirror this as well. So we get some of these details there as well. And then I also wanted to just show adding in some slightly more, again, more detail, but we're just trying to cut this stuff up. And I wanna keep that, I'm thinking I wanna keep that kind of extending in here. And I'm just, before I do this, I'm just gonna duplicate it because I wanna cut it away, but then I also wanna have an object that's gonna basically sit in that space, right? So we have our cutter and then we have our object. So we're creating this kind of middle piece section here, right? And I'm gonna move my mirror back up to the top here. So this is sometimes really nice to do is you basically create a hole for a new type of detail to go into. So this could maybe just be like a support structure or some sort of beam or something like this. And you can start to kind of model that type of shape in there. And then I'll try and also I want it to sort of get bit smaller as it gets closer in here and then we can just kind of work with our bevels and manipulation here as well. Let me reset the scale on that too. Yeah so for simple kind of objects as well I'll usually just go with the bevel modifiers and everything and you can get some pretty good detail going that way without having to worry too much. You don't have to use sort of subdivision modifiers and things like that. You can get pretty good detail with simple shapes like that. So yeah, kind of starting to cut those things in and then in this one we could also, so we can add a bevel to this. I think it's probably gonna be, it's not gonna work great. The bevel is also kind of shoot like doing some weird stuff on the edges here. This is likely because the sort of scale of things is inverted. So you can see here that when we jump over into the face orientation mode that a lot of these faces are flipped the wrong way. So I'm going to get into that detail it's because of the this guy right it's because of the cutter that we use to cut this out. So if we just flip the faces of that it should hopefully work. Let's have a look. So if we go through this so Yeah, that's looking pretty good. And then we've got just kind of go through these details. Let me see. It might actually be this cutter that's causing our issue. Yeah, there we go. So now we can just invert that cutter and you can see that now the faces are all the correct orientation. So if we do go into our bevel modifier now, you can see that it's working pretty nicely. It is causing a a couple of issues and overshoots in places. So for a lot of that stuff, as I said, you can either fix it by tweaking the Bevel modifier and we can also add a weld in there. So this one actually is like pretty minor, so we may find that just adding a weld modifier into these, we can actually probably clean up some of this geometry pretty nicely. So we're just looking at the details there. It's not doing a great job of these cylinders where we have quite a lot of polys there. So I'm just going to look at tweaking some of that so we can get this looking good. Yeah, sometimes as well, you can just get around a lot of this type of stuff by adjusting and moving these guys around. So you can sort of see that there. We can just remove a lot of our problems, which is good. Sort of see the same issue here, I imagine just by moving some of these modifiers, we can probably get some of those errors to go away, right? Or even just adjusting the topology from the underlying shapes and things there can also be another good way to solve these problems. So just adjusting that, for example, you can see that we can get a pretty reliable shape working quite nicely. So that's looking pretty good. And then we can always kind of clean this up once we get Into the final mesh version of this it's going to be really easy just to optimize the geometry and clean that up Which is something that we're going to work on a bit more in detail later So that's essentially the process as far as like detailing things up and it's just Repeating that over and over again until you get to like a really nice place with the detail so Yeah, that's kind of what I wanted to show as far as like detailing stuff up is concerned so The sort of overview of this is you want to make sure that your original kind of geometry that you have in here So if we come back to some of these references that we have in here, let's take a look at one of these These guys here. So this is our sort of original geometry for that shell You want to make sure that this is in a good spot like it's smoothing nicely with the subdivisions And then you can start to kind of slice that up into pieces and everything here And then you can either work with the quadrille measure to sort of add more detail to those in the way that I kind of showed here Just to preview the result and everything Sometimes quadrille measure can actually do a good job for the final geometry as well Depending on the detail and how dense it is so in this particular case This actually wouldn't be too bad for final geometry if it just was cleaned up a little bit So we could remove some of the edges and things in here that are not needed So we could just kind of come in here and select a bunch of the loops And remove those and then you know we could easily start to optimize The geometry that we can see here And so if we go with that kind of approach then you can get final geometry pretty quickly from the quadrary measure as well So that can sometimes be pretty handy too. So yeah, there's ways to work with it Which is pretty nice, but yeah, the general process is start by working from large to small detail again So once you've got your base shapes cut them up And I as I said I found having a sculpt for this to give me an idea of what to aim for was really helpful And then I could kind of slice things up Based on my sculpt and then I sliced those into smaller and smaller pieces essentially so we have And focusing on the edges as well trying to keep things focused around the flow of the object and where I want to direct the viewer's attention and then from that I would add in the different detail and everything I would start to then add more secondary detail So if we take a look at some of these areas, I start to kind of cut in different detail into these we start to Add more information into this like start to think about okay. Well, this could potentially turn more into ventilation, these could be kind of bolt-ons and you think about how they kind of connect together and what types of fixings and fittings they have as part of that and everything and then you can start to add some more of that detail. It's the same process for kind of everything else you know in all of these sections like most of this I just added in panel lines and cuts and then some smaller rivets and holes and details and that's pretty much the the way I I went with it so we'll go over some of more of these types of details and some of the Individual sections and what type of detail I added to them in the in the next video But I wanted to show the process in a little bit more detail of how I start to actually You know finalize my measures and this is obviously a process that takes Quite a while to go through as you start to design out your your mech But so it's difficult to kind of cover all of that in a shorter video But that is the general process and hopefully that kind of helps. Okay, so by the end of the videos You should be somewhere along the lines of of this where we have Most of our shapes and forms of the head figured out at this stage We started to detail up the main part of the head here and so to finish this off I just wanted to go through some of those individual elements that we have in there and I'm just going to cover how I actually finished off the rest of this model. So I'll just go through, let me just hide this head that we have here. And I'm just gonna make sure that, I think these guys actually let's move those into the right collection. So should go into the head. Okay, cool. So we'll just go through this like piece by piece. And so we obviously covered a lot of detail around this guy. Mostly, as I said, this was sort of cutting things in using the Boolean modifiers. And then I was using a combination of the quad remesher plus you're just manually kind of cleaning these up, which we're gonna get into later as we go into more of the final topology for the model. So yeah, so that's the idea behind that. The only other bits that are kind of missing is We have this section, this is very straightforward. Again, we just did the same kind of thing, just cut a few details in. I also modeled in this extra little lip here, which is to show something similar to what we have with the eye there. So that was the plan with that particular area. We obviously covered how to do the fibers, and then this stuff is exactly the same process. Like I just cut these up and subdivided to add the panel lines in, and then cut in a few little extra details and pieces in there. So that pretty much covers most of this. The outside ring, as I mentioned, was using the splines. So that covers that head top piece. For the horn, this is pretty straightforward as well. The only real detail I added to this was, I used a little bit of smoothing here to just try to smooth out sections and give it some sharpness to the edges of the horns there. And then again, I used some cutting in there just to add a little bit of extra secondary detail to these different forms here, but I wanted to keep the horn pretty simplistic on the side and not too noisy. And then here we obviously add a lot of detail in with the tendrils. So yeah, that's the horn section. And then for the underside, so mentioned a lot of this was the same kind of process, but here we mostly just stuck with very simple modeling and I used the subdivision modifier to smooth out the different sections how I wanted it. And then if I wanted to cut out pieces, I would use the boolean and everything there. So that's how I got these kind of shapes. The same with this, like these are just really simply modeled with some creases and everything and then I just used a subdivision to smooth those out. We didn't cover this guy, but basically this is a piece that we reuse on the body. And so it's just a modeled out shape again with simple geometry and I have more of this sort of like socket piece where the leg is going to sit into. And so when this is smoothed out it looks something like this. And then for the body, and this is the same for the head and also for the body, is what I tried to do there is I use a lattice modifier to just deform that into the socket that I have, and that's the same for the body as well. And then each one of these pieces is the same process again, like we just have these individual pieces that kind of slot together and I cut those using subdivision using Boolean workflow and just based off the original shape so we just add in these extra panel lines and things like that into these different pieces and same for all of this it's just using that workflow again using the Boolean cutting and everything so that covers that kind of underside for the eye this is pretty straightforward again this is just subdivision modeled so you can see here this is just a cut in some of the shapes And then I just mirror and smooth that out and that creates that type of design there And then we mirror that to the other side and then we have this little cutting section Which is done using the booleans and adding in some bevels and everything there So that gets a little bit more extra detail around the eye and then I made a shader for the eye So it gives this like nice depth to the eye where you can see the focus in there as well But that's the eye shape and then for the tendrils we already covered these but these are pretty much Exactly modeled in the same way the legs are So I did the exact same process here, but you can just see these individual pieces I don't know why these ones are Duplicated up like that that should just be like this But you can see it's just exactly the same process So we cut things up using booleans and then we add bevels and things and some of this is even reused from the legs So like this sphere section here is the exact same mesh from the leg just tweaked to be a slightly different color Again, same thing for these these little spheres in here. They're the same Geometry, so they're exactly as they were in the leg basically, so I reuse those So yeah, that kind of covers that whole process of how I actually Created the head so what we'll do as well is we'll just briefly cover the body because the body is exactly the same process and I'll just go over some of those parts in the body as well. So here we are with the final mesh and I just wanted to take some time to explain the other parts for the body itself as well so we'll just enable those and so we didn't cover the body in great detail in terms of the class we focus mostly on the head and on the legs but a lot of the techniques that we use across the body are very similar and so in the final version of this body I actually model quite a lot of the underside parts including also wings and some extra pieces as well. So if you're taking the class and focusing just on the modeling, I wouldn't worry too much about trying to go into loads of detail on the inside. I would focus your attention much more on the shell and just getting those particular pieces that you can actually see visually completed. So focus on the shell and the underside of the body, would be my advice there. If you are going to be taking the class further into the animation portion of the class, then I would also try and figure out maybe something for the wings, because it would be nice to get this beetle to fly in terms of animation. So if you are going to do that, definitely focus on getting the wings done. But again, I still wouldn't put loads of detail onto the inside of here, because you're not going to see it that much. So yeah, the wings is something that definitely can be worth doing. So just to cover the wings very briefly, I'll hide the rest of the beetle. The wings are broken into two main sections. There's an upper wing piece and a bottom wing piece. The upper piece sits over the top here and the idea is that the wing basically will fold in on itself. So that gives you an idea of the design of the wing there. So you can work up your own design for that or copy one similar to this that's how I've got the wings actually set up and then just to cover some of the workflows that I used when I was approaching the body portions of this part so for the underside this is very similar to the underside of the beetle's head so a lot the same techniques I had modelled stuff out then split it up using booleans and then smooth these out to create these panel sections and then this is a the The leg section is a complete reuse there of the one we have from the head and I just lattice modified that into place. So that's the underside. So hopefully that should be relatively straightforward. For the beetle back and the shell itself, the techniques used here are exactly the same as what I showed in the class for the beetle head itself. So this one, the primitive is a little bit more simple. We're using more of a sphere type shape. And then I'm just cutting and dividing that up into different plates, trying to keep the design kind of running down the center of the object and having some rest areas as well. Cause I knew I wanted to put more of a texture design on these portions. So keeping the detail more centralized. And again, splitting this up with booleans, cutting it up and then using the technique shown in the class to try and get that across. So hopefully that should cover the techniques used to tackle the body."
+    }
+  ]
+}