Sculpting Organic Jewelry Designs with ZBrush - Nacho Riesco Gostanza - ZBrush 2022

[Music] [Music] [Music] [Music] [Music] [Music] [Music] hey hello everybody welcome to today's stream so welcome everyone let me know if you can listen my voice today almost the same than on previous stream because now i'm today i'm using a new microphone let me know if everything is working fine on your side and let me know you can listen the music and it is not too loud let me know if my even most important thing my voice is the sound of my voice is good because i am using my new microphone today i hope it sounds better than on previous stream just please let me know and okay thank you very much for being here thank you very much thank you thanks a lot and uh okay you can listen to me that's fine so my voice is good loud and clear so everything is looks like it's it's working fine hey that's okay thank you because yesterday my microphone is new that's the reason why i haven't i have been making some testing before but i don't know how to set up properly the levels here on the on the audio settings from the obs and i hope it's working fine okay because sometimes one thing that i have done some sounds a bit distorts tones a bit of distortion hope today not so if so please let me know so i'm gonna try to be to pay as more attention as possible to the chats to answer all of your questions or your comments about the streaming what i what i am doing today let me know your questions your doubts about any technique i am making or any other technique that you would like to learn or you would like to review or to talk up with me about any aspect of jewelry designs you would like to know to also just drop your comments and questions on the chat okay so it looks like everything is working fine on your site about example okay okay today i'm gonna be is i'm gonna stay focused about the streaming so about about the work and i know that there are big news yesterday but uh i prefer to stay focused about what i'm going to do now because the main reason is because we don't have answers for you or i don't have any answer for you or a special answer for you so any of you who are interested on to know what is happening i try to give you i'm gonna put you the dialect link from the pixel logic website for the official questions on answer page so there you will find that maybe the answers you are looking for okay okay so let's go talking about jewelry design the sculpting and the most important thing try to enjoy the string of today so as i said on my previous stream today i'm going to work on this design what i have in mind is to make it completely manufacturable or to being able to produce it and in a precious metals it's going to be covered most of the body is going to be covered with the stones i have been talking with the stone center and see he was giving to me some guidelines about the stone sizes and things like this and i'm gonna try to retake this design i did some years ago and i'm gonna try to rebuild it not from a scratch but most of the things that are that are already done in my opinion from uh jewelry point of view must to be redo again or refine but today i'm going to start today maybe on the on my future stream i'm going to follow with this design as well and because i would like to make it uh to have a real piece a real jewelry piece from this design i already uh manufactured this if you go to my website here to go to your gallery here it helps you will find some pictures of it you can see here [Music] this this one or this one it is 16 60 millimeter tall from the upper part to the lower uh portion of the design so i'm gonna try to keep it as it is i think it's uh it's a good size 6 60 millimeter maybe we i can try to stay below 60 millimeter maybe 58 no no more by 60 but from my opinion looks good and it works as a pendant it's going to work as a pendant it's not too big for us for a pendant or it could be work uh as a bridge as well so i will i will check it out if i decide to make it a bridge or a pendant the idea that i have is more as a pendant but let's see what comes out [Music] okay so let me read your questions [Music] [Music] did you do the 3d printing wax on the bernard and poor no i outsource all the services my my job is as a digital sculptor mostly for workshop brands and for private uh collector for jewel of jeweler or jewelry so my focus is only on the digital part of the process of course i try to learn as much as i can from the other processes from the 3d printing as you said casting policy and so on because it's very important when you are designing on a screen using a digital tool it's very important to know the process the processes that comes behind what you are doing so the things that you are doing on the screen needs to be solid on a printer casting process and so on all of the processes okay how to make a string of text jones 2 is asking [Music] how to make a string of text or patterns separate polygons to form a surface like test around a coin oh i don't know what to do exactly what you mean about the extreme of text or pattern please let me know please give me more information about it i don't really understand what you are looking for okay let me see if i have lost any questions [Music] okay i'm gonna try to to try to to choose the questions which that are related for of the streaming because i think i know that some of you are already talking or asking about the the news from yesterday but so i gotta try because i'm really worried about the answer your questions about the streaming about the question or your doubt about the techniques that i'm gonna use today so i'm gonna try to pay us more attention to the chat but let's see i'm gonna try to read as much as i can and we know there is a flow along the command option is there a way to sail that flow a lot and mohammed always saying is there a flow alone command to confirm objects is there a way to look like blow along commanding kiss or gizmo i don't know what you're saying maybe you are saying something like this if i grab a plane grab a plane gonna make a polymesh let's add more resolution so maybe what i understand is this blow messes along a path or a longer yes along the path yes let's make so what you can do is using the strokes and curve functions you can frame a mesh along the curve base it on the border basically polygroup or based on creased ages for example if you are gonna paint here a mess something like this you paint a mask you can paint them now you can make a polygroup now ctrl w shortcut or create a new polygon based on the mask portions and you can come back to the stroke and turn off this and this and bring the mess using this option with the polygroups so so then you have here this one so you can grab any of the curved brushes maybe let's see this one i'm just touching the let's make the brush a little bit smaller just touching the curve you will of course you first you need to get rid of your subdivisions first and you will have this this thing or for example if i grab this imm primitives and a sphere and i make uh a curve turn it on curve mode you can start making things like this i don't know if that is the answer of your questions oh a long flow along the path mess yes that's the that's it so you can do this or for example if you are making a ring let's make this a polymes let's add more subdivisions one two three times for example you can for example let's turn on the symmetry here at both sides let's grab for example the lasso tool what you can do now is let's try to create something like this to create to try to make a ring band something similar [Music] you can do this and now you have to the same as before ctrl w [Music] get rid of the subdivisions coming back again to the stroke where functions brain mass and now as i did before we can right here without the symmetry and now you can [Music] for example the thing in this case tubes they are going to work better you can use this or i already have this this brush already made by me to make this kind of things you know why something wrong with the left okay let's see what uh you can see what i am saying you can you can attach a mess of our insert brush to any curve using this this process or this method is all could i make a coca-cola bottle cover what do you mean apple coca-cola butter i don't think what do you want that [Music] okay okay so you have more than one stream yeah okay so this is uh the option that i recommend to you i'm gonna try to repeat it i'll try to do it to make only one path like this ctrl w now i have here let's create a new one polygroup ctrl w i have one button now i can stroke a frame mess and i can blow the stones along the curve like this but this is the this is not the system that i use very often with the gears you can see here you can have some problems when we are talking about the stone setting but we are talking about any completely different thing like this there isn't any problem depending on what you need depending on what you need so you can use this process for many many different things don't forget to use the brain mask options inside of the stroke menu for that so let's come back to the original okay thank you very much jen let me check out the questions okay let's come back but i have a minus just as i said before to start reviewing this um this design i'm gonna check first the measurements and open here my left tray again that's the reason why i have this cube on the back the idea that i have this is the first idea that i have in mind is to to make something like this something similar so the pendant is going to be almost flat on the at the back almost because i don't like the completely vertical cuts on the back so i will try to add it on more organic curves on the back but mostly this is what i want to achieve is the main reason why i want to try to do this is to of course the first reason is going to be for weight saving because as it is now it's to wait for being a pendant you're going to lose a lot of uh you're gonna you need to put a lot of money you are thinking about to cast this in gold because this is big as i said before is 60 millimeter from top to the bottom and uh it's quite heavy like it is now so the idea that i have in mind is to try to make it on the back as flat as possible and another reason why i'm going to turn this off is because this is i'm going to use this as a reference you can see that the cube goes mostly from the top eight till the bottom edge so if i go here by selecting the the cube on the back if i read the measurements now it is 65 millimeter and why here i have 65 millimeter now from this point to this point now it is 65 and i'm gonna try to make it a little bit smaller 60 millimeter because as i said before to try to save as more weight as possible so i'm gonna make it a little bit smaller okay so the only thing that i need to do is selecting the cube coming back to the scale masters set the measurements again now keeping this button active i'm going to change from 65 to 60 i'm gonna change all the measurements according to the to this piece to the subtotal so let's resize everything so zebras will start checking all the subs tools one by one and i'm going to change the whole design from 65 to 60 millimeter [Music] okay alice gomez is saying what are you saying by yeah if you are interested in using my interface my custom interface you can go back again to you can go to my to my website you see natural.com and you go to the resources or you can scroll down here you have a bunch of key shot materials npr filter for example alpha so more stuff and here you can download my my custom interface so this clicking here will redirect you uh to my dropbox download folder so if you are interested on getting my custom interface you can go to my website to the resources section and you will find it here on the bottom okay okay let me see if i have lots any of your comments looks like everything is working fine okay so now we already have 60 millimeter we'll pick it up twice so it's a 60 millimeter from top to bottom and another checking that i'm gonna do or we can do of course i'm gonna i'm gonna need to review or check again all the measurements of the design because now it's five millimeter smaller so from at some points i i will need to change some thicknesses i think so but uh as i said before i'm gonna change almost everything on most of the design i'm gonna rebuild the completely the body the completely the scales so i don't at this moment i'm not very worried about the measurements i'm the main measurement i worry about is the the height of the of the design another thing that i'm going to check if if hoe small needs to be the scales to be able to set one millimeter stones so for that i already have this this is one of my custom brushes i think so you can see what it does i can set so i can insert [Music] the stone sheets or the stones holes or holders what whatever you can call it this is what i do but i did well with this brush and what i'm gonna check is using this plug-in this is a very useful for plug-in for for jewelry design it's an imm draw size where you can set the exact size of your insert brushes for example if i we have in mind to set one millimeter stones maybe i'm gonna set this to 0.9 millimeter clicking here and when you are go you can see the message growing on your surface you press the ctrl key and zebras will make the insertion to the measurement you set here before so this is what i have here is one millimeter for one millimeter of course this is a little bit smaller because when you know most of you who are familiar with the with your design you weather mostly what is when you're working with the stone settings you need to have more metal to be able to set the stone properly on the surface so if we are thinking about to set one millimeter stone a point nine millimeter seat will be will be will be okay maybe one millimeter stone they are going to be very small too small because compared with the compare with the scales as they are now we are going to have a lot of space surrounding each stone maybe we grow the stone from one point from one millimeter to one point two let's say one point one yeah maybe will be better but the information that i have now is uh when i'm gonna make again the scales pattern i'm gonna try to make this scales like this and trying to get here enough space surrounding the stone around this distance should be around 0.3 millimeter so of course the prongs will be here maybe maybe four prongs for each or each uh or it's a stone but the the most important thing here is to don't have the scale [Music] too close to the border of the stone like this i need to be from this point to this point as i said before point three millimeters so it should be a real a little bit wider so this is an information that i have when i design the scale pattern so but at this point this is going to be enough to know which what is the room i have available to set one or 1.2 millimeter stones or a mix of both because the stone center can't change can can be changing the sizes of the stones according to the part of the body so so that this is a this is a word for the for the stone setter so but i need to know that i'm giving to him and not material to set the right stone sizes [Music] uh what following do we have to download for your interface for my interface i the external plugins that i use most of the time related to julia design is the mi imm draw size a kit called metal quotes that is very important to to know the weight of your designs and another plugin that i like to use very often is the dynamesh utility plugin and the precision extract plugin you review my my video after so you can take note of the list so uh precision extract kit called metal quotes i am entering size and dynames utility they for me they are they are the most important plugins on my on my workflow related to dual design so who would you make the glass material for the hands like emeralds reveals sometime maybe you are talking when you are asking about uh keyshot not for not about not about the zebras right [Music] the most uh what i recommend to you [Music] i mean on diamonds and most of the time they start from the default stones material that keyshot has so that's tricky so just making some changes on the values or tweaking them a little bit of the changing the reflection the colors and things like this you know i know that the rendering the stones are it's a very tricky part of the of the process okay so let's follow so now i do i know that i have i already i'm gonna do this okay what i did this is a very cool feature introduced with the latest version that you can for example i made some groups for example the b1 is only the body because i'm going to be able to stay focused only on the body the b2 only says focus it on the arm the b3 on the head b4 on the center of the stone and the b5 is i come back to the whole visibility from everything this is i found this very useful or when you are working with several sub tools this is a good way to organize your work or stay focused about different parts of your job design so i'm gonna start working on the on the body right [Music] and now you are asking about zebras yes i was really asking if you just were going to render the material no i would have what you can do for example sea brass depending on the kind of rendering that you are looking for see brush you know that uh i love to make renders inside of crust because they have the feeling of illustration or one drawing uh controlling renders from my opinion about the kind of render that i use for that i make from front zebras but if you are looking for a hyper realistic or photographic realistic jewelry it's much better to send the piece directly to keyshot here you can see here i have the button here with the connection you know i think that you already know the bridge between keyshot and zebras when you can send your models directly from g brush to keyshot just clicking here this button with that you will find it here render external render you will find it here so when in keyshot you will be able to achieve more realistic renders okay i'm gonna be streaming here for two hours so now it's from the from now till my local time another 6 30 to till the 8th so 1 hour and a half so let's come back to the design so i'm going to start working on the body i'm going to hide this i'm gonna keep the stone visible as i preference this is the stone that i have mined now the measurements of the stones is this is 16 by 16 of course i should talk first to the stone cellar to know which kind of this of a stone they are going to use and which is going to be the size for the stone so this is just a cavito this is going to be a flat on the back this is not a diamond cut or any other gem cut the style stone so this is going to be cabochon i don't know how to pronounce anything this is french or mostly in french or but you know what i'm saying this is the kind of stone that which are that they are flat back and when i love their interface yeah depending up because my interface works on a 22 inches monitor and at hd resolution you your monitor has more resolution or rather less resolution on this bigger smaller my interface will fit different than on my on my online screen how do you use interpolate or stringing out your hands no i didn't try yet the hamstrings what i do what i do is most of the time depending i use a ray mast if you are making circular arrangements as i was explaining on my previous stream when you for example here you have one stone here and you are looking for to make a circular arrangement with that many different stone that rain mess is very useful because i have control with the with the measurements of the stone that it's the most important thing when we are making jewelry but i didn't test it yet the interplay with the stones uh i love pushing renders out from zebras to piss out me too but some materials i can use because of some nerfs issue which kind of nerfs issues are you having i don't know how to export nerves in fro and you know that it is it is not possible to export usa i don't know to export nerps info from zebras this is not good export nerfs in information from zebras is not possible because instead of zebras you are handling you are making them mess so it's not possible to export any nurbs information while you are exporting or it's a it's a mess depending on if you are exporting a mess composed by quads or triangles maybe the behavior inside of a keyshot could be a bit different depending on the kind of finishing you are looking for but working with nerves with zebras is not possible the music is too loud okay make it let me know who it is now some material will give me an error when i sang because it doesn't have yet yeah i don't have that problem because the version that i have of keyshot is the keyshot 4c brass version so i only send information from kisha from zebras to keyshot so i don't work with nerves but yeah it is not possible with to work with nerves and zebras come okay let's fix it okay i was talking about compute thumbnails oh the thumbnail the thumbnail yeah you can you want to get rid because you can you're noticing that i'm not using the thumbnail here you can go to preferences can view and you can turn it on and off here you want i my my default i have it turn it off and you want to see the thumbnail you can turn it on and turn it off here inside of preferences okay and this is the okay i'm gonna select the body i'm going to hide the the arms without arms here i'm going to put an arrow here from here another arrow here and another arrow here i'm gonna hide the arms and i'm going to keep the i'm gonna keep the the body to use it as a preference the problem that i have is the this kind of thing that hits behind this kind of nut that i have on the back part it adds a lot of weight to the design so i'm gonna try to make it a bit different so to correct the the body or to try to design the body i'm going to use c spheres what is the of the application you are using what about what you're asking what is the of the application you are saying this kind of this is an application that i use for explaining to paint things on my screen it's it is called epic pen it's a very useful application or make an explanation that i love to hello to to expl to just plain things with with drawings with lines and with scribbles okay okay i'm gonna append uh let's pin and see a sphere i'm gonna start i'm gonna make it i'm gonna select it first let's go to scale let's make it smaller whoops what happened here like this where are you here here you are so i'm gonna start from the neck try to keep the neck or the head as it is now as much as i can let's make it bigger and let's start making change you know that when you are trying to make a change of c sphere using the shift key you will keep the same size for all of your spheres okay so like this and maybe i'm gonna start grabbing one let's go here you go here you go there maybe i'm gonna try to make here because here i have two two loops you can see here on the body then i am having one loop here goes here goes down goes up again goes down again so maybe what i'm gonna try is to try to make it more simple just to have to make more something like this i'm gonna try to avoid one one loop let's try oh it looks like so let's start grabbing csphere so here let's start reposition the spheres most of the time when i ask god when i create dragons this kind of dragons or the snakes i only always use c spheres to create the base mesh the starting point this is the flexibility that you have with the cs spheres is great when you are designing this kind of things only also with uh when you are designing trees or flowers or branches or designs that has branches or things like this roots cs spheres are very very useful let me think for a moment i'm going to hide the i'm going to hide the body to see because as i said before i don't want to make it completely flat on the back almost flat should be flat to be able to be aware as a pendant another problem that i have is this kind of hair is pointing out too far to the back side maybe it can be produced damage on the chest when you're wearing the the design put here another one yeah i'm gonna try to do that i'm gonna try to remove the hi greg i'm gonna try to remove the coils from the back i'm gonna try to make less coils on the back and why do the skelet reverse halfway down the body i don't know what you mean why do the scale be reversed thank you very much apex theft for most of your names are quite complicated to pronounce as lit for me try to read your names your nicknames i mean so let's see okay let's follow with more see a sphere here so i'm gonna use this back part of the body to be able to hold the the basket or the stone set the stone setting to try to get the contact points or welding points let's make try let's try to follow the tail as it is goes here you know that very well another cool thing about the cs fierce is when you start for example let's try to make the body thinner at the bottom if i instead of change the size of a sphere if i click on the connection i'm going to make them all of them smaller at the same time so the tail the tail goes here here here here i'm gonna try to work a little bit faster to don't be here wasting too much time making the same thing so like this like this so now we can make this things this change a little bit smaller i'm gonna try to make the tip of the tail not so thin because it is too thin now so it can break easily so okay this test idea so let's make it like this let's try to have a good flow or something like this so it's like he the body is holding the stone that's best idea of the of the design it's holding the stone if i hear the visibility with our arms it's gonna work almost the same i'm gonna try to redo this kind of hair strands or ornaments that the body that's because it also they also add a lot of weight to the design i like them but i'm gonna try i'm gonna try to make them more simple not so complicated and so thick because they are adding a lot of weight to the side okay so make it like this yeah welcome from front india good nice place i never been here never been there also it is important to give a strength to the body to try to add some contact points to make it like a string enough or that it is not able to be bended or to be able to break it easily the reason why i like this that the the tails goes behind the body and here we have we're gonna have here a contact point and uh this is going to be the body of course here i have a here i'm gonna have a problem here with this arm maybe if i gonna turn this on because this is going to be still moving things here this is going to be the the piece that it's going to hold the stone i'm going to add another sphere here i'm going to add another sphere here to start refining the curbs okay i gotta think we are gonna still have the same problem because here we i am adding the thickness of the body this part and this part we are making we are making here a double thickness and i think it's not going to be necessary so let's put this here and there to try to reduce as much as possible the weight during the designing process you should have this in mind during the designing process of course during the different steps of the design you can be making different adjustments one of them is to make things hollow when are when is necessary but if you are considering the the weight saving during the designing process the final weight is going to be less because we are going to try to make things as light as possible and the problem that i had with this piece is that it it is it was too complicated for printed too complicated for polishing and too complicated for even for casting i think i'm gonna use this as a base mesh to start to play to start making a a real mess to start playing with brushes of course the all the the cs fierce looks like and we can say that it they can be 50 or maybe 60 of the final result so we are to keep in mind that we are just making a base mess as a starting point so we are not making the things definitive things so keep in mind that so i like i like to make s's and s shapes everywhere as much as i can try to don't make things completely straight from all of the views so i will i'd like to the the the shapes be more like an s like uh than a c for example here i am using for example let's create here another s here here you are watching here the s here i have an s here have another one to double s here same this from this view here i have an s here and here and double or triple s here i think that it adds value to the to the design just leaving things completely straight or or flat okay only your scale the csphere at the end is smaller when you are building your cs4 csv or chain remember that i started from this point and uh below adding different spheres so in the scan mode scale mode for example when you are scaling at this point you are scaling all of the spheres that comes behind the point you are adjusting like this for example if i decide to make the tip a little bit smaller instead of being sculling one by one a single spheres just clicking here and there you're going to be able to add just to make a quick adjustments another thing we can do is make the neck a little bit smaller now here i am sculling the spheres individually like this and the body would be in contact more or less with the arm because i'm gonna try to redesign the arms as well and i'm going to make this because i i'd like to add here there's one thing that i like to use because right as you can see that by default i have the the thumbnail hidden by default would i make it when i am designing things when i start designing something plus i am doing now this is a very important thing part of the process where you are able to see the silhouette of the design and in this case is very important the empty spaces like this ones or even this is going to be very smaller here a hex c this is very smaller one i'm talking about this one but i like to have here two empty spaces it's another tool that you have to save weight when you are designing something try to play with the empty spaces so as more empty spaces you have you will be able to save more material so maybe i think like this maybe what i see here on my silhouette is the thickness here maybe looks too thick compared with this it is not compensated maybe what i can do now is to coming back here it should be more or less like this i'm gonna try to make this a little bit to open this space another tip that i can give your okay we i don't like to talk about tips because they are not mine i learn from everywhere from everywhere and for everyone so i grab the information that i'm looking for so i'm not trying to invent anything but i'd like to make when i'm designing pendants i like to turn on the floor this is a recommendation that i can give you and turn on the axis from the front view that's the vertical axis and the horizontal axis and then you can go now to draw and set the elevation to zero so now we are have now we have to design in two house right so we have uh this is going to be the half number one the number two and the number three and the number four so when i create what i'm designing when we are designing the pendant to try to find a good balance between or from the design what i see here is that i have more distance from the center to this part than from the center to this part maybe this is going to be here this is going to be here i think more or less is compensated more or less and i have this the distance between this point and the lower part of the sign is much longer than this but i like it because it's not going to be any square the dependent is not going to have a square form or proportions so i like this but i try to keep this axis visible when i am designing to try to get a good balance when i am making a uh when i design independent what i can see now is for example if i see here the distance if i compare this point with the same point here more or less here what i see here is here i have an empty space and here we have a lot of things here this is completely here we have a lot of things i think what i'm gonna try to do is try to make this i want to move okay okay you go here and you go there i'm gonna try to make this more like this i'm gonna try to push this in to the left to be able to see to get to try to find a better balance from the rounded body i'm gonna add here another control contact point this contact point is going to be necessary because we have this space the tail i think is going to be very easy to break when you're wearing your pendant and you can you know how to say it when you are uh grabbing this point of the pen of with your clothes for example it's gonna be very easy to break this because this part is going to be too thin that's the reason why it's gonna be necessary to find here a contact point here to to add more strength to this portion to the thinnest part portion of the pendant okay i think i think like this it looks better a snack yeah yes thank you with the caution base be a different method yes the caption is going to be the the the idea is to have everything spirited split into different pieces so the car the cabochon set this the cabochon seat or i don't know who to call it is it's going to be a different metal the body is going to be one methyl maybe the arms is going to be the same metal the tail this kind of hair that it has it should be less complicated as it is now i'm going to try to make it more simple and the head is the horns maybe we're going to try to find a combination of different metals and for that it's going to be necessary to think about how to split it into part and start creating an assembling system between each other also what you can do here is playing with the draw coming back to the draw let's make it a little bit smaller not don't make it so big and you don't want to see the colors because they can be confused when you are rotating your models you can set the field mode to zero so like this and you can play with the tiles like this because i'm just using the the the floor as a reference as i said before just to know that i am making a good proportion when i'm designing the the body yeah key with with different keys yes you're right so i'm gonna save this and i'm going to i'm going to convert the cs fears to polygons i'm going to make this a little bit smaller you know that click in here you can make it smaller or bigger because as my canvas is not too big that's the reason why i prefer to keep this not visible but uh if i keep it visible i'm gonna try to make it as smaller as possible okay let's select this let's go to adaptive skin if we go to preview this is what we are doing take care about this because by default you can see here zebras is making your see a sphere chained into a dynamesh mess that's the reason why i'm having this and this we are merging everything together i don't want to create a dynamess to avoid that so what you can do you should make is set up this value that comes by default with 256 to 0 and now we are going to create a regular polygon mesh so like this and i'm gonna make adaptive skin so when we have the skin done it is going to be here on our toolbox let's append it here you are this is going to be the this is still the c sphere when i'm pressing the a on the keyboard you can see you can come back forward to the mesh or to the c spheres and this is you are pressing here they have the a nothing happens because here now we are working with real polygons the part will be solderers for bracelet or will be oh i'm sorry about the vocabulary with the will depending yes with their well they are going to be i think that they are going to use the laser wielding laser they are going to be welded with uh with laser yes so they're soldered or welded that they means the same right in some cases they're going to use what i'm going to try to when when i am designing the keys the male and female keys i'm going to try to to put a welding point on the mostly on the back to being able to to make non-visible welding points welding is cleaner yeah cleaner it's more or less most mostly the same but a different concept as far as i understand okay so now i am working with uh with real polling what i do now is to try to avoid this kind of corners that we have quite simple to remove going to the your deformation options here you have to start polishing polishing and polishing you can be polishing or relaxing your oops we are having here a problem but we are relaxing the mess here you can see that's better to stay polishing and this is what we have let's turn up the polish and now it's time to start refining the body let's grab for example the move topological i'm gonna start refining here let's make something like this what i'm going to do is i'm going to pin here i'm going to pin uh that cylinder let's rotate 90 degrees from this view let's make it smaller you can see that the stone is exactly in the middle this will helps i'm going to turn this on this is going to the behavior of the desktop tool is going to be as abstraction let's turn like boolean so the reason why i'm doing here is because i'm going to try because if i you can see here the body is placed on top of the this hole so it hasn't sensed to have here this thickness yeah welding is different from soldering well there is probably a stronger bun yeah well you know yeah well you are welding through when you are saying welding baby you are saying more like using when you are fusing two parts together when you are soldering you are using a third material that you are using for make the soldering itself so so this tool will helps me to know when i am working on the with the with the body i can start playing with the body like this and you can see this tool is eating or is subtracting the body that's the reason why i place it there another thing that i have is as i said before i did something like this is as the this part it's going to be put it from the front i think so it's going to be assembled from the front to the back so for that i need to have a space here so i need to remove this portion of the body so during the designing process the light boolean option it's for me it's amazing it's one of my favorite tools inside of zebras i'm gonna make a duplicate of this one i'm gonna make it bigger because it helps a lot when you are designing like this i'm gonna turn this on let's make it but it should be i'm gonna put an arrow here so you can see now what i mean it should has this little space here and here what i'm saying here this is the thickness this is too much push it back let's make the control point this is going to be good for having another control another contact point there let's make things dinner yeah it's a matter to be here playing and playing and trying to find the right shape so maybe this is going to be mostly another thing that i have in mind is the to start thinking about the bail system or the loop system because from where the pendant is going to hang maybe i can use this part of the body to make it higher more like this even i think it gets more an aggressive pose to the to the dragon i think so i'm gonna make this portion a little bit thicker let's grab the inflate brush let's inflate this part only just the beginning of the body and because the hang is gonna end from this point if i turn this on this is another good thing about having the axis visible because to have a good balancing here this the loop is going to be it's going to hang from this point here we have here we have we are going to have here the chain and this is this is the middle so i should be start thinking about where i'm gonna add the hanging point so you can see now it's here and it's grown i need to push it a little bit to the to the left this is another cool thing about using the floor when you are making pendants so it should be more like this it should stay more here like this and then maybe the neck would be more i'm gonna try to grab this and try to bend it more like this okay and another one thing that i'm thinking now is i can use the horn to hide the the the loop here try to make it not invisible but mostly invisible because they can be hidden by the tip of the horn let's i'm gonna let's think about it after when we work on the head and to help find balancing point for the mass of the design zebras hasn't that but an external application that i use but most mostly for make things hollow is mess mixer mesh mixer has balancing tool it can be very useful for for pendants it calculates the the gravity center so the idea the system that it has is it tells you if you are making a figure he is going to be stable so and can be useful just to know the same for pendant side i think so been practicing blight bullion it's so cool thank you yeah live boolean maybe i can say if i can make a list of my favorite uh zebras tools or yeah tools that we have or addition latest edition maybe the live boolean is my favorite let's apply some polishing okay let's see we are we're gonna have here a plot a problem with the with the with the arm but we can make it different so it don't really worry at me at this point because i can make it as i said before i'm gonna try to make it and it's gonna be necessary to change this because as i said before i'm going to need here a contact point i'm going to turn on my z axis because in this case it's going to be useful and i'm going to grab because the hair should be now here there here we are gonna need a contact point i like to keep the contact points behind to make them not visible from the main view from the front view so as much as you can hide the contact points that they will be much difficult to clean when you are polishing the piece so try to keep them not visible from the main view as much as more as much as you can so maybe here let's do here we have we are having here the same problem maybe what i'm saying now is not it's the axis here is not uh straight it is more something like this i should turn this to here to get it completely straight i think so with this change maybe i can improve this part though okay so let's see let's makes uh things all things visible and i'm not going to use the prongs because i think i'm gonna need to make the prongs again so let's delete them let's turn this on the stone and the other things okay so i'm gonna now use the pixel boxes here and let's rotate it like this let's put it to the front rotate it maybe we can rotate it from this view from this point it's going to hang more or something like this you can see how important is to have the axis active when you are watching where is exactly the middle so how much so did i think the head it should be i'm gonna grab the whole head [Music] this should be a little bit more to the front i'm gonna try to redesign the head so maybe like it is now is too big and it has a lot of too much detail i think so so i need to make it more simple or at least try to make it more simple and try to don't lose too much personality from the on the original design okay but here we are okay oh we are still having here the same issue here let's boost this in we said before of course the the back part is going to be important because we are not going to leave that completely flat but not so important at the front view like this let's save this oh okay practicing i'm from spain uh sun trying from spain i'm living from spain i was born in madrid and i'm from spain how do you shrink the tail right there all things shrink the tail shrinks in what i was shrinking the tail here now just uh smoothing using the smooth brush as we are working with a very low resolution mess or very low dense mess at any time you just start smoothing the surface you're going to be able to start it's like yet you are grinding or you are ascending the surface you can see that the effect is too aggressive what you can do is hold in this your shift key pressed so you can reduce the intensity and now you can start reducing with the with more control where you want in this case the body a little bit i'm gonna smooth this part as well this part you can see it's like you are reducing the size but what what really you are doing is you are smoothing the surface right just like a standing effect or polishing effect like this on the best addition for me yeah best relief yeah i i'm still trying to find a good workflow for me when i am making relief i make many many reliefs i make many many many reliefs and i am still i think what i have the minuses to my one of my future streamings to try to use the bus relief option with but with a completely different way because the default way just clicking a button on voila having your relief done i'm not really happy with the result i have it right so so i prefer to be working piece by piece so controlling the thicknesses the distances when you are putting different heights or playing with the different heights of the relief but i'm gonna once i got it more clear i will make kind of streaming about that or to make a relief using the best relief of the new tool may i know it's decimated a compulsory process before three okay if your model is only a few thousand it's not necessary it's not necessary what i am saying is because here here we here you can see here i have three presets i have 75 case 150k is 250k you can find it here inside of your destination master here you have different settings as far as you have more than 250 case it's not it's not going to be necessary to decimate your model you can send it directly to your printer it's not necessary of course the mess should be watertight should be without any kind of issues because talking about the polycount the the kind of vertex verticex or vertex you have it's not going to be necessary to apply a decimation that you have less than two hundred thousand polygons i know you do make many relief yeah now i have to make one because mostly the really that i do is they can make they can be medium or high reliefs when we are talking about the from the lowest point till the maximum height they can be about 5 millimeters or they believe that i have to do two this week they must be 0.5 millimeter thickness so it's just for coins or medals so we're minting so you just you you need more control about your stepping well on your leaves then getting the result just with one click just it's my my personal opinion right uh i bought one of your dual material packages oh thank you very much you bought it is there an atp the word you apply them no i think i know with what material you bought what i have is if you go to my youtube channel i'm here if you go to my you go to my youtube channel here on this video i was applying this kind of oxidized silver effect sending color information from zebras to keyshot and to get different kinds of polishing surfaces so maybe you can this video will help to you to know more about the the settings of them of the materials and again thank you very much for watching do you have any input on the basilic plugin i think that there already exists a plug-in i think i already got it here i i'm not sure so positions maybe i i remove it no already exist one plugin for cnc machining i don't know if you are referring to that one it is a c it is called cnc something plug-in or i don't know i don't remember exactly the name but i i didn't use it too much oh so okay let's okay let's i'm gonna stay i'm gonna leave the body i see this now because the body still needs to be now what i see now so far now it's maybe the head is too big compared with the body but i have lost here i think so one tool here is this one one when you have this okay this is this kind of hair on the top will add more balance here but i am still watching maybe the head too big what i'm gonna do is i'm gonna try to make one test i'm gonna right maybe the head should be a little bit more centered it should be more something like this this has to be a little bit smaller maybe with a different angle nothing like this i think it works better and i think i need to have a better balance here or from the tail it should be more something like this let me compare with the original this is the original the original is more crowded more full of things but here we have okay that's the that's the problem i having here i have i need to add this strand of hair here where are you here it adds balance to the side this this this piece where you here you add more balance so i'm gonna i'm gonna add here this kind of wavy hair here to try to find a better balance between the left and the right helps okay never mind so the body still needs a lot of work so let's jump to another to another thing flames now flames flame now i'm gonna try to keep them more delicate or more elegant instead of apply flames and this kind of things that can be fit more on a motorcycle kind of designs or something that's my my personal opinion uh kenneth who i do the scales are gonna i can i can show you that if you are interested on how to make the skills i can show you we can go ahead and start working on the scales but do i know because you have your tab to pass with the plugin yeah that's a juilliard yeah i have a many dots about it what uh well you know you know i know i know that you know it that the reliefs they are very tricky so uh i think my opinion they even have have more work than a 3d object so you need to put a lot of time sculpting the different elements to play with the different heights to keep them very clean for them for the cnc machine it takes a lot of work so just for just for making sketches or rough ideas what about what you want to move to do maybe it can be very useful but you are looking for better define and finish it uh relief piece you should work more than just being clicking one button that's just my personal opinion but anyway it's still a very good addition a very good tool that kind of can add you a lot of a lot of things uh let me read the questions i know because you just you could pull the tail more to the right also for balance yeah what i do is here i am having another balance problem keep in mind that i said on the my previous stream i'm gonna apply here a hinge i'm gonna put here a mobile part because when you are wearing the the pendant this part could be a little bit uncomfortable so i'm gonna put here a kind of hinge here i'm gonna study i'm gonna study the system here i'm gonna cut this i'm gonna put here kind of kind of hinge so where the tail can swivel uh front and back so to allow to try to avoid this kind of issue so but for me it looks balanced till now so okay i need to be thinking more about it but i prefer to live things that they are on a start talking about completely different thing because we can be completely blocked during the whole string pulling or pushing parts of the body yeah thank you very much there you go but i try to be a good one i'm just being trying to be yeah balance weight yeah balance weight is going to be very important it's going to be but i'm now just talking about the balance speed of the design i'm gonna try to put the same weight at both sides so that's the reason why maybe i have to add here the kind of element here this is a kind of thin or kind of the curly hair that the dragon has the chinese dragon hat so the i think that's the reason why i add this this thing of course this should be a little bit thinner and i think about it it's going to be necessary to add stones here or not i don't know i still to think of a lot of things what printer do you recommend or have experience with printing metal parts well most of my design are printed on a wax printer they are much much more expensive than the resin ones they have better resolution and less problems during the testing processes you have normally go for those pods casting those metal printers are so expensive yeah was casting yeah the best thing is that one of my best friends has have one so it's not too expensive for me you know but that they i think they provide a better quality for julie or find julie you know what i mean so when you are adding would you try to get as more close as possible what you are having on the screen and on your hand in my opinion the wax printers are the best option for for jewelry designs okay you know what okay let's talk about the scales if you want this is still i we still have 30 minutes the system that i use to make the scales yes i'm gonna use this it's a process of uv mapping so you are already familiar with uh with uv mapping so you need to make a completely process first we need to make the uv mapping of the mass and then once we have the uv coordinates we can apply a seamless or a tileable scale pattern to the surface how do you feel about the fact that the channel almost using yeah i think it's gonna still be existing don't don't think about it congratulations okay well let's see what happened but i really trust that it's going to follow existing uh put in a halter loop is there a better tool than mess mixer did you try to balance your skull for putting up how to look uh i know as far as i know no because it is i think that the best tool is yours experience you are able to make a printing test or first before go ahead to the final model that will works will helps a lot because you can grab it on your hand and you can see what works for what doesn't and that kind of thing that i think most of those things are based on the experience so about trial and error when you're making something wrong you'll learn what you have done uh bad so at the next time you're gonna try to apply that knowledge to your next design but as many other things there the the the magical tools don't exist it's just a matter of being learning during your designing or your your your learning process or your i don't find it work now your professional career i'm sorry okay let's talk about the let's make a fast and quick overview about how to make the scales on the body or how to drop how to make a scale texture on the body there is a company in uk switzerland that prints out in real gold yeah i know i think for more traditional for simple jewelry as far as i know because they show you very intricate designs with a lot of filigrees and things like that but at this moment i don't really trust on that technology yet or or maybe we can say 70 of the design that you can make of jewelry it they are not going to be able to print directly in gold but i don't know it's like uh they uses a license i don't know how to say it in english synthetizing or synthetizing when you are having the the original material in this powder and the laser and start melting the the little dots or the little particles of powder and start making a solid a solid material but the surface is too rough and it still needs to be polished a lot to try to get a shiny surface or a high quality surface so at the end i think i don't know if it's really works or not i have a mannequin yeah it's a good idea or hanging a 3d pins on a skill balance yes a real you can you can find many one of yeah this is another another good tip greg what you can do is to download it you can see on an internet you can find many many different uh scanned persons where you can grab this kind of information from the real person and you can put the you can compare you can put this your your pendant on the chest and you can see how it works compare comparing the different scales or balancing yeah that's a good it's a good tip sintering center yeah yes yeah sls technology gold powder yeah they can do gold but the surface is not good the technology is far away yeah i'm agreeing with you i agree it's still this quality surface is too rough i think they should be working a lot to get good results so let's go to the let's make two different polygroups now you can see we have many different polygroups each of the polygroups is based on each segment from each subtool i'm going to create that one only one polygroup control w and i'm going to use the gizmo and the ctrl key to start to drag in a mask you can do this or you can do this an even easier way you can go to polygroup this is going to be very easy because as it is it is a pendant we are going to put all the scales on the front and at the back we are going to put it is going to be mostly flat or we are going to apply another different texture on the on the back or not okay let's see so let's go to polygroups i'm just clicking on group front we're gonna grab we're gonna have now two different groups one based on the on the front and another one based on the back i'm going to do okay i'm gonna make it more dense first because i i it's better to work with more polygons let's apply one subdivision more and now coming back to the root front now here this is what we get of course we are having this kind of um jacket agent h is not completely perfect but now it's time to make a new mess going to serie measure keeping the groups i prefer to for example let's say let's try to have a new mess with the same amount of polygons and for me this is very important to set up the data size from 50 to zero to try to get as more regular quads as possible and now click on siri measure and now we have this and a straight line exactly in the border of both uh polygroups we it is not completely strict what you can do is start polishing by features like this you can see that the the mess reacts very fast because we are we are still working with a very low resolution mess you can use this or you can use the smooth groups you can start smoothing only the border just try to make it more strict where is necessary to apply tension we can now i'm gonna i'm gonna make a new flight a little bit and let's make a new mess again with the same like this like put the half like this now now we have two different polygrips right right now i know it's really expensive right now yeah also this the technology is also very very expensive got a goal yeah yeah that's a good idea uh it's a good idea this is a one that the industry already makes so when your things this this is called gold plated or gold to i don't know sometimes words and consciousness comes to my mind in spanish and it's difficult to find the translation to english but already exists that person where you have a core of another material mostly resin or plastic and you cover it with uh with a metal not a precious metal of course mostly with silver inflated yeah it's different than gold plating because when we are talking about plating we are talking about very thin coating on the surface now i don't remember the name but my brain was working that today okay so now i'm going to create a new polygroup here on the tip i like to make this just a personal preference i'm going to create a mask masking hold at the tip this is going to be the beginning of the neck ctrl w it's like having two two caps one at the end of the body and another one at the end of the body one on the neck and another one on the tail the tail should be a little bit smaller let's grab this polygons um better than grabbing the polynomial like this what we can do is using this slice curve we can slice the mesh like this and we can group u and u ctrl w we have we have this so we have one two three four polygroups right now the two caps and the front view the front polygroup and the back polygroup now it's time to go to the uv master plugin gold feel it call feel it that's the name in english yeah it could be the one center is asking what city we want to scale on the back of the dragon yeah we are gonna i'm gonna we're gonna put as you can see here my the original the original has the scales on the front and this kind of lines on the back but i'm gonna try to make it more simple to try because i don't i don't going to be so worried about the details on the back so but in the back we still need to put anything or to try to add some design in element but i still think about it but i'm just making a quick example about how to how to apply the scale pattern because what i like about the original design is because the the the dragon of the body is like he is twisted and you can see he is twisted here when the scales here is on the back and the lines is on the front i think this gives even more value to the design i will try to replicate the same concept here but for today to don't be here wasting too much time with this because the most important part is the process of the uv mapping on how to apply the seamless tester to the surface let's stay here but for example if i want to make something like this what we can do okay let's see let's do it let's smooth we can do here we have two polygroups let's come back to the original and do do and do and do here so let's grab this polygroup control and tap here controlling bird mask the only thing that you can do is i'm going to first i'm going to hide this part i'm gonna hide in this part ctrl tap here invert the mask and this is just a matter of a manual painting so with the mask pen what we can do is to this is going to let me think this is going to be a scales so we should remove the masking here maybe from this point to here okay so this should be let's start painting with the mask pen the masket portion it's going to be it's going to be the scale pattern right let's follow so it should turn to the back let's turns to the back like this i should be painting here here here and still here right and here we are having this portion this let's hide this a little bit because having the tip it's not able to paint very well okay like this so same process as before oh i made something okay i need to coming back invert the visibility i need to to grab this portion when mask too okay like this okay so once we have this same concept as before ctrl w now we have one polygroup is this one another polygroup is this is going to be the scales and this is going to be the back part so again making a new mesh let's click on double and now we have you can see now you have the twisted portion okay what you could you can make uh you can we can grab more polygons here for example with the sea modeler let's grab in here more rows more portion of the mess i mean holding the alt key so it's like you are painting like this of course now we need to regroup you this polygraph and this polygroup ctrl w and now we have the right distribution i think so so let's make a zero measure now and now we have now you can see here we have the the right the distribution of the polygroups yeah here's none of my branch stuff the cavity map you can you can use the cavity map i think you can use it you can make it with the multi-map exporter maps here you can create the cavity of course to be able to being able to use to support the cavity first you need to create a uv mapping first okay let's do it quickly let's create here okay this is going to be the cup one cup and here we are going to have control w another cup okay and let's save match my cavity then transfer into bullet paint yes there are many ways so let's go to the uv master okay before we do that let's apply some more subdivisions one two three four times now we have less than 2 million this is going to be more than enough i think so now what you can do now is you can improve or you can tweak things so now let's go to work on clone to make a clone let's grab the mess keeping the polygroups very important to keep this option active done so flatten the mess now we have four different islands this one should be a little bit more strict like this what i like to do is to try to make it more straight to try to get the a good flow of the of the scales let's make it more or less like this try to keep it as more straight as possible it's not necessary to make it 100 straight but try to keep it as more strict as possible like this just tweaking because i don't know if i am adjusting the right volume let's click on flatten now i was tweaking the wrong one lighting again because the the polygroup that we want to get good result is this one so you go saving processing try to put it straight in bird mask that's the bad thing about makes things quick okay let's leave it like this so i'm flatten copy the uvs from the clone coming back to to the original and paste eubs so now we already have uv maps uv coordinates i'm going to do now is the system that i use to apply the scales to the body is the surface noise go into the surface noise click on noise this small window will pop up if only might have two thousand years can you check it out okay so i'm gonna use one of the default noise plugs that zebra has of course now it's time to change from 3d to uv you can get into the noise plug and for example you can grab the scales what i do is click ok click okay come on okay okay so now i change from white to black to see better the noise i remove the basic noise to zero and i kind of start playing with the noise plug-in so and there you go here we have this kit so let's make it smaller let's say 2.02 0.015 0.013 okay one good thing about this is you can get in you can start getting to the edit options and for example you're gonna start playing with this i'm gonna remove the base i'm gonna make the h thicker you can see this kind of noises are parametric so you can touch many different settings or what you can do you can import your own custom alpha i'm gonna select one of my alphas let me make a quick search on my local hard drive they must be here so here here and here okay i'm gonna turn the noise block this one and i'm gonna change now the alpha and this is what we have this is too small to let's put 2.03 okay let's go 0.025 0.0 25 okay so now as we are having two different polygroups just try to isolate this one on the other what i like this before i apply the noise i like to shrink it a little bit i applied the shrink kick now i apply the noise i convert the noise into a mask clicking here mask by noise and now you can apply you can start inflating positive or negative i'm gonna apply a negative value in this case come on dude now i'm using the ctrl key with this and this is what we have what do you mean about the lick the link what kind of link are you talking about so this is the way that i'm gonna use the to apply you can go to one of my previous streams for what is see in the scaling for example when you are let's undo it we have the mask you grab the gizmo and here instead of the yellow square in the middle you can see that c versus tells to you that in scale x y and z you can scale it doesn't work but you use the control key in combination of this central yellow square you can inflate it so now this works better depending on if you are using this or you are doing this also you can use this inside of the deformations here you will find the inflate you can apply positive or negative for example youth one of the new features that i love as well for this is very useful for when we are talking about 3d printing so for example we can figure out that we are applying an inflate value like this we remove the mask and we are noticing we are still thinking that this is not going to be enough for the 3d printing so we are going to lose a lot of detail so what we can do is going to adjust last what and let's just go in here where it was before applying the the deformation here control tap and now you can adjust the strength if you want you can do this or another older version other method before you start making any deformation store your morph target so let's go to more target store more target and now you you can apply inflate like you're not happy so you can apply more with all of the visibility you can apply more strength or less most of the time what i do is i create two different models one for rendering and another one for 3d printing so of course most of the time the models for 3d printing don't look good for rendering purposes because the details are too bold on the surface but i prefer to keep a model with the softer details on the surface for just for the renderings and this is the process that i follow what scale uh yes uh it is not possible depending on uh johan he's asking why it doesn't escape from the center yes because the only way to escalate from the center because here you can what you can do let's make it again we we have this let's convert visibility let's apply a mask now so if we send the gizmo to the center and we try to we can do it because the the object is not homogeneous it's not it's it it hasn't same size in to all of the directions so that's the reason why it's not possible to to change the size from the center of the object it is possible to change the size from the center as it is now but the result is not the same the best thing is like putting air from the inside is that the reason why we call it to inflate is when we're inflating from the inside to the outside that's the reason why i use inflate instead of scale you can see now you can get a regular deformation here okay yeah one model for printing and another one for rendering let's see it when you like to make renders because you don't care about renders go ahead with your with your predictive models and and that's it so and on the back i still need to think about it what i'm gonna do what i have in mind is i'm gonna reduce because now what we have here the shape of the body is like uh mostly like a tube it is more or less like a tube is completely tubular like this and i maybe will be better to try to avoid even more weight go from here more or less more something like this so i'm gonna try to remove this this part of the material to try to remove more weight and even to add more design to the to the body because now looks like a tube of of something so it doesn't look good i think so but what you can do now is let's reduce the amount of polygons i'm gonna isolate this volley group ctrl shift and tap let's shrink it one too many times like this one more time let's apply a mask make everything visible again blur the mask invert the mask and now you can you can put you can use the inflate like this let's store the board target first let's come back to our more target deformation in flight negative this and here looks good i think so in this part of the body but when the body becomes thinner doesn't look good because that's the reason why i store them more of target first so i can grab my more brush and i can retake the original shape on the parts i don't want to apply the deformation gonna get rid this one like this let's smooth it let's reduce the intensity something like this let's open up like this invert the mask and let's apply some polishing polish police police by feature and now i have this kind of shape that we are going to save more weight but again i still need to think more about it because not the idea because but that i can see that it don't really works on some areas some in some areas yes some other areas not okay i still need to think to give it a round more about the body because i'm not very happy with the results but okay i just did it for to explain to you what is the the scales application uh workflow okay let's undo it let's come back to the original let me back me back right at here i will start again from this point to start thinking about what which is going to be the final the final body and just for okay so now it's time to live so i will continue working on this i will try to put more time if i have free time or during my streamings let's see because i would like to tell you more things about for example how to use the stager the stagers it's a very cool feature for the head ahead and i should be start thinking about the stone settings and many many different things but we have been talking about design concepts uh how to create a base mesh for a snake or for a dragon like this we have been talking about how to use the live boolean during the designing process hope had been useful for for you leave your comments on the video you want to still be here watching this design or just start watching completely different things and because what i try is to try to explain as more things as possible during my streaming so my begin in my beginnings i were trying to start from one to start to try to make one design from the beginning till the end and in this stream on the stream from the past week i was trying just to be explaining different concepts on different techniques so maybe next year i will come back again to give you an example and we are going to try to develop this kind of design from the beginning until they are covering the whole process but i don't know so let me know if you prefer to be here talking more about the designing process of the dragon or we can change to anything completely different so so let's try to make this more this kind of a streaming size more comparative as possible okay so if you would like to visit my website you already know when new one you already see it new one okay come back okay let's throw this away and let's start a new one so i i'm as i said before i was thinking about the story again start talking again about reliefs using the new bass relief tool okay so because we are still thinking as i said before or to use property the new best relief option for example to start making things like this and pin come here cube this is a let's stretch it out a little bit let's make it bigger let's subdivide it let's grab this and project pass relief reject mass relief to using this this feature okay so you would like to visit my i already sent you my website this is uh riscott.com uh here inside of the tutorials you will see this is they are direct links to my youtube channel or to my zebra's live previous streamings and you are interested on reviewing or watching watch time again you can visit that you want my instagram my instagram is here my ins my name under instagram is cultural that means digital is culture fifth the detail is captured 15 here you will see a sample of my work you can contact me through here i will be glad to help you as much as i can and again thank you very much for being here watching my stream hope it has been useful for you interesting at least so i will see you next year so in 2022 so i hope you wish you the best for all of you for the next year happy new year happy holidays and keep sculpting and that's the this is going to be the most important thing so keep sculpting and don't worry about anything so we are going to still loving zebras next year i'm sure so stay safe and happy new year for everyone so see you there next year i will post my next uh streaming i don't know at this moment i'm not sure when it's going to be but i will post it on my social media and you will see it on the calendar on the on the pixel logic website you know where i where to find me so thank you very much take care and see you next year bye to everyone do do you

Channel: Pixologic ZBrush

Views: 3,920

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Id: GrMT5kmLNQA

Length: 134min 47sec (8087 seconds)

Published: Wed Dec 15 2021