Cloth and Fold Anatomy for 3d Artists

hey this is laura gallagher and the topic for today is cloth and fold anatomy you'll see that it's a pretty interesting topic you've also probably noticed that this video is a lot longer than usual and the reason for that is because i really wanted to cover this subject in great detail and really dissect every little subtleties that there is to be explored there so it's a lot better than usual but i think that you will agree with me that it's a pretty fascinating topic and yeah that's pretty much it so sit tight relax and let's get on with the content [Music] the reason why we study cloth anatomy and why it is important is because uh when we look at a garment inside of mars designer the garment itself all of the folds on the garments really tell a story they tell a story of the forces that play inside the garment and they help us to figure out whether we have a good or a bad fit for our cloth there if we take a look at this here uh so what's going on here in terms of fold and what kind of story do the folds tell um well since we haven't studied the anatomy of folds so far uh it may be hard for us to read a story in here but what i can already point out is that if you guys take a look at the shoulder you can see how i have some like a few folds there's pretty much one or two that are really dropping down here from the shoulder they're starting from the point of contact of the garment with the shoulder and they're essentially just dropping down from there uh in a diagonal way they're sort of cutting across the upper arm there that's actually a very very good fitting if we take a look at the back uh on the back here i'm getting these kind of uh i guess it's not obvious for now but it will certainly be obvious uh later we're getting these kind of uh diamond or triangular shape like folds if you will and that's also pretty good that is what i'm also expecting to see here and now this is contrasted with something like this here let me open a different version of this shirt if you contrast with this shirt right here this this shirt isn't properly fitted like maybe it's obvious to you that the fit isn't all that great but you can't really explain why that is or what really gives you that that kind of feeling there what we're getting here is a series of longitudinal very very long folds on the back of the shirt here that are running across the back not only that but the shirt actually like is resting quite closely to the body uh which means that there simply doesn't seem to be a lot of looseness in the cloth there like intuitively i think like we've all seen enough uh back of shirts to know that this is probably not what we are expecting in terms of uh folds uh unless the garment is meant to be very very tight then i suppose that's fine all right so let's go in photoshop here let's like start talking about like the actual forces that are acting uh inside of the cloth there here is a picture that i really really like i think that it really communicates really really well how cloth ultimately is a thin medium cloth is a thin medium through which forces uh propagate and under certain circumstances cloth starts to behave in this case almost like waves are like water right and other mediums that you may know about which would be water uh air like all of these things like that are somewhat flexible and react to the forces around them if the medium is visible the medium will always have that imprint in there of the folds that are uh active at any one time or that have been active like when we think of forces acting you know like i've been mentioning here that it's kind of like water a little bit right we have this kind of wave-like pattern that is appearing right so the thing about a force like when you look at a force and a force is applied on a fabric or on a medium of some kind right we get that kind of wave like appearance so the lines the waves are always formed perpendicularly to how the force was applied uh it's very critical that we really understand that very explicitly because when we look at folds uh we want to be able to reconstruct in our mind how the forces were applied on the garment previously when we look at a garment then you know like we often have things like these right like we often have nc folds that really are creating this kind of this kind of wave-like appearance right so it's very very obvious when we're looking at this here that we get these kind of waves and that these waves essentially uh we can trace the lines going over uh what we'll call ridges and the second thing that is important to note about folds really is that folds uh they have a tendency to uh fade out as we move away from the point of contact of course you know like as we simply saw there with the water as we move away from the point of uh where force was applied and not only do we lose amplitude but also each fold or each wave becomes longer usually it's more going to do something like this here we're going to start here and then you're going to like very very quickly sort of uh lose amplitude you know so this kind of um curve like more or less follows an inverse square law and uh it's actually very important to know that because um if we don't know that like explicitly we could have a tendency especially for sculpting folds uh if we are sculpting folds like it's easy to add too many folds you know like where there would be a point or a force applied on a garment somewhere uh so when we're looking at a pair of pants then so what kind of forces do we have right now apply it on the garment uh this is actually a question that i'd be interested to ask you guys and see what you guys have to say there so uh those who are in this car those who are participating uh what kind of forces right now are applied on this particular garment in different locations friction the the type of the fabric elasticity first of all uh gravity as far as i understand it gravity first of all is not a force per se now uh don't take my word for it take neil neil degrasse uh tysons uh word for it uh as i said i'm not a physics teacher i i don't have a degree as far as that's concerned so uh it's pretty much just uh what i hear and what i've came across but again that's based on this particular video so this was uh when neil degrasse tyson visited joe rogan last year uh he recorded a little snippet on it i cannot explain it nearly as well as he does so if you don't believe me if you're kind of skeptical about this just go watch the video and you can tell me what you think about it uh i really have come to stop defining myself gravity as an actual force you know and it actually makes a lot of sense like if you think of a garment or something else right like let's say that you have a pair of pants and you let it drop down from somewhere if there are grav like folds that start to appear through the garment it's actually going to be because of the friction of the garment itself with the air molecules so essentially it's the air molecules that are holding up the garment that are pushing up on the garment that create all the foals and all of the uh like everything that you're going to see there right um we can actually like test this out inside of marvis designer this is really really simple it's just a cylinder right so but what happens the moment i turn on simulation this happens right the garment is falling and responding to gravity and clearly gravity is not creating any sort of folds or anything else on the surface because it's applied everywhere uniformly and uh there's obviously no no air in the scene you know like there's nothing like that going on in the scene right now so gravity itself doesn't really create holes but what happens at the moment where this uh hits the ground this happens the moment that this hits the ground now we suddenly have the appearance of fold so what is the force that is active on the garment right now it's not gravity i mean technically yes gravity is active but gravity does not create folds what create folds on a pair of pants or anything else that is dropping down like this is whatever else is holding it up really what is the force applied to the garment right now it's essentially uh the shoes pressing up holding up the garment and it makes a lot of sense when you look at the folds so there's really two things here that are interesting to note first is that the folds here are a lot stronger at the point of contact like here it's actually an elastic but the elastic itself is resting on the shoes and so on and so forth so first like we get these like hugely ample folds at that particular location but also uh not only does the amplitude diminish but also the spacing between the folds increases as we uh leave the point of contact where the force was applied with the garment itself right like here these folds are very very very tight uh together and here like there's practically there almost doesn't even seem to be a transition zone it's actually quite obvious here the fact that it really is simply like very abruptly seems to disappear like the folds seem to stop you know on this particular leg right here like i can kind of see a bit of a longitudinal fold here a little bit and then there's a bigger one here and then like you get like even smaller and tighter ones all right so uh we sort of talked about the the wave-like sort of uh structure of uh folds let me show you guys what happens when you combine a lot of these different forces together right because right now like we're sort of talking about folds in the context of like if there was ever only one force applied on the garment but of course there are multiple forces applied on the garment and uh all these different forces left and right they really start to interact with each other in a very interesting manner there um okay so this is a typical curtain uh with you know there's a compression happening like this uh and so you know there was this force applied like this and like that so we're getting perpendicular folds you know like this very very simple but when we have forces that interact uh multiple forces that kind of interact we're starting to get some really interesting interference between different forces i've prepared a pebble generator or a a a pebble force tester or i don't know how you want to call this inside of designer here so let me also just open this here and if you guys take a look at this here so what i have here is i've more or less just put down like equivalent of two pebbles i suppose uh going in the water uh simultaneously and so as the pebbles uh as the ripples get created right we get these kind of ripples like this and so as these the forces interact and interfere with each other you can see that we start getting these very very interesting diamond-like structures again that are kind of appearing here so what do we have here like let's say that i connect uh every uh peak you know like every uh place where the uh just you know if this is a height map where height map is the highest you know what do we get we get this here we get a diamond and then if i continue doing that i'll get another diamond right here and i'll get another diamond there and another here and so on and so forth right so we get these diamond structures appearing on the surface uh regardless of which forces or where the forces were applied just the moment that you have two forces on a garment you will have these diamond structures that will appear this is still very abstract i'm aware of that but if we look at that in the context of actual cloth what does it look like are we going to find these diamond structures uh we can go in here and say this is a diamond this is a diamond here so there's a diamond there there would be one here it's hard to see because of the angle of the camera yeah there's a diamond here there would be a diamond there we see all these different diamonds appearing on on the surface now of course uh they're not perfect diamonds they're you know like the diamonds i'm drawing right now are are very idealized of course but ultimately we clearly can't see the fact that these folds are creating these kind of diamond like depressions and structures on the surface of the garment there because we're talking about forces and stuff like that the moment that a force is stronger on one axis than it is on the other one if you will the force that is the strongest will create tighter folds it helps us again to kind of understand where the forces are coming from if we have a force that's coming from the bottom that is very very strong you'll start to get something like this uh and if the rest of the forces that are kind of circumferential if that makes any sense aren't nearly as strong then you know you'll wind up having something like this here you'll wind up having diamonds that are actually very very very elongated if the diamonds become so elongated what will happen to them is that they will eventually turn into hexagons yeah i mean that's kind of what we can observe here again if we take a look at the bottom here right as we go further down at some point these start to become so long that they we can start to describe the shape of those more like hexagons uh if you will than as diamonds at that point you know so so there's this elongation that sort of happens to them now of course you know everything that i'm saying here is very idealized of course but uh if you idealize the folds that you are looking at that's pretty much the kind of shape that will uh come out of it and then perhaps also what is interesting to point out is that you know if you start with a diamond like this as you compress it more vertically what's going to happen is that you know let's say the vertex that's here will you know eventually be pushed down you may start to get something like this at some point that the vertex gets pushed down so far that you start to get these kind of two very elongated triangles but you know collectively it still forms a uh a quad-like shape in a way you know which is kind of what we can see here there's a lot of variation on this of course uh you know there's a lot of play between diamonds and hexagons and these kind of weirdly shaped diamonds the moment that we understand that we can really start to read a lot better the surface of our garment and we can read a lot better the forces that are applied there the thing about these things is that uh they they more or less always come back these kind of structures these kind of patterns they kind of always come back really like because you know if we take a look at this here what do you have like there's this kind of x here right and then uh other places we may find y's and stuff like that but um ultimately you know like other people also refer to these holes as zigzag folds you know and which is again for me uh just one more way to call what is essentially more or less the same thing right like if we take a look at the folds here near the bottom of the of the pant here right it's like they kind of also sort of form these kind of zigzaggy patterns there so they're all sort of more or less the same thing you know at that point you could almost say there's like like x structures y structures and practically z structures so x y z uh i've literally just made that up but i think that's kind of interesting to i mean i've kind of made that up like you guys contributed the x and y you know but if we look at zigzags we can add the z to it so if you want to like i guess a a really good shortcut for remembering how to do kind of folds is make them as x y z uh oh that's a good one i am uh tingling just said the thought of that uh i guess that's why i like to speak with people while we do these kind of lectures because i would not have thought of that if it wasn't for you guys so like ultimately like tripital like the moment that you have somewhere that your garment becomes very compressed you start seeing these diamonds appear uh and so there is another term for this this here and this here uh we can also refer to these things as compression zones you know like like we almost always have these kind of like diamond folds appearing in these compression zones and we can really define a compression zone by just being like a it's often a body cavity of some kind that receives these things but yeah so so uh compression zones um anywhere like here without talking about what's happening here right now you know like if we just talk about this here right we can see here again the appearance of these diamonds in here you know like you wouldn't think about the front of the knee being a compression zone being a body cavity and it certainly isn't if the knee is flexed in any sort of way but when a knee is fully extended like when you're fully upright there certainly is a bit of a cavity there right under the knee right here that will often create this very tiny compression zone or you know like this line here we're like okay this is a compression zone so we have all these diamonds or these elongated diamonds and or these hexagons so so far we've pretty much only been talking about compression as a force so a compressive force applied on something let's talk about tension there so as opposed to an area of compression which is what we've been talking so far an area of tension for me is simply a an area of the garment that is uh pressed upon by the body we can clearly make out that there's this kind of flat plane here and there uh because of the pectoralis and you know a characteristic of an area of tension is that there are no folds on an area of tangent of course by the way um i'm not making this up like ever like everything i'm showing you so far i mean i hope it is interesting uh but i am not making any of this up to be honest and i wanted to uh to show you guys actually since i'm here since we are here on the particular subject um i have this book here it's called a drawing cloth figure now uh i'm not paid to this is not a promotion uh this is not a paid promotion in any sort of way it's simply a book that i've appreciated on the particular topic and that have taught me a lot of what i know as far as cloth anatomy is concerned this is essentially just a book that talks about folds and that really covers fold anatomy here you guys can kind of see what it looks like inside a little bit but so it's drawing the cloth figure a complete resource on rendering clothing and drapery by michael massen so okay so area of tension we come back on this here so okay so we can define something as an area of tension which is uh simply a place where uh the body is pressing upon the garment itself and what's so special about those well first of all uh there are no folds here so no folds number two this one is not as intuitive folds emanate perpendicularly to the border of the area of tension what do i mean by that well look at this reference actually it's actually quite obvious if you kind of look at it right we have a fold like this we have a fold here there's these tiny folds here they're not very pronounced and this is a very very important characteristics of areas of tension you have to understand this and so like i suppose you could try and and get into the physics of why that is but for me like these foes more or less just appear because you know like as you press up against the garment the cloth is continuously changing direction so it more or less has to create these folds it's like well where's the area of tension on this the area of tension is here it's created by the elbow pressing up against the fabric and what kind of folds do we get well get a fold like this get a fold here fold there here here here there there there right so what happens if you combine these two things uh together there what do we have when an arm is flexed like this it means that well we'll have an area of tension here of course created by the elbow itself and so inversely to that we're going to have an area of compression if you find an area of tension somewhere you will often uh to the inverse of that find an area of compression and so on and so forth so what do we get then in terms of folds you know so here's compression so what do we expect to see inside areas of compression we expect to see diamond folds and then inversely so we have folds that emanate out of the border so we'd have something like this something like this something like that probably have a nice long fold like that maybe there will be a fold running from the elbow all the way to the shoulder of course on the shoulder we would have another area of tension and so what we would get actually is these kind of folds actually connecting these two areas of tension together yeah so you would you would start to see something like this here right so we're back at these y's that we were talking about you know you have a y here like if you take a look at this here inside here you're going to wind up having all these x's in there and then i suppose that everything together kind of forms these z's or something actually it could form a w2 i suppose so it could be w x y and z you can probably uh there's probably a way to fit a v in there somewhere too i'm sure you could fit literally every ladder in there i'm sure you could find a structure with that particular shape on a garment but anyway i do like only the xyz but yeah so so uh so that's kind of what we would expect in terms of shapes created by the interaction of these compression zones and these tension zones so what else creates tension not only does the body pressing up against the fabric you know if we consider that the button has like a very very small sort of circular radius we again see all these folds appearing so that's why like looking for areas of tension really kind of helps us to understand the fit of a particular garment yeah so so can we break this down then so okay uh like everything that we said so far so the moment that we can spot um sort of folds that are that are parallel to each other gives us a really strong clue that there probably is some type of compressive force there that is applied on the garment somehow or at least that there is tension that is creating these here's a flattened area and outside of that okay so we have all these folds that are emanating out from that so that's a tension zone like everywhere where we we can spot the garment resting upon the body we'll be able to find a tension zone right and here's what's interesting we're getting these folds that are uh if you have two tension zones that are very close to each other you'll get folds that connect the border of the two tension zones together you know uh okay so border here i can see this large full that's dropping down here border here this large hole is dropping down see how uh so we start from this area of tension here and opposite to this area of tension then is an area of compression right here and there are compression zones here and here because the cloth is being pressed up and here we can see these diamond structures and you can see how way more amplitude there is to the folds that are closer to the uh where the force is applied so here we can see like a huge diamond that's kind of uh kind of collapsing under its own weight so it's kind of forming more of a structure like this here everyone hey i just wanted to take just a second to tell you about algae.studio that's a platform that i've built myself that houses pretty much all the character art content that i produce on a weekly basis i pretty much produce content as a full-time job now and i produce up to three hours of new character art lectures every week and i add them to the archive of recorded content you can access all this content for ten dollars a month with an outgang membership we are wrapping up right now eight weeks of a marvelous designer garment creation lectures and we'll be moving on right after that to four weeks dedicated to facial sculpting and facial anatomy and after that we will be moving on to four weeks dedicated to character texturing and shader creation inside of unreal 4. those two main topics have been chosen by the algae community i've essentially polled everyone and i've asked everyone what kind of content they were interested in seeing from a predetermined list of topics and these are the two topics that were the most popular all right that's it let's get back to the content then okay enough about patterns let's zoom in further into folds and really kind of break them down into uh even more defined individual structures what's interesting though about this right so like so far we've been talking about diamonds as if their corners were always completely sharp but for the most part usually these diamonds actually have some very rounded corners right so every time you can spot a diamond somewhere where the the diamond changes angle if you will you would refer to these as either peaks or summits and so what's so special about those they're obviously not completely sharp they're actually rounded in most cases well the reason why that is uh has to do with the internal resistance of the cloth itself if you will you know that if you take a piece of paper do i have one here that i could use if i take this and if i try to you know apply a compression knife right it obviously forms these uh rounded structures they don't casually just break and create sharp angles and the reason for that is simply because well there's an internal resistance to being bent at each fabric has and that internal resistance to being bent will kind of make it so that the clock will simply naturally always try to always sort of expand and therefore will take on these curvy shapes as opposed to these uh very sharp shapes there so same thing here right so this is uh different materials we always get these nice very very round peaks and summits to each of these diamonds all right now obviously if the only thing you're using is marvel's designer this isn't necessarily something you have to worry about too much but because obviously designer will give you some nice realistic peaks but if you are sculpting folds it's really good to pay attention to this okay so these are peaks this is a peak peak peak these are peaks inside of each peak right what happens is that uh because of the internal resistance of the cloth we will get uh inside this kind of negative space and this negative space will refer to it as an eye so i like this here so these are eyes um you can see how this this ridge here like often becomes very very sharp you know like this is very soft here very very smooth very sort of diffuse as a fold but the moment that the fold uh transitions to become a peak if you will the cloth actually becomes a lot a lot sharper yeah if you look at this here it's kind of the same thing here this is very large and diffuse as a fold but the moment that you get this on here it becomes very very tight okay so that's peak that's eyes i suppose the only one that we haven't really defined uh that may be important in this case it's just a ridge you know you know and a ridge is pretty much just a fold it's just another name for a fold so the moment that you have like a straight or mostly straight line somewhere i suppose you would refer to that as a ridge somewhere but i also like to uh define ridge as simply anything that uh is pushing outward uh any fold that is outward because to the inverse of a ridge we would also have something here that would call a valley here so a valley is a depression if you will uh is a fold that is inward uh and a ridge would be a fold that is going outward okay i think that covers most of the definitions i want to throw your way there's maybe two or three that are missing actually that are important to mention uh first is buckling points uh which is something i've alluded to before a buckling point so uh because there is this internal resistance inside of fabric it makes it so that there is a way to compress a garment so much that the internal resistance is simply not strong enough to stop the cloth from bending we would refer to those as something called a buckling point this is something i've done in marvelous and you can kind of kind of see like in general like you're getting these very sort of somewhat sub like somewhat subtly curvy ridges here and you reach a point at the bottom of it right there's a point here and we call these things these are what we call a buckling point there are smaller buckling points on this they're maybe not as obvious to see but there is more there's a very small one here and there's probably a small one here like you can see at different places that the fabrics becomes a bit broken a little bit even here like there seems to be some straight lines and then some very sharp turns at some places what's so special about it is that different fabrics will buckle with different intensities and we will certainly come back on this topic uh next week because next week we'll delve more into clock simulation parameters in the context of mars designer there's a bunch of presets there we'll certainly take a look at all of that we'll have some fun with that so i'm more or less just sort of introducing this subject here but here's like a a test that i did really quickly here um i tried different fabrics inside of a mars designer on a cylinder that's simply compressed it more or less um confirms something that i've kind of already more or less known which is that letters don't actually buckle and i think the reason is because these materials are actually very stretchy and so is wool actually especially if it's knit especially if it's knit but the moment that something has a lot of stretch in there it has a tendency to buckle a lot less as you guys can see uh here we have natural fibers and then here we have artificial fibers artificial fibers seem to have a lot more buckling you know we can really spot them here they're very very obvious a bit less obvious in the context of cotton but there certainly are some and we get these much more rounded summits i suppose and then once we get into the letters then there practically is no more broccolin visible so yeah buckling is an interesting material parameter you know yes marvel's designer will give you these if you have configured your garment properties or your simulation properties properly but uh let's say that you don't have those for some reason on your garment out of mars designer and you go back to zbrush then you more or less have the job of creating these yourself it's not all that complicated in fact i would like to give you guys a very small demonstration of how to add buckling points and then i suppose uh before i do move on to zbrush and to not come back uh perhaps the only thing left that i wanted to throw you guys as a definition is simply the weft and warp it's uh weft is simply the longitudinal threads inside of textile and then warp defines vertical threads so you can think of the two terms weft and warp to simply be uh how you would name your x and your y axis so like uh your x-axis you know what we commonly call the x-axis fashion designers and people who work with textile will simply call that the weft your y-axis would be your warp and the last last one i will throw your way now this one lets people know about it so weft and warp x and y uh is there a term to the diagonal then the answer is yes the diagonal is what we commonly refer to as the bias so uh inside of mars designer the moment you select a fabric and you go into the physical properties uh if you go in the detail here so you just open this kind of uh roll out here you guys can see like a bunch of stuff here so if we take a look at like any of these values here uh where it says here let's say buckling so it's written here buckling ratio weft so buckling ratio on the x-axis buckling ratio warp buckling ratio on the y-axis and finally buckling ratio bias which is buckling a ratio diagonally across you know because like people know about weapon warp they don't necessarily know about bias so they're like what is what is this bias value somehow it's just a word for the diagonal uh it's pretty much all it is uh in the case of stretching though you guys can see here so stretch weft stretch warp same thing but here though it's not called stretch bias there's this world word here called shear but it's pretty much the same thing so the amount of stretching of a textile across the diagonal is called the shearing if you will the shearing property of a fabric but you could also i suppose at this point call it stretch bias and it would be the exact same thing anyway well come back and we'll talk certainly a lot more about these next week but i just wanted to just throw it at your way so that you know uh what you're looking at so just really quickly right like what can we draw out of everything that we've talked about so far uh perhaps in terms of um buckling there you know well if we look at the buckling of this here there is no buckling on this uh and therefore this certainly reads as leather simply by looking at the amount of buckling left and right uh and so what about this here well this is cloth we still don't see that many buckling on the surface there really isn't all that much right now right so does it really really like cloth well you know i guess it's debatable uh but there isn't that many buckling points here and if i wanted to have even more buckling i could definitely do that and here's the little trick that i have to add some nice buckling points to the surface so with the move brush selected i'll simply turn on accu curve so in my case i'm just going to press a because i've applied that as a shortcut to it um it's under brush under curve there's this little function here called accu-curve and you know what does it do well it does this here right if i turn off accu-curve my move brush looks like this if i turn on accu-curve i get this here that's kind of what it does uh it gives you like some really nice sharp points here and then i simply go to town with this you know i'm like okay i want to have a bit of a bumping point here so let's add some buckling points like that maybe i can smooth them out a little bit after the fact there you go just like that super simple right and now suddenly my cloth now looks a lot more uh buckley i suppose could add another one here yeah you can actually detail your cloth and get some really really nice buckling points to read on your surface really by just doing that some like sometimes i like to go a bit crazy to you with it and be like all right how about i add this really huge buckling point like this somewhere and then i'll just smooth it out a little bit you know then you get kind of this here you know which is like really really nice here's another buckling point uh you can see it kind of seems to turn very sharply here but yeah i can definitely just add as much buckling to my surface as i want like this uh oh yeah actually i am missing one thing that's important uh to talk about which is uh memory folds like the moment that a garment has been worn uh you will often have uh the appearance of these things right here so let me just open a image there's really clearly two types of folds on this right now right there clearly is two types of folds there's these nice curvy folds here that are created because of the force forces uh inside the garment itself they're nice and curvy and then there's these here which are quite the opposite they're completely sharp angular and they're not curvy at all like they they're pretty much the exact opposite of everything that we've been saying so far and the reason for that is i suppose it's somewhat similar to the buckling there it's kind of like a point of material failure if you imagine right like if i come back on this piece of paper it's immediately obvious to start to imagine why right it's like as you apply some force through this the paper creates these nice curvy folds but you know if at some point you literally break the fibers uh then of course it's going to form an angular point here so yeah so we call these of course we want to add some of these to our garments after we're done with the mars designer stage we want to be adding these in uh i suppose there's a lot of different techniques for these we'll i'm sure at some point we'll find a time to cover these in great detail but if i was to just give you guys a really quick trick as to how to add these on a garment here's what i like to do i like to simply take uh the dab standard brush and i just do these here like something like that now of course there are different techniques to create these you could also uh make these with alphas there's like a whole lot of different techniques you can make these memory folds but you know like at its very basic level uh you want to be creating again these kind of triangular structures you know they all kind of form these triangles uh and so like what i do is that once i will uh pull outward and then i'll do another uh trait next to it i suppose that will go inward and just out in out in sort of uh very like that with your brush and you can easily make all these kind of interesting uh memory folds on the surface ah all right that's a lot of stuff that i've thrown your way uh but i suppose that covers pretty much entirely what i wanted to say today so yeah thanks everyone for being troopers and still being here i will see you guys next time you

Channel: Outgang

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Id: imp3j7l6V1U

Length: 37min 55sec (2275 seconds)

Published: Tue Jan 05 2021