Hard Surface Sci-Fi Space Craft: Aliens Dropship Fan Art - Pixologic Paul Gaboury - ZBrush 2021.6

[Music] so okay [Music] here we go it up hello heroes bench collectibles you're back rodolfo i see you made it thank you we got some usuals in here mr sanson morpheus jim we'll see if john makes it john always uh always comes through sometimes and say hello to us all um so as you guys can all matthew what's going on thanks for coming good morning nathan how early is it for you where are you if it's well it is morning i guess though i forget that it is 11 here right so so i want to continue this project because i started this last week um and then many of you asked hey can we continue seeing how you would go the next stage and the next stage or the next stage right and then i said i would uh block a little bit more out from the last stream so i did i i finished up the back end tail a little bit right and again this is just my workflow that i like to work with um it's going great thanks morph um how are you ben it's been a while i think nice to see you oscar thanks for coming in so i want to now go to okay these are very rough shapes right so i want to for this stream talk about a couple techniques that we can use to clean up some of these pieces um and then make sure you can really wrap your head around them and it it comes down to like you can in essence take what i'm doing here really and not make them so rough like i've got them pretty rough like none of these like especially this one is really rough but i i prefer working this way just so i can make sure i'm getting my proportions down and then number two a thing i like to call a size like and what i mean by that like proportions is definitely something organically makes a lot more sense and sometimes hard surface so in essence proportions in size is relatively the same where i switch gears to where i talk about size is this is a drop ship right so this is so big if it was in real life right it holds the military soldiers right so there's only so much room to hold them and then it holds the one car that's in the movie right that's it so when i get to size stuff i'm talking about when we start looking at little details like all the scribe lines and things like that that stuff gives a volume or to a mesh especially to when you guys are done with something and you're throwing up on whatever way you want to share your work the viewer needs to understand oh this thing's actually really big or you know this is kind of small so there's sometimes things that you can do to help push that story along and that's where i'd like to mean size um where proportions is just proportions right is what is the size of this right compared to everything else and making sure all that's right that's another reason why i like to work this way with this is because i'm not sure and again for hard surface we don't have the luxury of just anything grab anything and we're good to go right it doesn't not work that way for hard surface all right so this is what i've blocked out this is my drop ship this is the block out um that i have for myself that's getting me and again i probably need to find some more images to really make sure i am figuring this out because i would even say this piece right here needs a little bit more tapering right so this is and someone asked me why don't you just use the model right out the gate um i don't because not for everything some things i would use the modeler for um i don't because there's just so many times the shapes have to really change a lot and i don't want it to be dependent upon topology that is one of the main reasons why i don't use zmodeler for my blockouts and again like we were talking i tend to move as quick as i can in this stage i'm not spending a lot of time in this stage right i would say there that one's a little bit more in that world now and then so you see like this part this is sticking out right so then i'm going to mask that off and then so i just can be clipped way down to like that right so this is like a secondary pass now that i start to do i start looking at this looking at my reference references and making sure that i got enough volume there right i would say this is off right if i start looking at the volume in here in this space right so i'm talking about right here right look at this and these do this kind of a thing right in in the ship itself okay john you made it nice okay so i this is the secondary path now i like to do and then i want to be quick and as free as i can so this is definitely not working so i want to probably mask this off okay and then this is where i will tend now to use my deformer it's just gonna be easy for me to say okay this needs to come up more i need a little bit more volume between here and here right so i'm going to be more in there and then i want to go now also this way just a little bit more just something more like that in that range okay and i think i've got it tapering i think a little too much here right so this is why i like to do this next pass now so again i'm going to just use a deformer it's a quick nice way to readjust things i got a little too much taper in there right i'm looking around at all my images right now just to see and then i'm a big fan of this and then i would say i've got too much tapering in here as well okay in this part right here right so i'd want to probably fix that as well so i'm going to say here's now when you're using this deformer right i want to add a couple more points of interest here because really the only part i want to start moving is in essence this bot this corner quadrant right here right so i need more points of interest so because i've already been using the deformer okay i don't want to now just add points okay because then what that's going to do is space cookie that's a good name number one i like it and number two yes this is the aliens dropship so i'm just showing everybody how i would approach something like this and like my first stream was blocking this all out in this stream we're going to start refining some of the pieces i'm going to show different features to show that okay so back to this the reason why i'm bringing this up i don't want to now click on any one of these orange cones because then what's going to happen is in essence it's resetting the deformer which then it's going to reset your mesh okay so what i'm going to click on my gear and i'm going to accept the changes that i've done so far with this particular deformer okay and then now make a new deformer and then now i want to make like like i said i want to go there and there so in essence this see i wanted this little quadrant in here okay uh oh john those kids those kids hey daniel welcome yes yes we are doing the little alien drop ship okay so you can go this route right and then that way see i can do stuff like this right but looking at like some of these images i this little angle that i put here doesn't really make much sense at all um to what this is supposed to look like right if anything this should have more of an angle this way right so this should come across right like this more than anything more like that kind of world happening right so what i'm going to do is i'm going to because i just don't even know where i put this and this is again kind of sometimes why i like to work this way i'm going to use the move infinite depth for this and again because i'm so rough i'm just going to quickly put this back to somewhat of a shape that i want perfecto i'll read dynamesh okay and then see now i'm back to this and now i'm back i can have my clip brushes back again and then again like we just like i just noticed right this needs to have a little bit of an angle here right so this these missile right the bays that pop open right need to have that because this bluish one is this part right and now i need this to be a little more aggressive so it needs to be a little bit more i'd say a little bit more in that realm okay and then now you can see the yellow piece again is being just pesky pesky pesky so i'm just going to really chop that down right something there more in that rag right and then we're going to also like this also needs a little bit of that in there right and then this is what i mean by the second pass i'm now starting to put a little bit more of the planing in so i can make sure i've got this where i want it um and i'm pretty happy with this this this is definitely needs a little more volume for sure right just looking at here and looking in here there definitely needs to be some more volume in there and i say this is a great image for this piece showing how much it actually does taper but i think some of that is also this this particular part right here needs a lot more volume to it i would say it needs something more in in that range something more around in there in that world right and then this piece here i'm going to just tweak this a little bit keep that consistent there all right and then i'm going to actually tweak that even more a little bit let's get both of those pieces to be matching angle through here whoops might help if i held the alt key so i'm clipping and if i hold the alt key right then i can clip out right and then just keep going right so this is i want to live a little bit more in that realm so then this is even going to taper this piece is going to even taper just a little bit more so let's use the clip curve and let's add a little bit more taper to this a little bit more taper yeah there we go that's getting a little bit better okay and then from the side i would say now this needs now also a little bit more length so i'm going to turn off my symmetry will deformer this one again and i'm going to give this a little bit more length just a touch it's a little too much there okay and then there you go and then this i'm just gonna this little part right here i'm just gonna quickly just get rid of that and then there you go okay so let's start looking at now okay i've got a pretty good block out right i start getting this uh i would say we could i could go out this forever right so it's and it's really about getting that shape as much as you can right out the gate it's just going to make it easier for when we move in this next stage that i like to call stage two so i'm in stage one right now right where i'm just trying to make sure all these shapes are working together based upon what i'm making here which is a very recognizable aliens dropship okay so this is now let's look at okay what kind of things can we use now to get these shapes to be a little bit more of what they should look like okay so i'm gonna show you guys a couple techniques here okay so i'm just catching up with your questions yes uh the first stream of this is available so the first stream is just me pretty much blocking out this whole thing from scratch i showed how i brought in images like literally blueprints this was inspired because i bought the aliens blueprint book and it inspired me okay so the first stream is available if you go to our youtube channel it's there it's i don't think it's on twitch it's on our youtube channel though but it's not on twitch okay so you can go to that if someone's available that maybe can find it for him um that would be great all right so let's let's start start with a simple one oh thanks dice k you're in here awesome okay so let's start with this simple one let's start with this these intake air right because that's what this is right and i think when you guys design especially when you start trying to design your own ships and things like that um i would definitely okay think about stuff like this right that'll help you push your design somewhere like even if it's a sci-fi ship it still has to have rules of airflow and aviation okay so think about that stuff okay so this is an air into air flow intake right and then it's got an outtake right same thing for this this is here as part of a flow of air right for the engine and everything okay so they take stuff that exists in in real life and then they just adapt and make something cool sci-fi looking right so let's start with that so the first one that i want to talk about is just using straight up z modeler okay for a couple of these pieces so then this is the point where i start splitting off as you can see right now when i turn on poly frame everything is um sorry everything is low polygon dynamesh and all one sub tool for the most part the only thing that's not is this back wing part and then this part here and now that i'm looking at this image this pink thing i i gotta go i gotta go fix tweak this this is it this isn't working for me this pink one i'm going to tweak tweak this so i and again i'm going to center my gizmo i'm going to reset it by holding the alt key which you guys can see all my keys in the bottom left corner there and i'm going to deformer it and again because i have this red cone pulled out all the way i've got symmetry ability okay and what i want to do this definitely needs more volume so i want these shapes to have a little bit more volume to them come out a little bit more like this and then i would say the top part i'm going to put that down just a ah yeah a little bit more actually we're going to go up give myself a little bit more space in there again i'm going to accept that and then now i want to do another deformer and this time i want to do a little bit more refinement tweaking so i'm going to go more points here and then i want to put so i'm holding ctrl and those white dots are everything that can be moved now i'm holding the alt key i use this all the time so whatever's in the white box stays on mask and all the other white points get masked because this needs to have a little bit of this happening to it right just a little bit more something like that and then now i'm going to use again this infinite brush depth right to have that symmetry on and i'm just going to let's make sure i got everything masked off that i want masked off and let's just tweak this a little bit more see i find if you spend a little bit more time in here right then when we get into next it's all going to make things a little bit better there that's working better for me okay so back to this so this is where i'm gonna start splitting off okay so i'm gonna click on this and you can see this thing is just ridiculous right now right i just been chopping up chopping up and slicing like this is clearly not what this piece looks like right it this part doesn't exist in all actuality right so it's not really going to matter to me though all right so now what i'm going to do is i've got this folded off already right from the previous building of this so i like to use folders a lot okay i'm just a fan of it um it helps me keep organized and it all move things around it helps me with a lot of things so i'm gonna go ahead now just split hidden this okay all right and then now i've got this and then the ship it's its own subtool right so this definitely needs to be tweaked so let's just cut off like we don't need all of that and get rid of that okay and now what i want to do in essence is i know that this is the right size now right i know i've got the angle that i want for this right so i don't have to sit here and guess now in essence for rebuilding right this is the point of me going through and doing things i would even say i probably need this to be a little bit bigger right something more like that and i probably me being me i'm going to do a little bit something more like that and i say yeah something a little bit more like that so you see i can just tweak these shapes just a little bit right and then so in essence what i'm going to do now is i'm going to use this as my reference so instead of just a image i'm using a 3d reference where i'm getting every angle and now i just want to quickly rebuild it so here's one way i could do this and it's just using z modelers especially something as simple as this to rebuild this okay so i'm going to just duplicate this right let's rename this let's rename this front intake concept for now okay and let's just now rename this front intake okay because i'm going to end up deleting this one is what's going to happen here all right now i've got a duplication of this let's just only focus on this right now so i'm just going to turn everything else off that i really don't need because i want to focus on this for us okay and i'm gonna say let's replace this let's let's get rid of it so i i love using the gizmo for this okay i'm a big fan of this so once again i'm gonna turn symmetry off okay and then center this okay and what's gonna happen now is i have two versions of this if i click this gear and say no give me a cube right you'll see now i get a cube right but then i still have the original concept piece okay and you'll see wherever my gizmo is that's where this is going to go okay so if you wanted to as a user you can mask off this side right and then i would say okay gizmo center now so now the gizmo is being re-centered based upon masking so then this gizmo is sitting already where i kind of want this piece to be on the ship as is right so then the difference here now okay is this is sitting here so i'm going to clear my mask now and then now when i click this cube you'll see where the cube now is so you can see the difference between this this isn't neces this is not a necessary thing but it's something that might be beneficial for you guys especially when you guys are doing stuff maybe that isn't perfectly aligned like this you might want to use that gizmo's positioning for replacing meshes right let's say let's say this thing actually had more like like an angle like this right right so this now i can have the gizmo follow that angle so even if my gizmo was all over the place right now like it is right now okay right it's just not a line i can actually hold the alt key right and then tap on a point right and then it moves and then i can hold the alt key and see i can align this gizmo along this line okay and what becomes important is that blue arrow that blue arrow becomes important for the pieces so i'm going to also hold the alt key and the shift key and then make the blue arrow be the one that's along that line so then when i go and click this cube you can see that cube is along the line and where that cube is sitting is where the gizmo was okay so this is this is why i'm saying this kind of stuff it's not necessary but it helps you can see how this can help me not have to reposition because the cube's already in the right spot and now i'm going to get rid of every single edge loop so now the only thing i have here i'll make this a little bit bigger okay is a cube with six sides since i'm using zmodeler now i want to keep this as low polygon as i can okay because i want to now start manipulating this a little bit easier and again this can go back to we had a couple people last stream asking why don't you just start with zmodeler for some pieces i would like something like this i probably would have just done zmodeler in a lot of cases okay but again uh when you're using zmodeler you are okay refrained to that shape right okay so you're the geometry is controlling everything for you in essence right and when i'm concepting or designing it's just like when you guys think about it as when you are sketching on a piece of paper right you don't you don't sit there and try and put all the details in your sketching so that's that's kind of what i'm doing in 3d okay enough of me talking so now what i do is i like to throw on some transparency you can do either ghost or not ghost okay so down here let's see yeah you guys can see it i'm down here by my wonderful face right now i'm down here okay so i i like to do no ghost and now all this is is now let me just match this simple simple cube to this shape now yeah i know she made an appearance the daughter made an appearance she was she's in here with me unfortunate she has to be in here with me all right so we're gonna just i'm gonna get that volume and then i'm gonna get that phone and again i am moving this with the gizmo but people i'm using that technique again where i'm holding the alt key in the white box and then doing this right hey mr mars i need to come up with a better name you guys got good names okay and then now i need to go to the front and let's just refine that shape and this is what i mean by i'm not guessing now because i took guessing in the beginning sketching phase of dynameshing that's why i like to call dynasketching uh that helps me get through that okay and so now i'm like okay i've got now the volume in essence i got a bounding box here right and then now this is where i start to add some start adding some edge looping now right so then i'm going to again y and i'm going to pull this down to here i'm going to live right about in there okay and i definitely need now to switch to z modeler we need an edge loop in here and let's now refine that and pull that up and then now i can get this taper a little bit better okay so that's one okay and then now i need definitely an edge loop right here and you can see what i'm doing right now becomes important so you see how this edge loop i'm adding is changing right i'm going from a perfectly straight line to one that's not a straight line okay so i think it's really important to understand this all right so where you click excuse me where you click on this edge or this edge whatever one of these three along this line here becomes important right so there's clearly a halfway point and all these edges there's somewhere where you're at the halfway point when you're clicking on it okay so now i want if i want to click closer to this bottom loop here okay i can make the edge be perfectly straight and in all honesty this is what i would want i like to keep my edge loops as straight as i can for whatever i can because just it just it makes things easier down the pipe for me 100 okay so um this um solomon is uh no longer with the uh with us at pixel logic so you know right so this is important so what i'm doing is constraining the edge loop okay so if i hold the shift key now you can see i can move this and it's always no matter what it's nice and straight okay if i get closer to this profile right you can see it takes more on that profile and if i see if i get closer it takes a straight but now if i hold the shift key you can see it takes on that profile okay and this kind of stuff okay is going to be important right so then this i want probably a straight point of interest there okay and then now do i now just do this right to get this shape a little more refined and a little bit more like that right and then now that gives me that piece right out the gate now this i think i'm good enough now i do not need the original anymore that's in essence all i wanted that conceptual original piece right jack welcome right so now i'm going to delete this i don't need this anymore right because now this is my intake piece right and so now now i'm gonna put a little bit more refinement in this okay and i think this is where again i have a one two three four stage when i hard surface and right now we're in stage two stage one was the conceptual stage figuring everything out stage two is now let's just get these pieces looking hard surface nice clean looking hard surface right so that's the stage i'm in and i to emphasize this okay this is such an important this is an important thing transitioning from stage one to two two to three right it's really important for me let's take a really close look say example this image right so this is the part i'm playing with right now right what you need to do is not focus on okay i gotta get these line cuts and then there's some detailing there in stage two i'm not really concerned with that in stage two i'm just like let's just get this piece looking clean and i'm more concerned of let me just get this bevel here on this corner working the right way that i want it to work okay and then i'll worry about these these little cutting lines in stage three okay i don't focus on them in this stage my focus on this stage for me is i want to just get this shape now refined and making it look clean so with that said this is very boxy so i need to turn our handy dandy dynamic subdivs on okay so then i'm going to say yes and now beautiful it's a bullet it's a bullet okay and john to answer your question why straight edge loops and models are important for production um i don't know if it's i would say it's just for production i'm just saying for me personally when i do low polygonal box model if you start not keeping your edges str straight there's gonna be times when you wanna add edge loops right and if you have too many where your edge loops are like doing different angles then when you wanna go make an edge loop and you want that edge to actually be a straight an edge loop you've got a problem now right so you got to come up with a different way to add an edge loop so it doesn't look at the angling that's happening so i tend to know that down the pipeline and so i try to keep my edge loops straight where i can and then it's not always going to happen okay uh well crow there is there isn't instancing systems in zbrush right nano mesh is an instancing system and array mesh is an instancing system um but i unfortunately can't say about anything about development so i'd love to tell you all about development but i can't talk about development unfortunately okay so i couldn't i can't unfortunately answer i can't answer your question completely but i don't know if you've ever used either one of those all right so this is clearly not what i want right this is not this piece it's not working right so me i'm a guy that likes to live in the world of creasing crease as i like to say okay and then i think this is where and i'm gonna turn off dynamesh now because i don't want dynamesh anymore i think this is where things now will kind of switch gears depending on what kind of box modeler you are okay so i've turned on dynamic right which again is d to turn it on shift d to turn it off d shift d d shift d and once again guys when i'm hitting my keyboard please look at that bottom left corner that's why we got that little widget there so you guys can see what i'm hitting last week he became my enemy okay so now i'm gonna say okay there's one one way of workflow how about i just start adding edge loops right so this thing starts to become a little bit more right like the shape we really want which is fine this is so you can see it's already starting to take on a little bit more of what we want i don't like this workflow for me i live more in the crease world because i'd rather not add more topology if i don't have to and it's because of things like i'm gonna need put beveling here on here because you can see there's that little bevel there and i don't have a really good image let's see if this one that shows me even what's happening on the bottom here i'm just gonna go with i'm gonna put a little bevel there as well i'm just gonna continue and then see there's a bevel all around in the front too i'm that's what i'm going with i'm gonna make that decision for me on this okay so creasing can help with this number one okay so if i hit this open up my creasing so let me pull this up so you guys can see it so dynamics open i'm going to hold the shift key as you guys can see and click on crease that way dynamic subdiv stays open and crease stays open because i'm going to use these two menus together okay and so i can just hit this crease button right and nothing happens nothing's going to happen because the angle which is down here is set to 180. so if i set this to half that let's say 90 and hit crease you can see there are now some parts being creeped excuse me so that angle is the plane shift that's happening okay and the edge so for example the shift of this right into this right this these planes into this plane what happens to that edge that edge get creased or not get creased so if i drop this again now watch if i drop this to 45 degree right and now hit crease you see all this out here has gotten creased right and then you can see this is starting to be a little bit closer to what i really want to have okay and now i want this one edge right here to also decrease so z modeler i'm going to hold the space bar over an edge crease a single edge and then there we go okay and then now what we have is we're getting some softness through here right which is what i want i want some nice roundness through there daniel i would not use the crease edge brush in this scenario because i'm super low polygon right now so it does that's not going to work really well with this that is more for that is more for if i have something a little bit more dense like i've done it for vehicles okay um so um space cookie seeing that i have three 3d printers now um i probably would 3d print this and i'd probably paint it and hang it in the corner in my office i might end up doing that i might just and i've got i've seen the original actual drop ship um i've been lucky enough to been in bob byrne's house and i've taken pictures with the original drop ship that's in the movie and the original solaco so he's got the original drop ship like hanging from his ceiling that's freaking awesome um i would probably do that same kind of thing so my end result of this honestly would probably be 3d printing it's just that's i prefer that world i love that world okay so um and to answer your question table i'm not using a tablet i'm using the 32 inch cintiq right now it's what i'm using i love this antique because i love um being able to put my hand exactly where i want things and then it's there okay i'm just about it okay i just like it gives me back the world of like i feel like i'm drawing i just prefer cintiq um and this is sam this is from the movie aliens if you've never seen it that's your homework for tonight sam that is your homework is you need to be watching aliens okay john to answer your question okay let me go on a little bit just one because john's asking a question i think people this is really valuable information that john's asking okay he was asking like why don't you just use the crease brush okay and the problem is i'm very very very very very low polygonal okay that's what i have it's very low polygons so if you go with the workflow you're talking about let's just duplicate this okay and then now let's dynamesh this all right and let's take another dynamic okay and let's go dynamesh and i'm gonna give this a little bit more resolution love yeah like so see it it's pretty dense okay now to your question okay we've got this dynamesh and you will you are saying why not just use the crease right this crease curve okay which is a great brush i can do lines like this right and then that's creasing this edge the problem now if you throw dynamesh in look what happens it's gone right dynamesh can't maintain the creasing it might be even something interesting to add dice k make a note of that right so that's already that is eliminated process okay you can't use dynamesh with creasing you're gonna lose the creasing okay so this is more for i think if let's say for example i want to put a nice like this is really good like the automotive people use this they'll do something like this and they want like that and then they want that line to show up so then i'll come down here to deformations okay and we have different types of deformations and i can polish by crisp edge okay and i'm going to go really strong and you can see that line is starting to pop okay so when i'm doing an um automotive kind of thing too i'll use that a lot and i'll use it in conjunction with like these sliders okay that's where it would make sense to use the crease but in order to use excuse me in order to use this crease brush you need to have some geometry okay and i'm i'm not doing that technique right now i'm doing the i want low polygonal technique okay so back to this i've got creasing all right and i've got dynamic now this is super super like sharp i don't want it this sharp so number one i want to solve a couple things there's fastening happening here can you guys let me see if i can switch a different material can you guys see that fastening like right through here right there's a little bit of fastening happening there you go now you can see it better right there right so i want to eliminate that fastening i don't want that that's an easy thing okay is i'm gonna go here to my smooth and then just up at the number three up at the number four right and then you can see that fastening is gonna slowly go away right now in this case all the way up to five it's pretty much gone okay so this is important to me i want a smooth surface i like to live in four okay because it's smooth enough i know i'm going to do more things to this now the next thing i want to do is this is still super crisp sharp this does not ever should be this sharp and crispy right at all ever okay so then i'm going to come down here my crease menu and right next to this tolerance i'm going to use my crease level and i'm going to drop this to 2 and then now you can see what that does right now we've got a little bit of chamfering happening here okay and then maybe this is going to be a little too chamfered so i'm going to move it to 3 3 and then that's now getting a lot better to what i want this to start looking like okay that is starting to work for me now right i'm getting what i want here right and what's happening now is i'm dividing dynamically four times okay but then i'm telling that to only hold the crease edges for three of those four subdivisions right so on the four subdivision levels the edges are allowed to smoothen a little bit but because they weren't smoothing for multiple levels then they don't round off really a lot they're giving a small little chamfering here okay so uh make believe tv no um objs your best thing if you're trying to get this out to another application like either obviously if you're using something like maya um you could just use we have the dot m a extension you could also just use go z or you can use an fbx so those all three of those things you could do you could just go z it over it depends on the other application you're trying to get it in and that other application also has a support creasing right um the dot m a and then fbx would be your next best format to get out okay all right so this is great null and this is going to be the one time i'm going to use a feature that always makes me go because people tend to use it too much and not use it in the right way sometimes so and it's going to be a prime example of this all right so i'm going to screenshot this a little bit i'm just going to here let's just get rid of this so we can just look at this piece that we're making okay and then this is also going to be important to me now i'm going to i'm going to uncrease all okay so we're back to this wonderful blobby looking thing i'm going to get rid of the smooth subdivision so we're back down to just a cube so dynamics on but nothing's happening to the mesh and this is where now the q grid is my next thing okay so doing a q grid you can see is automatically giving me a bevel wherever i want that bevel okay and you can see that bevel is happening on every single edge loop so here's the problem with this this is why you got to be mindful of what you're doing here okay this clearly is not the profile i want i want more of a profile like this so if you're going to use something like this q grid okay you got to understand every single edge okay so every edge that you just see here is going to get two more edge loops one on the left of it and one on the right of it so if i zoom in and here would turn off the fill so you can see it better and then here let me turn on my magnifier and let me get rid of actually all my uh let me make the radius bigger let's get rid of the curvature and let's have no fade there we go right so you guys see you see that there's more edge loops okay because of that there's no way you're gonna be able to get this to be a smooth okay right so this is why you got to be mindful of this piece yes this is now going to give me this nice bevel that i want maybe here because i can even change the coverage on the fly and say i want something a little bit bigger something a little bit more like that is maybe what i'm going for okay but you see everything's getting a bevel so this is where you gotta pick and choose right which one's going to be the best for you right to use now if you want to go this route because you really like this bevel that's happening right here okay you definitely can go this route right and what i would do in this scenario is okay well this is giving me everything that i want in this except for this profile part so what i'm going to do is i'm going to tell zebras okay this looks good i'm going to apply it and now you can see these edge loops are show show up now so now i'm going to take the time and going you know what i don't want this edge loop and this edge loop anymore and i don't want this edge loop in this edge loop anymore right and then i can pick and choose where i want even edge loops to be okay and then now turn back on dynamic but go back to the smooth version of this right and then now this is being used and then now i can say let's go back to the world now of creasing so i'm going to crease i'll do complete edge loop right and i want that creased i want that creased i want that creased i want that creased and that creased and now when i smooth right i've got this right and then now i've got a i'll put a smoothness of four and i'm gonna drop this down so it even lightens up that a little bit more and then there right so now i've got this shape and now the beauty here is i use an essence q grid just to get the topology and now i'm using back to my workflow that i like and now this helps me refine this shape because now i can use the slide complete edge loop and i can see i can change that profile now really easily right and i can change and say i want that to live more there and i would even say this needs to live way higher up more like that and then this needs to live a little bit whoops more like in that realm more like that right i want a little bit bigger profile like that and then now let's turn on that conceptual drop ship and you can see now where i'm going with this right and so this is what i'm trying to get to is that so this is just a way of me cleaning this mesh up quick and easy right as fast as i can okay and these pieces whoops not that these pieces right and now you can start seeing everything working starting to work together now to get right and then now i'm gonna say okay i like that range looking good okay this is an intake clearly right so we need some intaking in here and then i'm gonna say you know what i want this still to be a lot bigger i'm going to actually use the edge loop here to refine this even more and i want i just want that intake to be a lot bigger for me okay and then now now we've got zmodeler at our disposal okay so i'm going to take this face okay oh winston glad that helps um so i'm going to say spacebar qmesh instead of qmesh i'm going to say inset okay and then i'm going to say let's inset this and i like to change my polygroup so i'm just tapping the alt key so i can make something very different like that okay and then i'm going to cue mesh now this okay but i'm not going to do this right i'm going to put a little bit of that taper in there just a little bit of that okay so you can see the difference there's either this or this i just want to put a little bit of lip in there for me this is what i'm going to go with okay and i'm changing this by holding the shift key right so shift key will be a move if i'm not holding the shift in the cue mesh so i'm just going to put a little one in there and then cue mesh it and then again i'm changing my polygroup and because i'm going to if i'm going to 3d print this you know i want this to be a little bit more in there like i don't want it really deep because i don't want to waste a lot of material and then i don't want to have um to have to worry about um all the supports i want to be able to get at that pretty quick okay and then now let's take a look at this d key oh not quite working for me right that's interesting but that's not what i want okay so then i'm going to come down here again into our crease level and we're going to do the good old chris paul gabriel right there right that good old chris paul gabriel that's obviously not what it stands for but darn it i like to be bad jokes um comics legend i had to shelf that project for now i don't know i'll be able to get back to it okay so then i'm going to crease by polygroup right and then every polygroup in essence is being creased right so wherever the blue is meeting the pink the pink into this green ugly color and so what i want is also these edges creased right so i'm just going to use z modeler crease partial and that way it only goes there and then it stops there it doesn't continue on and i want this look in my piece something more like this okay to start happening okay it's not quite there yet and there's a reason for that that we're gonna get to but if you start looking a little bit at this especially this image here there's a little bit of a taper right just a touch right so i'm going to take these pieces here right and i want to taper those in a little bit okay so i'm going to mask off right i'm going to center this and then i'm going to go to my handy dandy deformers once again i'm going to say i only need those and i don't even need that one i got symmetry on and then now i do this and i'm just going to put just a slight taper just just a little one nothing aggressive right so i want to put that taper in like that just a little bit there because the reason why this is rounding so much like that is i don't have any geometry in the middle right to support this okay ah life lover i like it we like to have silly jokes here and every now and then i gotta do the look up here's the wake you guys up right so i want to put an edge loop and dead center of this right now so there's two ways really i could go about this okay so think about it uh i can go and say i'm gonna hover over an edge spacebar insert edge loop a single edge loop can we don't have allowing you to be able to put it where you want it so i'm going to switch to multiple edge loops okay and i'm going to switch to specific resolution in this case it's set to 8 i'm going to drop this to 1 and then i'm going to tap on any one of these edges and you can see there's an edge loop that gets put right in the middle okay the other thing that's happening though is it's destroying my poly grouping because when you use multiple edge loops it's going to create different edge loop gaps happening through here okay so i don't want that to change so i'm going to go into my options of multiple edge loops and that here the bottom right corner i'm going to turn on keep groups so it's not going to change this so i'm going to taparoni and you can see all them stay and then i can even do this and you can see now these this is starting to get a little bit more where i want that part to live right okay and then this is a combination of inserting edge loops with creasing okay now another way to do this across this direction wouldn't work this way this is why i'm showing you both is i could use mirron weld right so if we use mirror and weld now if i hit mare and weld i get the other side so you can see how easy it is for me to get the other side what i'm going to do is i'm going to right now say you know what let's locally with this l-sim over here let's locally look at this okay and tell zbrush no just don't look at the center of the world to do your mirror and welding look at this part right here okay and so now when i mirror and weld you'll see that edge loop drops dead in the center okay and so what i want reason why i want this okay and i'm actually going to completely uncrease those and i'm going to now say all right i'm going to turn on symmetry and because i'm locally i'm now going to switch back to a single right i'm going to insert a single edge loop now all right and then now i'm going to turn off this poly framing and what i'm going to do is just click an edge loop and watch that those corners see i can make them be a little bit more aggressive there okay and i don't even need now that middle edge loop i just deleted it and then now maybe i'll add a middle one here right just so i get more shape that looks like that okay i want it to have a little bit more in there right okay and then now excuse me excuse me all right i need um this piece right that they have going on in here and now even looking at this and now looking at this from this image i would say this whole thing looking at this also needs to have a little bit of tapering so i'm again going to go to my deformer here right i'm going to drop this down and then do this and then just give it a slight a little bit of taper also this direction a little bit through there right and then now i say with all this tapering i've lost some of the width in this right there's no i've lost that width i would want in this it needs to be a little bit wider in here for sure like you see this gap's now starting to get too big okay and you see this is starting to move away right which i don't want that okay so i'm i can do two things here okay i'm going to show you both i could just literally just unmask right the one side and then just start pulling over right and then now i've got the more of that width that i want maybe in there right a little bit more in there okay or or we could also just use a deformer the extender and then just extend it out right it's up to you which one you want to use and if you only want to move this side then you take this red cone you drop it all the way down and then you're just moving only that side to get it should live about that close to the cockpit right but you see that's adding edge loops and a new polygroup so you got you got to figure out which one you want to do right so i'm going to go with just the gizmo and just refine these this profile a little bit more a little bit more there and i don't think i'm aggressive enough on the tapering at the top right so this part right here i don't think this is aggressive enough okay so i'm gonna make sure all those points right inside here okay our tapering now this is where you've got to understand topology if i go this route this edge loop is going to be a problem right so i'm going to get rid of it for now because the only edge add pieces i want i want these parts to start having a little bit of a taper okay so then again once again i'm on a deformer okay and i'd only this top portion let's go a lot more aggressive i just want a little bit more grass right because i'm looking at this image right now uh wait you guys can't see that that well i'm looking at this image let me resize this down this up right and i'm looking at this line right here that's what i'm looking at okay so i definitely want a little bit more just a little bit more there and in fact i also want the bottom to have a little bit of a tape or two not a lot okay so let's take those bottom vertex points and let's go ahead and just taper those a little bit too okay so i'm going to accept this let's clear our mask we're going to make a new mask and then i'll make a new deformer and then this time i want these points to have just a little bit a little bit there cool okay and i'm going to accept that see if i kind of like what i got here yeah you know what i'm going to go a little bit more aggressive still up here excuse me something stuck in my throat today and i'm just i'm going to go for it i'm just going to go pretty aggressive yeah i'm going to go more in that route okay and then now once again i've lost a little bit of that overall volume again i'm switching from w key to go back and forth between gizmo and the deformer and i'm just going to again just i'm going to move this side a little bit more this way and then i'm going to say there you go i'm happy with that and then there is that intake right for the front of this drop ship um as far as keeping b as far as keeping things aligned i'll when you say 3d studio max and coordinates are you talking about xyz values and position in the world is that what you're talking about if that's what you're trying to let me know and then to your question and making this a little bit a little bit more rounded that's that's because i'm creasing right i could also just get rid of the crease and then see it's going to be more rounded now it's going to have a little bit more rounding to it see so it's a combination of both um right now i'm using some creasing with bevel topology okay and then go from there i don't use shadowbox no as much as i used to especially now that there's also the new masking creation brushes i don't use shadowbox as much as i used to right and so and then if you want to right if if i'm looking i'm assuming your question is you're trying to round this part out you want us to be a champer i didn't want that right so from the get-go i made topology that didn't support that on purpose okay so you could if you wanted to right you got an edge loop going through here so you could mask these edge loops right and then just only those middle ones and then you could just throw a little inflate on these if you wanted to so come down here and just throw a little bit of inflate probably don't need a lot something like that and then now see they'll become a little bit more rounded see there you go in fact i like that better so good call i like that okay so aligning along the axis you do have that in zbrush actually now i think now i think i'm too aggressive with the front like this is what you gotta just you gotta just move on right in some cases so let me accept what we have because i don't know where i left off with the deformer and then let me now i'm i've gotten a little too aggressive i think it's it's too much now for me i said i wanted to go real aggressive i've changed my mind it's too much too too too much okay that's better for me okay um there are coordinates in the sense that you maybe are used to so there's a position slider right here so you can position stuff within the world this way that's the only thing that's and then you can see there's a size slider as well that's it but there'll be no rotation sliders like that what you're asking so you can use these to align along an axis like if i want to zero out my x and my y this is where i could go and do that so then it's only in the z sitting in one spot in the z so that might be what you're looking for and this is in the geometry menu okay so i'll close everything that's in the geometry and then down here the bombing up position and size okay all right so let's continue on i'm going to finish this one off i think i'm going to go a little bit deeper with the blue here so i'm going to q mesh polygroup all i'm going to pull on that but i'm going to use the shift key just make it be a i'm going to go a little bit deeper okay something more like that okay and this is again see i need this rounding that's happening in here right that's because i don't now don't have an edge loop right this in this way right so i've seen a little little more of an edge loop there and then i can put an edge loop there and then now that's giving me what i want inside and then now we need to make this piece right here okay so i'm going to just reuse what we have which this is already here right i already have the these faces here so i might as well just reuse those faces it just makes the most sense to reuse those faces okay um i'm going to okay and again thinking about this this is a great question someone asked if this is going to be a 3d print i got to think about this in a different way okay because this has all got to be watertight right so this probably makes the most sense if i'm going to 3d print this okay is to take this qmesh face and only this face and then just q mesh that up right so then in essence this is that volume that i'm going to use to do this part right here okay because i want this all to print i don't have to worry about little gaps and spacing in there okay if i wasn't doing this as a 3d print and i'm just doing this for something else then i might take a different approach to this okay i might just take this and and this little piece and rip it off and see i have this and then now i can take this and you can see there's that okay so to that person's question it's a great question right in the game world they're going to worry about the same thing kind of in this case scenario with 3d printing they would want probably all this to be one mesh it just makes the most sense in the film world they don't really care right they wouldn't even have in the film world that face there's a face back there they would have delete that face there's no point even keeping that face in some cases in some cases it's going to be better to just use paneling so because i'm going to probably 3d print this at the end i'm going to take this move that up okay to there and then now i need this part so i'm actually going to do this where i rip it off okay i'm changing the polygroup so i'm holding the control key to rip it off and then now i'm tapping the alt while i'm holding control right so you can see this okay in there okay hold on one second hold on one second hold on my daughter's going to uh go with my wife okay so this again is me clicking on this control key and i'm pulling this off that's all i'm doing okay and i want this because i want to get this little ramp thing happening so i'm just going to use this existing topology we'll do this okay and now i want this it needs to live in a certain location here right so this is going to be this piece and this is going to start i'm going to start having this be rounded so i'm going to on mask everything but this piece center it and then i'm going to move it down and i'm going to go a little bit of a rotation i'm going to go i'm going to go 20 i'm going to go 25 degrees okay so now i need this to live i'd say right about there in space a little bit something like this and then because this face and this face are identical they're the same size right everything's the same okay hold on my dogs are now in here okay okay so now i'm actually gonna say let's delete right i'm gonna say delete this face and delete this face okay so i'll turn on display properties okay so you can see that and now what i'm going to do is say edge loop close but let's do a convex hole okay yeah that was wholly the entire team you guys just saw wife child and dogs and i'm gonna say maybe spline let's find out which one's gonna work the best okay and then now i'm gonna say click that edge there's my first edge okay and now i come to this one of these edges up here and then tell it to well might help not i'm sorry bridge not not closed bridge and i want to click here and then to here right and then just get a couple spans right and then this is giving me an arc in there right and then of course you can when you click this and click click this right you have the ability to add more spans play with the arch with those spans if you want to so moving up and down right left to right is changing the arch okay up and down and that is adding more topology and you can even control right so if i'm looking at this edge you can even control where the pivot is right so i can say pivot actually on the clicked edge right so if i click here and then click here right it's using those two points i only need i only need this i only need one right now something like that and i actually now don't need this edge loop right and then now turn that on okay and then this right is missing some topology right right so again this is what i'm doing all this and i'm just making sure when i cue mesh this oh yes we have one thing that's important right when i did this there's all these edge loops in here too so there's more than one face in here actually so i have a little gap here because i'm 3d printing that i'm going to go and adjust this i need to have actually this face be all the way up and i need this face to be all the way up and then now this whoops now that face right so there's actually three faces in here right because when i do this i want to make sure it looks like that okay so then i'm gonna say all right let's redo this part again now cue mesh this off change the polygroup okay i need some volume in order to do the bridging and now again i'm going to center this based upon the mask here so let's center it boom and then let's put a little bit more of an angle on it and now let me just position it where i probably am going to want that to live i'd say maybe i'm going to go a little bit more extreme with the angle this time and then once again we are deleting this edge deleting that edge and then i'm going to bridge and then maybe not spline maybe arcs would be better for this one yeah see the arc is better yeah i'm going to say i'm going to live right about there so there something like that right and then now when i hit the d key for dynamic this is what i'm getting okay and then now i need to go and crease up these edges here right i need these creased right oh and in a matter of fact again i messed up again this is just me being me right i forgot that i need those other three little faces right so i'm going to q-mesh polygroup all and then take make sure i'm taking all three faces right because i need those little slivered ones there too it's gonna happen i'm gonna get this right eventually this is uh sometimes what happens when i'm trying to talk and stream i don't get what i want there we go again man you guys are seeing this enough times you guys are all going to be able to do this you're all going to be just experts right and then now i'm going to say delete this time i'm going to say flat island delete that delete those and then now let's do our handy dandy bridging and then let's do our bridging ah there you go now we've got them there and then now we need to start creasing all this right so i want these edges creased okay so i want those creased all right and here let's i'm going to solo this out so we're just looking at this i want those creased and everything else is creased i say we don't i don't even need this edge loop anymore i'm gonna get rid of that edge loop and then boom now we have this okay we can start seeing what that looks like okay and then i'm going to put slide this now complete edge loop and let's just play with this profile a little bit there okay and then i definitely now need some more edge loop support here okay so i'm going to throw an edge loop in the middle here again i'm going to use the specific so i get an edge loop there i'm going to turn on symmetry now and do a single edge loop and just start buttoning up that a little bit more through there and then there you go right and then you know what it might need that other edge loop i want that that to be a little bit more stronger there and then there you go okay so this is important right so that question was a great question somebody asked and then i'm going to add another edge loop whoops whoops add another edge loop along here just to tighten that inside portion up a little bit more and then we can add another edge loop this way just to tighten that part up a little bit more in there okay but this is where you got to be careful now right you see this line that's starting to show this is why i tend to not go by edgely by edge loops because i added now this edge loop that's also affecting this edge in here right so let me see if i uncrease this if it's giving me there yeah i want a little bit more like that right and honestly maybe we can even get rid of that yeah there we go right so the more edge loops you add the more it's also changing that profile a little bit of what we've made right right so i don't like what that's doing at all so i'm not going to put that edge loop in i'm going to go backwards in there and let's get rid of this one there and get rid of this one so we have something a little bit more like that just a little bit smoother surface in there there we go okay and let me see if i increase that yeah that looks better there and let me crease that edge there and i'm going to just crease that edge there and let's crease make sure these are creased there okay a little more like that and i'm going to add another edge loop here just to refine that shape in there a little bit more and an edge loop in there too there we go okay and then there we have it right and then now all i need is the other side of this right so i'm going to now just go back to our mirror and weld turn off local and mirror and weld it over and there i got both both intakes now all right so let's move on let's look at a different technique and let's do this piece here okay since this piece is in line with these intakes okay so let's move on to that and then now the benefit of me being low polygon is i can still adjust all this stuff right like this is prob this is not right still looking at it right looking at this it's probably going to need to be a little bit different kind of profile in there but i'm not going to touch that until i get the cockpit but it's low polygon so it's super simple to maintain right so this purple piece here is now this piece right here with the red this piece right in here right looking at this looking at that piece there okay so i want to now refine this shape and get this going guadalajara wow thanks for coming okay okay so there's a obviously we can again we got z modeler at our disposal okay so i want to show a different way of looking at this so once again let me look at just this okay we definitely i don't need all of this so i'm going to clip get rid of as much of this as i can so let me just turn on and make sure it's not going too far right so i'm just going to say right about to there okay and then there okay that's good all right and then now i want to take this and make a new piece of geometry okay so the last technique we looked at was using like a cube all right to do this there's going to be other ways to make this work for us okay there's more than one way to clean these up all right so in this case uh i'm just trying to go which one i want to show you guys to go with i'm gonna go with i'm gonna go with let's look at polishing this up a little bit okay and just making it a cleaner surface with what we have here okay so i'm going to now split this off okay so i'm going to do a split here i'm gonna do oh we're i think it already i'm already split off we don't need to okay so this is split off and i'm going to now start assigning other polygroups here okay so the first thing i'm going to do is if i'm going to stick in this dynamesh mode i'm going to turn off this groups let's give it more resolution i'm going to double my resolution here okay i'm just going to just do a little slight smoothing right on this mesh right and i need to turn off because i'm using spotlight as a reference i need to make sure i turn off spotlight projection so that i can get a little bit more that's uh that might be dense enough let's go a little bit more uh let's just double that okay there that's pretty dense that's pretty pretty dense okay and so now what i'm going to do is i'm going to use some trim and some uh maybe even clipping okay so i want to assign polygroups to this okay so i want the bottom to be its own polygroup so the easiest way to do that is with the trim curve right so i can just trim just the bottom of it and you see it just made a new polygroup for me right so now the bottom has its own polygroup okay and then so i want this side here i want let's trim this just a little bit okay and so now that has got a polygroup and again i'm going to have to use mirror and weld so i can get the other side because this brush does not work symmetrically okay and then here i need this to straighten out a little bit there okay perfect and then now here the design actually has a little bit of something like this happening and then doing this right something like this now this is where trim brush is not going to work for me this is why i'm saying this be a combination okay you can see the result i'm getting here this is not the line that i want this is because the trim rush is just closing a hole off that's all it's doing it's we're we're making a slice in essence in your surface so there's the slice right but now it's got this gaping hole so it's just closing the hole off but it's not working the sense like oh i know to go this direction this more of like a bridging look to it it doesn't know that right so what i'm going to do instead is i'm going to switch to the clip curve brush because this brush will allow me and this brush is also symmetrical to do stuff like this right and you can see i'm getting that little lip that's actually in the design the lips not that big right it's probably it's a lot smaller it's something like that more in that world okay now the thing here is i'm trying to do poly grouping poly grouping right so this is all still one polygroup so i'm gonna in essence take care of this by turning on polygroup okay so i am telling the clip brush now when i go to clip every time i clip give me a new polygroup you guys are going to see why the poly grouping is going to become important for me okay and so now i go okay let's put that little again that little lip in here so it's got a little lip that goes there and then double tapping the alt key and then just going down the line and then boom you see i get a new polygroup and then when you dynamesh right all those polygroups right are being maintained and done right so the other thing now is i want to take this new polygroup and now i'm going to switch to slice curve because i want this flat area here to have its own polygroup right so now i have this as my shape and again i'm going to need the mirror and weld because the slice brush is not symmetrical so you can see this is what we have and you can see kind of how rough it is as i'm rotating and now to clean this up and just get this shape to be a little bit more clean okay i'm going to come down here to my deformations and i'm going to do a polish by groups okay and then this is going to start polishing wherever there's poly grouping happening right so wherever you have that poly grouping hab and then for this case i'm going to stick with only this portion having dynamesh on it okay and again i'm going to mirror and weld right and then now polish by groups and everything's going to start getting a little bit cleaned up i'm going to open this circle up right here this little circle and then this is a stronger algorithm right that's happening here now right so i got a little bit of a stronger algorithm happening but if you now look see how clean the surfaces it's nice and clean okay this is and then this is kind of what i'm looking for and i'm going to refine this piece a little bit more let's do this and let's just make this piece come forward a little bit more let's use the clipping for this okay and i'm going to just straighten this out a little bit more like this i'm going to turn off the poly grouping so that this can all come forward a little bit more so that line i want it to be a little bit more straight and then let's polish it again right a little bit of refinement here okay and this started getting rounded on me right so obviously it would have been nice to make a point of interest right here right so this is where i know that person's still here here's a great great example okay of using now let's add a crease a crease through here right so this edge right here in the middle i want to crease so you could do this right and then instead of using polish by groups i'm going to use polish by features okay and you're going to see this is it it's going to start see sharpening right there okay see that so it's creating a sharpness right there because it's now got a creased edge right there right so you have that ability as well okay and i'm going to just refine this i'm going to push this back just a little bit so this is just a way of taking something that already you have and then just start cleaning it up a little bit right and then just use these options to really get what you want and right and see there now i've got a super clean piece from the dynamesh so if we turn off solo you can see what that starts to look like right now you can just stay like this if you want to okay if you want to do something like that all right and then or i can say you know what i wanna it's pretty dense i wanna knock down the density and play with that a little bit so then this is where your z-remesher comes into play okay so now i can come turn off dynamesh z-remesher keep my groups on i'm going to turn down the smoothness i'm going to try it without it i don't think i need it i'm going to be symmetrical right so symmetry is on and 5 000's a lot i'm going to go actually i'm going to see what 500 does so i'm going to put this target count at 500 and then we'll remesh that and see what we get and then obviously this is the beauty of z-remeasure is we can try and do some things and the reason why i'm also going to do this is then it's low low low low polygon i still have as you can see poly grouping here happening so now when i turn on dynamic you can see these edges now get soft for me right right away because it's so low polygon now okay and then now i have that and i want looking at this i think it's a little a little too much softness so let's go ahead and increase by the old pg er so all those points get sharp again and we've got dynamic i you know me i like to put that at four and let's drop our crease level yeah i want something more like that let's see what one looks like i think one might be a little too much for me i think i like two yeah two is working for me okay and then there you go we have something like this happening and then now i'm also switching to z modeler and i'm going to crease this edge here too right because i want that to be a little bit stronger point because that's what it's doing in the concept it has a little bit stronger point there right so i can either crease all of this okay or i just crease really i only need this edge this edge and this edge crease i don't need everything grease and then there's that shape boom done right so that's another way to go about this is just use the existing shapes that i already have right and then now just build upon it and it it starts to come down to what are you doing right and what are you trying to make okay so my next piece i'd probably go to since these are all kind of a relationship piece and i can already see it i got a little bit too aggressive with certain things here the cockpit i don't think is big enough right especially the width of it i don't maybe it is i don't know maybe it's just me so but then that's the next piece i want to create right because i wanna these are all now relationships happening and then the point of me doing that very beginning stage really quick blockout was i've got the relationships pretty good or right from the get-go instead of me sitting here trying to make all these and then oh no now i gotta get the i already can see if it's off a little bit and i can make some adjustments really fast right i think it's just i'm tapering it too much is my problem i think once i now rebuild this it'll be a little bit better and i think i think these are sitting a little i gotta fix those a little bit too and then this definitely needs to be this piece i just made right it needs to be a little bit wider i would say okay it's it's definitely needs to be a lot more wider if i look it comes almost to the end of that right there right and see this is where all the relationships but now that i have already the pieces made up i can start refining things quicker now right so i would probably for me for this one to refine this a little bit i would do again a deformer this time i would 100 make sure there's a midpoint okay because i don't want these to move and i want just these to move and come way more out and then that way more like right there right there quick quick and simple refinement okay and then now move on to the cockpit and you can see that changes now this one so i already know this piece this red one right here this needs to be a little bit wider for sure okay which means this is needing to be a little bit wider which means this is going to need to be a little wider which means this is going to be a little a little bit more wider so there is a waterfall effect right so what i'm going to do is i'm going to take care of this section get this perfect the way it looks then i'm going to come back and then start refining these again really quickly get those reproportions just a little bit more based upon now the clean pieces and then then i can keep doing these workflows in this process okay so for me the cockpit i'm gonna go with for the cockpit i'm going to go with just a cube right looking at this from all these images let me look at this side one so you're going to have some roundness here you've got it we know it's it's got a little bit of tapering in from the cockpit right um so i want to take a look at that from the top and really get my head wrapped around this so let me look at say from this angle it's a slight like it's a little bit smaller here than here right you can see that right there to right there right and i can even use this right so i can even use my transpose line right as a way to even see that relationship so i can do say something like this and say right about there okay so right now from where my image is that's 6.2 we'll just round it up and then and again but this is also an image that's got a little perspective i would say it's a tad bit more there right so it's just a little bit bigger and i can see now this is 6.6 so the one with 6.2 this is about 6.6 so it's not a big adjustment so i kind of now know that in my head i know that that back end is going to have a little bit of a taper to it right so this is where my mind i like to go really quick i reevaluate my images look at these again okay right and make sure i've got really where i need to know where i got to go i take a look at the side again profile take a look at that so we got some roundness here so let's see let's see if i got a good image from the bottom that really supports that yeah i can see so you see there's there's some roundness and even in here this has got this happening right completely different than the top they're not even close remotely the same right so that means for me there's going to be a bottom section that's different than the top section so for me i'm now even looking at this cockpit is two pieces for just the main cockpit i'm not talking about the front this front circular piece i'm talking about from that piece i'm talking from here back i'm not even looking at this i'm looking at back there to here okay so now now that i've looked at this bottom i got this i see there is a pretty solid line of information right here okay and then let me see if this image what i got in there yeah i can see look there's definitely where you've got a plane and all sudden it shifts really fast right so there'll be a little bit of a harsh line there in the lighting right so when lighting hits that you're going to see that transition pretty good right and that's why in here you're starting to get a shadow from the light because there's a pretty strong transition happening right there okay so now i'm looking at this as two pieces because it's going to be easier for me the top parts more boxy look but the bottom part's not the bottom part's more of like a spherical shape more than anything okay dan this dan dan does that's another good name i love it okay um that's a good question any tips on getting used to hard surface modeling faster honestly the only tip i could give you it's the same thing as organic it unfortunately it you got to do you got to just make stuff okay but what i would say is when i try for example when i get somebody that's new in a zbrush and then they're just trying to learn zbrush and also let's add to that element they're just even trying to learn sculpting the number one assignment i give people is all right let's do a human skull right because you can get tons of references and things like that from a human skull but then what i usually challenge the students is okay you only get though 15 minutes to do the skull and that's it right and what that forces you is you start you're you're training your artistic eye to see things that are off and that are on and so that and then i tell them minimum five do five of those so you're looking like an hour session right and if you want to be really aggressive do 10 of them and i guarantee you by the 10th one you'll have almost the entire skull sculpted and it'll look way better it'll look a lot like a skull it's just muscle memory right so with that idea i would say hard surface wise find something simple to sculpt like i'm talking start simple like this swell water bottle is really simple so that you can understand the relationships that happen when you want to get this is pretty straight along here right but you can see it doesn't stay straight it starts moving in this direction and then comes back to straight how are you going to get that profile it's hard to see because of my black shirt right how are you going to get this profile that's right here right that kind of stuff start simple right and then move up to say even something like now a remote control right but this has this particular remote control right profile has some nice slow chamfering happening right here but then on the edges here it's got beveling and that beveling travels all the way around here right and then now how are you going to do the buttons like honestly pick simple objects and just start from that and then i'm telling you you'll start getting things and it'll all start coming together okay so hopefully that helps all right so let's let me now move on to my cockpit here and again now knowing this this is going to be two pieces for me i'm going to now have that mindset right and again i think this is so important this will save you time if you just break down your images again especially as you move along i already know proportionally i'm in pretty good place i'm not perfect but i'm in a pretty good place because of i took the time and the last stream to block this out okay so pro 4210 he he or she is you know bringing up that they use pencil sketches right absolutely i'm with you it's the same thing for drawing that's why for all you that have taken like figurative drawing classes and stuff that was assignments i had like i literally had like sometimes i was like i saw the model for only one minute and i had to just draw i have one minute to draw and then they knock me down to 30 seconds and then knock me down to 15 seconds and then knock me down to 10 seconds right and it's just training that i i think is the hard most difficult part all right so again we're gonna start splitting this off okay um so let's go ahead and split this all right and i'm gonna now call this now the top cockpits oh my caps lock is on ah guys i'm telling you it's important to name stuff as you're going along here it's just gonna make your life easy or top all right and so since i know right here and see i kind of saw that coming right i saw that coming a little bit in the in the design that i have but i'm going to say all right i now can see at the bottom of this this actually and let's go ahead and i'll i'll put up a little bit more resolution now in my dino mesh so we don't need groups now i'm just going to double it so we just get a little bit more i'm going to clip this right along that line right and give me that right so now i'm only looking at this right and then now that's the top part of this and then i'm gonna have another piece and it's all gonna weld together it's gonna go back to being one piece so i can have a nice transition in here but to make this it's going to be easier to just split it in half and halves in two okay so for this particular one i'm gonna go ahead and use a cube so i'm gonna turn off dynamesh now right and this is going to be let's rename this this is going to be this is the concept one all right i'm going to duplicate that okay and there are ways i'll show you guys other things sculpturally that you could just go sculpting this if you wanted to right i'll show them when i get back to these missiles and even other ways to go about this all right so i'm going to hold the shift key and click on that eyeball so the only thing i get is this so that turns off every other sub tool you know what i have not saved this entire time so let's go ahead and make a save and i've turned off autosaves just for streaming purposes okay let's save that up and as you know i'm going to say i got the top cockpit right this one and then i have another one right so i have this one and this one so there's two right so now i'm going to take this one let's rename this back to that and now i'm going to replace this with again a cube and again the benefit to me is i already whoops i already know what size this should be right so it's just a simple again six sided cube i'm just gonna do something like this and then it should come out right about there and then i'm gonna go right about there okay this portion should not be this tall i'm going to go right about there right and then obviously if i'm centering this this should be a little bit i think i'm going to go a little bit wider like that something like that okay and then now i'm going to turn on this and see how close that associate it's a little bit close however i have not yet smoothed this surface that gaps a little bit a little bit there there's a little bit gap there right so that's off a little bit but i'm gonna do this right i gotta smooth it out okay so but before i do that okay let's get again this shape here so the best thing would be is let's take an insert of an edge loop throw that shape right there okay and now you can either do this right to get that shape or you could even if you wanted to you guys could do this okay and then qmesh that out and then now just pull on pull on that face right so i'll need ghost and then see now you've got this now the difference between this is you've now got an edge loop there and you've got an edge loop right there so right so there's two edge loops here at the top now right compared to oops compared to this right workflow you're not doubling up the edge loops there at the top okay so this is all very something to think about i want to say i guess i am a little too wide on that okay so then there is starting to become that top part of this cockpit all right okay so number one i know the back end needs to taper a little bit okay number two i know there needs to be a taper in here right because it needs to have a little bit like that window right so you can see if you were looking straight at this ship you would still see a little bit of the side right just a touch just a little bit okay so let's go and refine this a little bit all right so i'm going to turn on now actually dynamic so we don't need the concept anymore so i'm going to delete that bye bye okay and then now this i definitely want this stuff creased so i'm gonna go geometry and crease and i do a crease and then i'm going to say we don't want this at all the way crease so level 2 again right and then dynamically we're going to divide up 4 so i start to soften this up a little bit just start getting me a little bit more of that shape and i'd say for this right now i'm gonna move the crease level to three just so it keeps a little bit more of that harshness that's in the uh that part of the cockpit okay hi from india wow well i don't even what time is it there okay and then now i know back here right this needs to be tapered just a little bit again it's not a lot okay so i'm going to center this i'm going to make sure i reset this and just taper that just just a little bit in there okay so that gives me that i'm going to now also turn on that other nice clean piece that we've been making which is this part right here okay so that i can see this relationship especially from above i want to see how that looks okay that's looking pretty good okay and then so i need now a taper on this at the top here as well right and just a little bit one just start giving that a little bit of taper there something like that so i got that because i want to be able to see a little bit in here right okay so now i got something like that and i would say that's looking pretty good where we're at right there looking at pretty good there this is going to get blocked okay so i'm looking in here looking at that now let me look at the side let me make this bigger okay so this needs to be fixed because right now i've got that look which is not right at all right so this edge can't be creased so i'm going to uncrease this edge so it becomes round and then now that's not working right now correct either right so then this is where i'm now going to start doing a combination of things and i'm going to look at okay i think it's tough to see i have to see if i can find an image straight on profile but this needs to be maybe a little bit higher but we're going to see once we do this i'm going to come in here and i'm going to add an edge loop so and then see this is the important part so you see this edge loop here let's turn to solo see how it's got an angle like this right and if you guys remember from last time i prefer if i can to have something like this right does that make sense right it'd be better to keep that straight and then now i can slide this right along and then i can play with that roundness that's supposed to happen in the cockpit okay because that's what i'm more wanting some kind of more rounding like that to start happening okay and i feel i think i was right with my this we need to go a lot taller with this right and now i think actually i might be a little too wide and here's what i'm probably going to do next to see if my the width i have here is good or not good right again it's all about relationships for hard surface okay so the most important thing of this particular part of the cockpit is this the windows right and looking at these making sure that i get enough space to put the windows in there okay uh random question from christopher uh but is it possible to combine multiple nanomeshes index into one sub tool uh so you asking like you want to convert like say you have four indexes on one something now you want to make them one no but you could have done that from the beginning so it's a yes no answer in essence all right well let me let me then let me let's go ahead and this is a quick one okay this is a quick tangent okay all right so let me turn these off for now okay so then to answer your question okay and then some people might not even know what nano is right i'm just going to grab let's just grab this shape and let's turn this into a nano nano nano no no no okay and so now when you draw out there's that nano right and you got that nano okay and then if i keep going i can have different nanos so now the nanomesh menu has multiple indexes right so you do have the ability down here right to do one to mesh okay so what is in essence converting each nano into a physical piece of geometry okay but instead of okay doing this right what you've done when i all right and i'm going to now grab another plane and let's change this so that you can visually see what's happening here let's change this to let's go 6 by 6. okay perfect all right i'll make that a polymesh so when i draw that out if you want another one that's on there right 2 okay if i grab this you can see i can add both on the same right so this okay is having right it's got two indexes but they're on the same poly poly so maybe you were trying to do something like this i guess is where i'm guessing maybe why you wanted to ask that question so there is an ability to put multiple nanos on one face if that's where your question's coming from but otherwise no you can't there's no um collapsing of one nano into another and keep it a nano there's only either convert them turn them all into a brush right and then replace nanomesh from the brush so you can swap it out and then either delete or delete that's it and then one of these days i'm going to make a t-shirt called nano nano nano nano nano nano okay so i don't know if that's really clearly answering your question but that's it in essence okay uh back to this back to this okay so let's see we gotta make put that there put that there okay so again i was just talking about the windows are really really really important okay so instead of me sitting here with this nice clean portion of the cockpit that i'm trying to get to make happen and i'll be honest with you i'm gonna have to other do some other refinements here as well okay like i think like for example this is now tapering too much like this portion here right i think it's got it should be a little bit more straight on like that a little bit more right because looking at this it doesn't taper so much from the front okay it's more the tapering is happening back here okay and then i need more topology in here because there needs to be a little bit of some slight like right now this is perfectly flat but he's going to need to be a little bit of some roundness here not a lot just a little bit okay so again before i get into any of that i'm like okay is this piece even working right now do i have the right proportions right now for this okay that's really where my concerns at right now okay so what i'm going to do is i need to start seeing well what do these windows start really looking like okay and i want to see if right out the gate do i have the little bit of proportions where i want them okay so to make that easy for me let's go ahead and duplicate this cockpit so i'm going to turn off the clean one okay and then this one is now going i'm going to rename this okay and i'm going to rename this windows all right and i'm going to now apply the dynamic subdivs okay so now i have actual a lot of topology here okay and i'm going to get a well it's not a lot it's four thousand polygons so i'm gonna divide up some more and more okay because i wanna be a little bit more dense okay and now i gotta look at this and say okay this window does certain things here okay so from the side view you've got a little bit of some angles here okay and then from the front it's just straight across so this is pretty simple okay it's not too crazy and i can already tell you looking at this i'm off right if you look at where this is sitting and looking at that gapping right in there you can see i don't have really a lot of room right here so i already have this off a little bit okay i can already see that that this is off so is it i gotta double check right is it that is off or is it this this piece is off right so i gotta re-look at this and say hmm i think it's this is off this cockpit is off right i don't have it look see this gap right in here that's there's not enough there 100 there's not enough in there okay so i'm going to delete my subdivision levels and use my handy dandy deformer okay so i'm going to deformer and then take these points and this needs to come way out here i'm going to keep going i'm going to say more like in that realm okay which means the profile of what we're getting here so i'm going to accept this and i'm actually going to change this profile a little bit too with these points i want to say it's more like that there right that there that's looking more closer to what we want right and you know what i think i over did the taper a little too much so i'm gonna get this and again this is why i love this deformer i use it all the time let's readjust this taper a little bit just go a little bit wider i think that taper was just a little too aggressive okay now that is great now i want to take this and this is obviously the benefit of if i have an image that lines up perfectly i can do this right so i'm going to now go and say okay this cockpit has from the profile view okay it's got to have some space here okay so then i'm gonna go the windows with my slice curve okay i'm gonna say okay this there's a profile where it rounds and starts to flatten off so that's where about that line should live then i should go right about to there then it has an angle about there and then it comes straight acrop i didn't go straight across though so let me start over i didn't double tap so i'm gonna double tap the alt key let's say right about there double tap that alt key and then it's going to live right about in there and i'd say it does a little bit of this and then a little bit of that right and then there is the profile of the window right and then now i want to look at this and see do i have that profile i think we're pretty good uh let me turn on now that portion there okay so now looking at this there needs to be i'm looking at this view right there's definitely obviously some framing happening here there's some unique framing very unique right so this needs to come from the front i got to make sure that the cut lines actually all coming all the way down to here right all the way down to here actually right so i don't quite have where this needs to be right so yeah this is not coming down far enough at all and this isn't getting big enough so see this gap right in here that's off too okay so you can use slicing this way right but something else that could be helpful for you so you can easily visualize and change things i'm going to go a different route and i can already see this is not long enough i already tell you see i told you this is not long enough this needs to be coming way out more way way way way out more so let's let's actually adjust that because this is way off this isn't even close so because i'm looking at that relationship right now i'm going to adjust this right now so i'm going to go less polygons and then this needs to be way out more like right in here world okay and in fact i'm going to also make this be more like that and then now let me just insert an edge loop there so i'm going to go whoops closer i'm going to put one there and i'm going to put another one right there so then when this smooths out i can use these to add a little bit of that roundness profile that i want yeah it almost looks like that one right there it's got a pretty like the way the light's hitting there it's almost not perfectly round it's almost like this edge right here is completely creased right so that the light hits that differently and then i'd say it needs to be slid way up more like that and then this can be slid way up more like that way up here and then i'm going to crease this one too actually give me more of that and then i need another edge loop again right here okay something more like that that's that's better okay um so that's important to me so back to this now what i can do is go okay in fact looking at this line that i just made here that's about where the window is actually going to line up so that's actually a beneficial thing i'm going to switch to masking this time i'm going to do mass curve okay and i want to mask out this instead so i'm going to say goes right about there okay and then it goes a little bit into this rounded portion so then i'm going to mask out this i'm going to hold the alt key so i on mask right and then it definitely comes across here and i'm going to unmask that oops might help if i use the masking brush okay and i'm going to turn this off so i just start looking at this okay now i definitely need something to come through here right so this line right in here and so now i'm looking at about this gap i need to put a little bit of gap in here from this thing to that so i'm going to say let's go across like this get that angle where i want it it needs to have a little bit more volume like oops i forgot to hold the alt key something like that right and then now i need this so i'm going to now switch to rectangle and i'm going to say it does something right about there well that's a little too much i think i'm looking at this right now this volume okay i need that to be a little bit bigger something around there okay and then now let me go back to the masking curve and i'm going to just refine this angle i forgot hold on i did not double tap right about in there and then unmask right and this is this is this is what i want to start figuring out right now this is helping me figure out the actual size of this cockpit if it's right or if it's not right right so this is my process to start looking at this to start getting this down right and it's it's tough i would say you know what i would say even the cockpit does need to be i think it's a little too wide too we need to be living more in that realm i think that's better right see now we're starting to get that gap back in there again too okay so you could go like this or you could do straight up just make your life easier right and just straight up just masked right with masking pen and then just draw out where you think that is and then refine it it's right about there to right about there and it comes across about there right and it comes across there right and if i turn on lazy mouse i can do this kind of a thing right so that made that line right or instead of doing that backtrack and i can actually do stuff like this right and i'm going to say also let's snap it to the track right so technically you guys can also do stuff like this right and then that's perfectly straight and then this angle needs to go from there and i'm even using those green lines to help me from there and then it goes from there say that's enough to there and then now i go this needs to come down and it needs to go way down here i would say and then now that line gets drawn and then now we have a little bit of a lip right here so just a little one a little bit of a lip there and then now this goes to here right so you can go that route see there that's starting to get closer and closer to where i need it to be okay uh well john there's there's a reason why it's not the track's not on by default because it depends on what you're using right because that feature can be used with multiple brushes right so there's times where you're not gonna want it it's not a track there's been scenarios where i don't want that especially i can use it to do like chamfering with planer brushes and stuff like that or trim dynamics right so this i like to do because i can start now just seeing okay this top part's off a little bit right and i think this is maybe two this needs to be a little bit more open just a little bit right this is just all to help me right and then now that goes to there then that's masked across and then this should be masked across to there right and then now it's just filling it in right now i just fill it in and that'll help me visually also then see everything so this i say i do a lot and again i'm in conversation with you all so it normally goes a lot faster than what we're doing right now um but it helps me visually see the actual cockpit and guess what i'm going to use this piece to actually make the windows so it's all i'm making the windows at the same time as using the windows as a guide to make sure i'm getting the right cockpit size right i think i need to go still a little bit bigger because i'm not getting a good relationship here i don't like that relationship this is not big enough section right here so i think i need more volume here too so i think this this piece still needs to come up just a little bit more oops i got some kind of masking on okay just i don't have enough volume there you know that's better and i still think i need more this way still too i still think i need more like there yeah there you go and then now this is going to need to come way out here more there that's better okay so there you go this process is now just me doing this but i think these things that i'm highlighting to you are very important okay to start figuring out how to all these relationships are working in hard surface right and you know i could have started doing this some of the stuff way earlier okay as we were moving along okay but i didn't but now we're starting to see i'm starting to clean up so this is all stage two for me is about cleaning getting these clean pieces making these clean pieces work right together right making sure everything is correct right this needs to come off a little bit more right they need to come this way more like that all right so see now those relationships are starting to work now and that's what's important to me is this is why again i have a stage three stage two is now just getting these pieces getting the work right look right getting them clean and making sure i have all my proportions right i don't worry about oh i need to make it look cool have all these hinges these scribe lines no forget all that it's just making sure all this is working together and coming together nicely uh is the zebra sculpt off it's for anybody anybody any one of you that want to compete do it you can be a student you can use zbrush you can use zbrushcore you can use zbrushcore mini it's open to anybody it's an open competition again this year so this we obviously have announced the summit you guys have been seeing in the chat and online so the summit is going to be october 23rd through the 26th the sculpt off is going to be the 23rd you must stream to be eligible for prizes and last year we gave away we gave away i want to say around 20 000 worth of items to first through fifth it could even be more than that maybe it was more like 25 000. so we're going gonna be doing that again this year we're gonna be getting some sponsors involved we already have some that are already back on board with us so definitely if i were you if you enjoy that get on there and i would also start practicing streaming right because you're gonna have to stream those three hours that's part of the rules we need to be able to see that you did the piece in those three hours number one and number two we're bouncing around to you all right and trying to pull up as many as we can during our actual stream so sam no we actually give a theme and then you have to just sculpt anything you want from that theme that's it but you can sculpt anything based upon the theme that we give you okay and uh if you go to here let me get the page so i know it's been coming through but let me just grab it anyways so here is the page where you want to go call for artists this is the summit page and then obviously we're going to keep putting stuff on this page for announcements john just do it even if you don't win it's a great challenge to do and you'll learn a lot you want to learn about yourself as an artist a lot of yourself of what you can do in zbrush and it'll push your zbrush for sure and you bring the 80s absolutely absolutely i wish i could just play 80s music and a whole bunch of music during that but okay so there you go there's where you go and you can all you do is just register okay if you don't have a twitch or youtube channel you got to make one of those first because you got to stream either on twitch or youtube but there is a ton of information here for you guys right so besides that don't forget there is we made it put together a whole stream set up for you so you click this link right here right we literally did what you need to do to set up for streaming like a one two three four five thing okay that's it six is just start streaming okay so this will help you understand how to stream if you've never streamed before okay and then all the rules are also on this page okay so you have a link here to the rules contest rules right so you might want to read through those as well um right now we have not announced the theme yet though or what the winnings will be okay but i say go for it like it would be awesome to challenge okay thanks you're doing a look up here all right um so i know this has been a slow process because i just talked too much like i got like three things done um but we'll continue i'll continue working on this um and then we'll continue looking at cleaning this up and refining this and then eventually we'll get into stage three we're putting in the cool details um and then no you cannot use anything but zbrush you have to use zebras it's a zbrush competition so you have to use zbrush so that's why you're allowed to use zbrushcore mini because that's free um and then don't forget we have subscriptions of zbrush you don't have a license you could literally get a subscription just for that contest and you have chances of winning like i said thousands of dollars worth of prizes and our subscription is 39.95 per month or you can do 179.95 for six months for zbrush and then zbrushcore is 179 for lifetime license perpetual license and then it's 9.95 per month not necessarily rodolfo not necessarily she came in second last year but listen you never know there were some really great artists last year that actually came in like third and fourth and they weren't like the known names that you guys are used to watching on this stream you never know you never know what the judges will like and then yes blood guts and glory god you guys have such good names yes this is immediately going to be live on our youtube channel and uh it should be there on our twitch actually too okay all right so please take a time come in and join us for that sculpt off it's a ton of fun trust me that's how i learn even when i do projects if i give myself unlimited time to do the project i learn so much that way too all right so thank you for watching i will continue this model um along these streams we'll get keep going at this drop ship and just darn it i love aliens so i'm not gonna say no that's for sure and i can already see that my cockpit was way off because this piece right here is off see i don't have this this line so i can see i need to now go make this piece actually is the most important piece to go make right now is that piece because that'll help me determine the cockpit length all right so this has just been another exciting wonderful episode of me doing just randomness here right so thank you all for joining i really appreciate it i can see now it's too thin again um come back again and watch us this channel is live every day we've had also daisuke with us from the team so i appreciate everybody taking the time out of their day to come and watch me build a little drop ship from aliens i'm gonna keep moving along with this so hopefully we can get this done and it'll be really cool to see this done i'm just a big fan and then i'm gonna 3d print that out as well put it up in the corner here my office okay so i appreciate you all taking the time it really means a lot to me again this is paul gabry with pixel logic you've been watching stream of how to do hard surface sci-fi ship within zbrush i.e the dropship of aliens one of my all-time favorites all right sign up for that sculpt off have a wonderful day i'm

Channel: Pixologic ZBrush

Views: 5,421

Keywords: Paul Gaboury, aliens movie, sci fi, james cameron, ripley, xenomorph, spaceship, zbrush, zbrush tutorial, zbrush beginner tutorial, pixologic, zbrush free, z brush, sculptris, zbrush live, zbrush download, zbrush core, zbrush trial, zbrush brushes, 3d modeling, digital sculpting, zbrush student, etsy, zbrush character modeling, zbrush character, zbrush sculpting, 3d printing software, 3d modeling software, zbrushcoremini, zbrushcore mini, zbrush mini, figurine, zbrush 2021

Id: Wxp5NZ4NBCI

Length: 142min 31sec (8551 seconds)

Published: Fri Aug 06 2021