Sculpting Organic Jewelry Designs with ZBrush - Nacho Riesco Gostanza

you hello everybody welcome to today's stream let me know in my everything is working fine my voice is sounded good and music is not too loud for you on your side and let's see that everything is working looks like everything is working fine bieber welcome everybody hola hello good evening good night whatever we are a lot of people again i'm very happy with you because i'm calling a lot of people on my streaming so i'm very happy because that means that maybe what i'm doing looks interesting for you so i'm very happy with with you guys that are here watching my stream or considering my streamings interesting and uh welcome welcome and let's see what's uh what we are going to do today so good evening i think i'm going to use better here the chat to see your i'm gonna my the music on my headphones instead of a little bit too loud let me adjust it first okay um leave your questions your suggestions i'm gonna try to pay as more attention as i can on the chats so to read all of your questions so i'm gonna try to answer all of your your questions or you want to learn something different or maybe you can propose and for the next stream a new and different kind of design or something everything under the the concept of jewelry design with zebras and hola facts there okay so let's go so as you saw my oh i guess on my social media pages i publish this picture let me show you because today we are gonna we're gonna start making this kind of uh buttock i don't know how to pronounce this too bad oak or baroque or barroco in spanish so thanks so a time ago i made this ring i'm going to show you how it looks like now in reality because i today and or today i'm for the next stream i'm gonna try to make something similar but uh in my opinion the most alternative thing i'm gonna show you my way of working what i have to do this kind of uh lips bioclips or as patterns filigreens i don't know there are many many different names to call them which are composed mainly by leaves curbs and intricate complex forms so so the jewelry design for today and for the next string is going to be a ring a band ring with a badok leaf pattern what to know how to make scales yeah i think uh fine gender asking want to know how to make a scale i think that you should review i'm gonna show you if you go to youtube you can go to the pixel logic youtube channel you can go to pixel logic and now you can go to the lists you will find mine here and here you will see i was making a this kind of uh this pendant a snake pendant where i was explaining how to make a scale patterns inside of zebras how to make detailable alphas and how to use the process to flow the alphas on the snake's body so i've recommended you to go to the pixel logic channel on youtube and start re-watching or reviewing the the videos so the streamings i made some weeks before okay let me see if we have more questions you are welcome okay so for today i'm gonna we're gonna do this i'm gonna make my i'm gonna make my my camera a little bit bigger let's see how can i do it yes here i am let's make it bigger and i'm going to show you this is the the ring let me see if i'm able to stay on focus almost i was i was making some tests before okay but you i think that you can you can see it whoa okay yeah oh there you go oh my [Music] that's the problem that i have the the blurred set on my camera okay maybe yeah let's see there like this okay you can see that you are you can you can see it right there you go you can see the ring now right it's there so i'm going to i'm going to try to make something different like like this ring so it's a simple band with a scroll pattern so i'm going gonna start with uh i'm going to i'm going to start with the to start setting the finger size i'm going to use the i have here my plug-ins i'm going to use the ring utility plug-in i'm going to start taking measurements from the real from the from the real ring the inner finger size my size is 12 20 millimeters so here i can select millimeters and 20 here 20. the thickness the thickness the thing i don't care about the thickness i'm more worried about the width the width of the band it's uh around 12 millimeter yeah mine this is 11 millimeter or let's make it a little bit wider let's say 12 millimeter here on the width so we can make uh them a base mess for the ring clicking here i have i have here looks this looks doesn't look correct oh yeah because i i selected this is going to be this is the mandrel let me check it out the scale master that's too big so doesn't matter let's change it so let's put here 20. let's click in selecting all now we have this is 20 millimeters okay the ring size and here i have then i have to change the width of the bin now is uh 4.5 i'm gonna turn this off turn this off on let's say 12. so this is going to be the the surface that i'm going to use for i think that i choose the wrong the wrong number here on the on the plugin i'm not sure what i did wrong but doesn't matter now let's fix it now i have here this is the finger size this is the mandrel or the finger size that i'm going to use to start making booleans i don't care about this sub tool about this kind of cubes that the plugin creates about it by default let's delete it and let's put it here at the bottom of the list so this is going to be negative and this is going to be a live boolean so i'm going to create this let's save it uh let's save this so this is the buttock ring for example yeah one ring to rule them all this is the first thing that i'm going to make on my streaming that's the reason why i sell i i choose uh to make a ring because we can talk about the ring sizes and things like this i'm fine burning bright thank you i need to make a crown let's see let me write your question first league even is asking i need to make a crown so i am going to work along with you okay a crown if you have to make a crown i strongly recommend to you to use the right mess feature i'm gonna use it here maybe it's very useful for for make crowns i don't know how to get such measurements okay one bring yeah i you can use the the ring utility plug-in i use it wrong i don't know why let me let me try it again because i select the you can use usi so iso size millimeter so in i am looking for a 20 millimeter internal radius for the for the finger size and then then the thickness of four on width of or for 12 like like hit it like it is now i'm gonna start painting so i don't know what i did wrong because this i'm looking for this is a 12 millimeter 12 millimeters by uh 20 millimeters so i think everything is a long time ago since i don't use this this this this plugin i i better use to you too i'm more used to use this the scale master instead you can start by by um by the extruded cylinder with a scale master you can read here the scales and then you know now that it has 20 millimeters by 20 millimeters by 35.59 millimeter long so i'm going to use this so okay so i'm gonna pin now a plane where's the plane the plane is here so i should rotate it 90 degrees i'm gonna put it on front i'm gonna make him transparent because i like to start making things from the beginning instead of zebras with uh with the final measurements so during the process and then during the process i'm able to start taking measurements to know how thick is something or whole whole thing to know if if i'm going to have enough space to set the necessary stones or it's going to be too thin and it's going to be possible to to break it after casting or after printing so i prefer to during the sculpting process to start checking the measurements that what i am sculpting it's going to work well on the printing and on the casting processes and i recommend to you this for example i'm going to make a leaky business still asking what do what tool for crosstalk i recommend for making crowns for example i'm going to make a quick i'm gonna turn on this i'm going to append i'm going to append the cube for example my new cube i'm going to make it smaller i'm going to squish it a little bit let's rotate it 45 degrees make it like this i'm gonna make a quite simple crown prop right but it's interesting just to grab the concept i think i did something wrong like this now it's a straight like this for example uh let's make it a little bit of rotation in this view so what you you i recommend to you to use the array mesh feature here so clicking on array mess and then you can start making different arrangements so in this case the arrangement that we want is to rotate so if we start rotating you can see that you can start rotating on that any of the each axis and we can start making different copies from the from the from the element but you need to start rotating not from the center of the piece but from the center of the of the 3d space so how to do this is you need to lock the position and reset the the rotation uh point so now we are going to be able to start rotating like this and we cannot put it through uh how much we want to start rotating so this guy has sense to start rotating 30 160 degrees and start making copies and now here you have the crown so you can start replicating the different elements of the ground with this with this feature although yes i can share my interface but it is nothing special a thing is quite okay but i can share it with you if you want so the good thing about the array message for example if we want to change one the the mess from the from there from the master copy or from the original we can you can see that we can we can modify one but at the same time we are modifying all of the others at the same time this is the reason why i told you this is a very good or for example let's grab this with us with a sphere if i put here in a sphere i can start we can start making creating this kind of things with the raymus you are only modifying one but you are replicating the one with a circular arrangement okay kept this array configuration you use save without that set yeah you can save this for example the save this save button you will save uh a file of the with the arraignment with the array settings you were adjusting before this is very useful for example if you have you make different arrangements and it's going to be necessary to use the same arrayman for different designs or for different purposes so it's very useful to save this okay so let's continue with the i'm gonna hide the rest i'm going to excuse me for a moment okay so i'm going to i'm going to use this i found on the internet this is this path i'm going to use this one i found it interesting to explain different parts of the process i'm gonna leave it here just as a reference and i'm gonna let's make it smaller and at the same time i'm going to use the floor with this axis the y-axis i'm going to open here my left tray i'm going to draw i'm going to grab the draw menu a little bit here going to go to dig section left right map one i'm gonna select the same image now i am the wrong axis this is not the axis i need just left right so it's the app down i'm sorry up down and this is the so i'm gonna put the band the other things visible i'm gonna make it transparent adjusting the fill mode enhance vector i like to set this to its maximum value i'm gonna make it less bright for the image i'm gonna make the smaller now here and this is going to be the more or less more or less because during the process maybe i can decide and i want to make it bigger or smaller but this is going to be the maybe a realistic scale for the for the filigree and i want to replicate on the ring band so that's the reason why as i told you before i like to start with the final measurements so during the process i can start start taking measurements so i'm going to save this grid i'm going to save this uh hi from orlando i've been i've been there many years ago nice place she brushes like magic i'm agreeing with you it's like a magic tool but you have the power to make almost everything thank you alvaro to follow me okay so i'm gonna the reason why i place here uh uh plane is because i am gonna start making the scroll the the pattern uh straight so after i i'm going to bend it to [Music] to to adjust it to the band curvature but now as uh as a practice i'm going to show you better or my opinion it's easier to start making this kind of thing completely strict and after you can bend it and adjust it to any of the ring surface in this case a band rings the only thing that we should be you should use is inside of here the gizmo you can use the band arc and once you have we have finished completely finished the the sculpting process we can bend the the baroque thing or the lips and to adjust it to the ring curvature okay so let's go one of the main brushes that i use i'm going to show you some of the processes that i use during during this this called to sculpting these kind of things one of the the main brews that i'm going to use is the curb tube snap brush you can find it here b c you can you will find it where you curve tube snap it's very important that you select this one not the others curve brushes so this one curve tube is net brush i'm gonna start you can check you can see you can start painting curbs or start painting tubes or whatever you can call it tubes or curbs and i'm gonna show you a different way of working with this with this browser my way of working so i'm going to use this brush the c remixer guides the usage of this brush is very different than i'm going to use it now because the purpose of this brush is just to when you are combined with the siri measure just to try to tell to the siri regular algorithm to follow the curve that you can paint with this brush but i'm going to use it will come into a completely different manner so okay so i'm going to start painting curves i'm going to make it this brush a little bit smaller following more or less it's not necessary to to to try to paint the curb exactly the same like the drawing after of course we can start moving or adjusting things so here we have one curve and here i'm gonna paint another curve maybe till here i'm gonna try to avoid to connect one to the other so i'm gonna make it smaller so next one is going to be here for example let's say this one here we have here we have two but i'm going to make only one i can make a duplicate after and in this case i'm gonna start creating a new one here for example no problem tell me you're not you are not late so in this case i think it's going to be enough because i'm gonna split the design into different elements to start playing with the different heights of the design so don't make try to avoid to make it too flat to start try to give it a bit of movement so it's gonna be useful to split it into different parts so i'm gonna make a new curve here i'm gonna give you a a tip or i don't like to say i am giving tips because everything is already invented i just discover different ways of working or different workflows for many of the artists you can find on the internet but a very useful tip for this is for example your hand is not very precise when you are drawing the lines for example let's make uh here uh for example you are trying to make this and you get something like this it's not completely clean or completely precise what you can do is to use the number six from your keyboard the number six i'm gonna start hitting the six from the from my keyboard as you can see you're gonna start relaxing the curbs and you're gonna start getting very profi precise and clean i'm gonna do it and do and you can see now the difference this is there for example this is the this is the starting point i'm gonna start hitting the six again take six six six six six and you can see how you can start relaxing the curve this is very useful all this very useful i'm gonna paint a new one here i'm gonna try to avoid to touch the others like this oh i miss well it doesn't matter i can i can make it making them again so like here and here sickle smooth is moving for curbs yes yes yeah when i found it it's very useful there is another circuit that hits the number eight when you are using uh when you are using for example i'm going to make you a quick as i'm going to try to don't touch this anymore i'm going to grab a sphere for example make a polymesh for example let's select this the curb brush the curved tube snappers and i'm going to start trying to replicate this but you can see it is not exactly the same you can see it as you can it's not you can start hitting the six you can the curb start moving and then to update the mesh to you just to tap again on the curb and you will start getting more and more uh precise or clean curbs another tip is using the number eight i think with the number eight you can or it was the number eight or another number i don't remember which one or the number nine and the number nine you can start um and start making copies from the same curve with the number nine number six and number nine i don't know if there are six already six more numbers which can do different things but the numbers that i use in number six for relaxing the curve and the number nine for store copying the existing curves you are welcome king kaido to see me again thank you i really appreciate that you are watching the game on one of my streams okay so now once we have all of the cursed paint painted with this brush we can now grab the curved tube stuff brush and just touching any of the curves immediately you will get the necessary pieces to start to work with so this is and now i'm going to split them and split a mask point to get them into a different subtool and now we can start playing you can get rid of the curve because the curve is still there you can go to stroke curve functions and click on delete now the curve is gone so we're gonna start working on this and let's see i'm gonna delete this let's save it well we are a lot of people thank you thank you thank you for to being here yeah okay so i'm gonna come back to here i'm gonna turn on my polyframe i already have different polygroups but i have two polyure one poly with one is this one another polygroup is the group of of these tubes and i prefer to have a single polygroup for each piece how to do this is go into the polygroup you can click on auto groups come to groups changing the colors so we have one polygroup two polygroup i can start playing working with that with them separately so okay okay i'm gonna turn this off i'm gonna turn this i think i'm gonna send it to the center first i'm going to send the plane because i think it's going to be better if i send them to the center of the workspace because i'm going to be able to work at both sides with symmetry at the same time working on this side at the same at the same time i'm going to be able to be start to be replicating the same thing i was doing on the back part of the of the design of the of the of the part i'm working so to do this i'm gonna send the i'm gonna send the plane to the center to the zero i think it's already center of the world okay i'm gonna send this as well to the center i'm not good at the moment i'm not going to use the the ring for today i think both now are in the center you want to know where to find these buttons which are i think they are very very useful where you have the ability to send anything to the immediately to the center of the world when of any individual axis or at the three axis at the same time you need to go to let me think where i found it it is in no it is a inside of the macros macros you can open the macros and here you will get the three buttons zero on the x y and z and the other button is center mess to world this is the so this is a very quick way to send anything exactly to the center thank you andre glad to let you like it okay so uh so so i'm gonna i'm gonna split this this is going to be the main this is going to be the main the main form okay i'm going to split this split split split hidden i'm going to start working on this i'm going to start inflating the tips i'm going to start the tips i'm going to creating a new topology i prefer to set this up to zero because i'm looking for as more regular quads as possible let's try to keep the same amount when the series measure and now we can start polishing let's we can inflate it a little bit to make it thicker and now i'm gonna start bending of course as i move it i need to readjust the image again so horizontal here and vertical there okay let's save it again and i'm going to start bending this i'm going to start creating this this shape this kind of shape we have here quite easy to do i'm going to hide the plane let's grab the lasso gonna grab this part invert the mask blur the mask and i prefer to use a transpose instead of the gizmo when i am when i need to use the gizmo for example to get into the gizmo options or start using the many options that the gizmo has i use the gizmo or but uh during the sculpting process i prefer to use most of the times i maybe i can't say always but most of the time i used transpose line and i'm gonna start rotating i'm gonna start mask here so i this is a the position of the the transverse line is going to be very important so i should put the pipe on point here this is going to be very important to start rotating this into this matter rotate let's grab the tip now import the mask put the guess there let's uh blur the max the mask better start rotating and let's start making put this more or less in place the same thing here create a mask blur the mask invert the mask and start with making when we are getting this kind of issue with we are not able to bend the curve exactly like we want the problem is that we we don't have enough polygons so let's make a new mess with a double so let's grab this let's inflate it let's relax this i don't like this topology like this okay so let's make a a new series measure with more polygon let's polish it now now it's better so now repeat it okay remesh polishing mask blur mask inverted max remiss and one thing that i like is to push this out because it's to be a little the same here pretty much inverted mask and let's start rotating this let's make them as repeating the same process siri measure polishing um uh what is the plug-in name with squid plugin are you referring to oh the macro macro the plugin are you are you talking about this about this buttons about how to center the mesh to the world or into different axis for the lines for the line which lines this is the the transpose line this this tool a slaving caliber is a skin do you ever use the spray spiral brush i don't use it because i feel that i don't have control over about what i am doing so what you can do for example s where are you especially here bs you will find it here you make it bigger you're going to start making crazy crazy things but not exactly what you want to start making random things i think it is useful it's very useful for curly hair and other proposes but for for this application it is i think in my opinion is i don't find it useful right there this is not a plugin you're saying about this line you will find this line when you are placing the y you are using the gizmo or you are using the all school transpose line you can do the same i'm going to show you to make many different things with the transpose line okay like this and now i'm going to make this part of it thinner now i'm just smoothing this part this is going to be thinner like this and now let's make it even more thinner maybe i can better to see it more transparent i need more transparency like this so let's adjust it following the original drawing as more as possible i'm not i don't want to make an exact replica on a set copy from the original drawing because after i should adjust it to the ring design but i'm going to use now the move infinity brush well okay what i can do now is to start using symmetry or better i love to use this brush as you know move infinity brush where you're able to touch at the same time when you are touching something on the front you are replicating the same thing at the back using this move infinity brush i'm going to turn on my back face mask and again and start making thicker on some areas like this let's uh try to to adjust it to adjust this than this and this let's use to move with the back face i use a lot the back face for sculpting not only for protecting the backside when you are sculpting thing messes you can do this police press smooth picks to start relaxing this because i have a kind of issue there okay for the swills king kieron do you find this method more accurate than a snake hook and a scott dress um well i think maybe to say is more accurate accurate or not depending on what you are looking for with this method you will get more control so so you you will get more you will get a more precise forms than with the snake hook with the snake hook you are as before you are able to start getting some random things or not too much control things then start uh building your scrolls or your skills or your baroque sleeves with uh with different elements as i am doing now with a clean topology you can noticing that i'm using the polishing features all the time so let's start blocking the main forms okay and i'm going to do now is i'm going to start making a new polygroup yeah control is important because uh you can you have you can see on there the this kind of lips or baroque elements they are very complicated they have a lot of forms a lot of shapes many different layers many different heights on the same design i think in my opinion the only way to control all the heights or all the layers is playing with different elements i know it's just my that's the reason why i select this exercise as the the the thematic of the today's stream so i'm gonna make a new polygroup here you know that you can create the topology mask with the gizmo with the control key you're gonna start dragging you're gonna start moving the the mask and you are able to start moving the mass according to the to the topology i think this is going to be okay if i say now ctrl w maybe we can make it a bigger mess growing mask control w now okay let's grow it two times again yeah ctrl w now i i have two different polygroups 50 design hi i'm fine welcome uh you want to see me hear more i'm streaming every week i think i think it's it's enough so now what i can we can do now is start polishing by feature you can see we are going to start making something things like this but the problem that we have now is just as we are working with a very low mess as we are polishing the the mess we are shrinking the mess at the same time now from this point is going to be it's going to be the time to start creating a new mess i forgot to turn this on to keep in the groups with but with the double amount of polygons like this so now we're gonna start we're gonna start polishing and for example what we can do now we can control tap on this polygroup and we can inflate with that negative now we can start getting more or less the form we are looking for nah i lost no just here so let's bend this again of course at any uh during the not yet because it's too soon because at any point it's going to be necessary to start sculpting and start adding details so one brush that i love to use is the smooth groups brush when you have poly groups you are going to be able to start with smoothing the brush according to the polygroups you already have so let's make this part i'm using now the back face mask okay let's try to make things thicker because what we are doing i'm gonna take measurements here i have here i have at this point i have 1.1 millimeter and here i have on the thinnest part here i am getting 0.5 millimeter this is going to be two thing but this is not a big issue because here i'm going it's going to be necessary to to add more more elements so at the end it's going to be thicker at this point okay so let's follow with another element ctrl w works to merge and separate mess in groups yes ctrl w is to create a new group based on visibility of based on masking with ctrl w okay let's follow with the more elements let's come back to here because it's time to making different things because either one as i always say i don't want to make boring and streaming is what i am doing over and over again the same thing so i prefer to switch and to go to another part of the design let's think it out so like this i'm going to split this let's split the hidden i'm going to use this i'm going to create a new topology with the double amount adapt this size to zero again give me more polygons okay let's start polishing and now i think this should be i'm gonna start smoothing this this one should be a little bit let's send it to the center the gizmo should be higher because this curve goes on top of the other so at this point we are going to start making the layers or the different stairs or different steps so let's put it in place i don't need to backface here start making this this start adjusting how thick it must be and this one goes there this is going to be the front which is where is the front the front is this b is the front so okay back face okay let's make a new new series measure oh i forgot no to turn off the symmetry because if you already have the symmetry on will happen that you will zebras will create a new topology mirror it on the zone on the selected axis i should turn this off first now we can i can follow star making the submission and start polishing and now i'm going to use i'm going to show you a a way of working of the with the transpose line that i use a lot i'm going to use the transpose line i call the gizmo y to switch from the gizmo to the transpose line i'm gonna start dragging the line from for example from this point to this point i'm gonna use now the alt key and this internal red button again i start pulling things or this white or this red so i can it's this is a very cool feature of the transpose line i use it a lot when you are able to start for example i'm gonna make you another example here here on the top i should push out this if i have this if i but i am looking for more something i already have this shape but i am looking for more something like this just creating a small tip following a curve this this curve you can do this with a transpose with the transpose line so from this point to this point use the shift key to drag it completely straight so now with the alky and this you can start okay that's going to be necessary to make a mess first to don't affect the bottom part and there you go you can start bending things and for this kind of uh sculpting designs it's going to be very useful i'm going to make another mask here the mass i'm going to track i'm going to grab now only the tip all key and like this and alt key and like this there you go now we have the shape king kino and is asking do you have to set the scene scale before you can measurement yes you should do this first because i'm gonna hide my top bar here for example you should watch here this part and i need to know how thick is this you can do it you can start taking the measurement with the transpose line from this point to this point i already have i should here one millimeter one point yey here we have for example again from this point to this point i have 1.4 millimeter you can see it here so to read the word millimeter there the first step to take is to go into the scale master and then set the scene first to start working in millimeter inches or centimeters what you want i'm gonna turn on my top ribbon again and you were wondering how to do that it's quite simple i used to measure thickness in wax yeah this is a i like that that you said that because i always uh have been thinking that the the way of working of c brush is exactly the same that the same method that you can follow is sculpted in wax when we are talking about jewelry wax sculpting processes so during the process you are removing wax you are uh using a file to remove parts of the wax you are melting the wax you are removing part of the wax with a knife or what with any other tool uh during the process you are always taking measurements to know how thick is this whole ho ho why is that so this is the same process that we can follow inside of gpros you can start sculpting things and you during the process just start taking measurements during the process of course at the same time that you are uh sculpting you are training your eye so your eyes know that from this point to this point let me shake it again from this point to this point from this point to this point we have a one millimeter this is one millimeter thick from this point to this point this distance is one millimeter so at the same time you are training your eyes that means that when you are working on another completely different area or completely different part of the pro of the design for example here we know that we have less than one millimeter and here we we have we know that we should be around one millimeter here so during this your sculpting experience you are at the same time you are training your eyes so you know that you are making things correct correctly so but if you know you want to know how thick is this or how wide is that to grab the transpose line and start taking measurements that's it okay perfect let's follow so we already have this part here let's make and you'll see a new mess you can see that it's here it's a very good good when you are when you're having a new form and you are creating a new mess the topology is following the new the new shape so so that's the reason why during the process i always start start changing the form and start changing the shapes and going siri messenger and siri messing over and over during the the sculpting process so okay let's come back to here and let's come back here split this one let's uh double with the adapter size to zero more polygons let me see okay i don't need the back face now i'm gonna do it i'm gonna use the same process with the transpose lines to bend the tip with the move and like this with alke now the back face i need the back face with a mask this thing should be a little bit rotated more like this so we are going to start making the layering the layering different steps like this with the back back face again just to make this part a little bit higher to start getting and here what i want is to start we already have this and we want more something like this to start following the curb instead of grabbing any of the existing move brushes i prefer to use the transpose line i'm going to make a mask here blur the mask invert the mask and with the transpose line from this point to this point with the alky and this i'm gonna start moving and bending till there it's time to siri missing okay maybe the curbs more polishing polishing and serie missing during the process yes the transpose tool is very very useful and it's very powerful you can do many many different things a lot of things of course with the gizmo you can do a lot of things as well but with the transpose with the with the tool itself only with it with the line you can do many many different things and this is a very good application of the transpose line settings okay let's let's go now to this because this looks like a bit different so i'm gonna split this split hidden i'm gonna save first i don't use this neck brush i don't barely i barely use it i don't know why this is a burst that i don't use very often the only the most of the time that i use the trunk the snake hook brushes for this for example you already have this i'm going to split this and split a mass point i use one of the main reasons that i use the snake hook is to uh when you need to for example or let's uh i'm gonna fix this like this for example when we are here the the curb ends here okay hands here but i want to extend it a little bit more till here if you use the transverse line this is going to be we should make maybe two movements one moment from this part and another movement then to this this view but with this neck hook you have the ability to use it combined with the alky and now you can start pushing the polygons but following the underneath mess that you have so this is uh this is very useful for example to start making things like this so you are the curve is still there but you don't use it with with the alt key you can start moving it but at the same time you know that you are pulling it in inside of the other mess but you use it combined with the all key you can do this and this is very very useful this neck hook this is the main usage i give to the snake hood alvaro is asking in spanish usually how many designs i make in one day of working maybe in one day i can make one only one maybe only one maybe the designs that i do takes more than one day maybe they can take two days or depending on the complexity maybe three days or one week but the most simple design can take at least one day so i only make one design per per day uh right and david ford is asking can you upset logo series life what do you mean can you offset logo seriously david what do you mean to bro grappler how do you ever use clay polish to sharpen clay polish no this is a clay polish brush i'm sorry the clay the clay polish feature is quite old feature inside of zebras i don't use it i don't use it maybe in strange cases i remember that i already have this this feature but during my daily work i don't use it very often and one day of in seabreast is way faster of course of course this is the okay this is the the never ending conversation about uh digital versus traditional sculpting i don't know that's just one of the best things about the digital sculpting is how fast you can be how productive you can be using a digital tool instead of real tools or working on on a piece of wax i think maybe you can do almost the same things but the key of the process is you are be you are going to be much more faster and at the end the time means money so it's going to be more productive in terms of time and in terms of money i think and logo from top left of the screen yes we can make an alpha we can make a black and white you can you can make a black and white uh for from any logo type and you can convert it into a mask and then you can extrude it for example or if you are you already have the ability or the possibility to to create b i don't know how to pronounce it let me find this inside of the 3d roll text 3d and vertex shapes if you are able to make an sbg file vector file you can import the vector file and you can make a destruction directly importing the vector any of the any vector file on sbt format so the other process is to send it to photoshop to make a black and white for example solid black color for the logo type and white color for the background import it into zebras and convert the alpha into a into a mesh and will be for example i can try to make something with this if i go here for example we already have an alpha here and you go to alpha and you click uh two mesh you will get this an extrusion from an image from a black and white image you want to get rid of the plane and you can do is going to get geometry modified topology move around well in this case in z and you have a start you can of course you're going to start polishing and sculpting the start and make it what you want okay let's come back to this okay i'm gonna grab this because for this i'm going to try to make something different a bit different so let's see remember again let's say double amount turn that off adapt this size always to zero now we have more regular polygons and i'm going to make only this the shape in the middle only this only the shape again for this is going to be very useful the transpose line i'm going to grab this the move infinity brush i'm going to put it in place first here i'm gonna pull it back like this i'm gonna smooth this to make it thinner i think this one should be a little bit longer i'm gonna make a mask again blurred mask inverted mask using the transpose line again okay combination with the alt key the transpose line is it has endless possibilities i'm gonna use this the transpose line again to do this i'm gonna make this part here and i'm going to make the this shape with the transpose line this shape we start from here and we will make that shape with a transpose line so let's make a mess on the tip blur the mask convert the mask transpose line from here to here and we are going to start making like this and like this and now i can transform it serie measure and we already have the shape so the transpose line is very useful because you are able to move all the polygons at the same time that will allow you to make clean shapes so because when you are using a free tool like the move brush you are just using your hand and at any point you are pulling more than other points so you will get less uh clean shapes than with the transpose line where you are able to move all the polygons control at the same time okay well we are even more people now wow thank you again thank you hello i'm really impressed about the amount of people when it comes to the to the live session so we already have this let's fix the curb uh so here maybe i can use this one this is one solid one okay i'm going to put this on place this is going to be here maybe i can just kind of be necessary to bend it let's make a new topology again adaptive size to zero double polishing and now i can bend the tip and and and this should be till till the top and it should be behind this point and this part should be connected with this so i need to mask this blurred mask burn the mask transpose line again i was making this movement with the move with the move option not with the scale over tape only with the move okay this is important so let's pull it out maybe better with the back face okay let's make a new topology like this and uh let's scrap now only the tip with the move again first going till the till here remove the back face i don't need the back face now polishing polishing and remeshing this should be on top connects with this of course you have a regular mess um okay not a regular mess and uniform mess will be better to bend it for any for bending purposes if the polygon is are straight or broken so you are not going to have good results it's going to be necessary to get to have a good topology to be able to start managing the mess when you want to make curbs and on forms okay i'm going to i'm going to make a copy from this one let's make it smaller not that much start polishing because here we have a double shape okay let's continue and then and then i'm gonna i'm gonna create the new because i want to create now this it's necessary to create this shape now and this little shape that we have here here we have our three element shape so if we select this what we can do now is grabbing the curved tube brush again painting a new piece here and a new piece here and the bottom and now we can use now the the move infinitive but with the topological feature active so we are going to be able to only affect to one element without affecting the others this one goes on top on top here and this one goes a little bit smaller goes up on top and this goes behind okay so let's create a new topology and me say sun is asking in it is only one i we have different subtools you have only one for this i'm going to show you the colors here we have 1.1 tool another sub tool another subtool another tool and another tool i have one two three four five sub tools at the moment at any point at some point it's going to be necessary to merge all of them together but at this point where we are just making the composition it's better to work them as a individual element so here i'm going to change the tip with the transpose line again and uh here again with the transpose line transpose line and the alt key the r key is the key is the key is the clue is there is the important part of the process not only the transpose line you can you should use the transpose line in combination with the uh with alky for getting the ability there to start bending things back face i think this part should be bended here don't need a tip i think this this part should be behind and this part should be let me i'm gonna grab only this part blur the mask and this part should be rotate it should be rotated here it goes on top yeah that's the reason why it's better to to work with separated elements when we start making the composition so okay let's create a new mesh i don't like this i don't like the results of the topology here what you can do here is you can use the brush i was using before with this trying to follow the curve again okay um why you don't use liquify instead of transpose liquify liquify liquify the liquify is the liquify option as far as i know let me know if i'm correct liquify you have a liquify option inside of the stroke inside of the cur option you have liquid but but this only works when you are using when you are working with with an active curbs i think i have more control with the transpose because i only want to bend at the at an exact point and an exact quantity with the liquify is a bit crazy to control i think what do you mean i'll click left about the transpose are you talking about the transpose about that shortcut i'll click and left when contreras asking quanto tiempo not zebra how many time i've been using zebras i've been using zebras for 14 years i started using zebras from the version 3 in maybe it was in 2005. or 2000 to 2007 i don't know no 2000 yeah six or five very cool rings but it takes takes uh takes time for to sculpting them so okay so i'm gonna start creating because we already have i think the main shapes in place maybe we're gonna start making some start tweaking things but this is not going to be necessary to replicate the design exactly the same because this is going to be if we go to the scale master for example let me see it scale master scene we are creating this piece is less than five millimeter wide from left to right and less than five millimeter from top to bottom and one point four three millimeter thick this is going to be a very very uh very small so on some areas it's going to be necessary to make to make it thicker or than the original uh reference because if not we're gonna get problems one day on the printing on on the casting but that thing like this is gonna look in good i think i'm gonna add here and an extra tube before jumping to next step i'm gonna add here you know invert i'm gonna remove the masking brush i'm gonna change the topology polishing i'm going to pull this inside because here it has a new step here with this kind of thing at this point i'm gonna merge all of them together okay i'm gonna merge them down so i'm going to select the first one merge merge merge down okay okay okay and okay now we only have one the subtool not gonna push polish everything together i'm gonna create a new mess with the same amount of polygons of everything okay let's polish this polish and this and now i'm gonna uh we're gonna start making we're gonna i'm gonna start adding some thickness because you can see on this is gonna be the front but on the back this is going to be necessary to be something like this of course this is going to be the top the top is okay the top is okay but on the bottom we should have more something like this we should be extruded like this like a block because the ring of the band is going to be here after the bending if we this is going to be the curvature of the of the of the band and this is going to be the the relief should look something more something like this but inside of the band we will get this this part this is going to be the more or less the middle this part should be in the inside of the band to be able to weld the band with the with the relief of the of the leaps so how to do this i'm gonna make now one only one polygroup let's say control w we only have one polygroup did you train uh in traditional lost wax before using zebras no i was using another different completely different techniques i was making uh small figures with uh in clay milliput and use some for maquettes and things like this with a plastic thing miliput epoxy clays and things like this but i never carving wax this is one of the one thing that i have in mind i would love to make it in the future most of the time i use the printer that i use for print my models it's a 3d systems wax injection 3d printer is the the the name of the printer is the project project this is w for wax 2500. when i print this this this ring it was printed on on a project front through the systems wax is fun also hard yet i will not to to make some practice on wax because one thing that i lost is to work with my hands with real things i came from from illustrate from the illustration field so before i started working with zebras i was making paintings or illustration with traditional media like acrylics watercolors and melee with eyebrows and also painting miniatures and things like that but since i discovered uh the the power of the of a computer as an artistical tool first i started with photoshop and now i'm working with zebras i've lost all my all of my manual ability to create things there's one thing that i at some point i should retake it again but as my way of win my life or to earn money is to start to make things with zebras i don't have time to put to start creating uh wax carving by hand but someday so okay so i'm going to use i'm going to make i'm going to correct i'm going to create the back side extrusion for that i'm going to go to the polygroups i'm going to use this feature pop-up group front i'm going to create here and with this feature we're going to we're going to get two different polygroups one on the front and other on the back i'm going to select the back part the back one this is going to be the front this is the front i'm gonna select this ctrl shift and tap here and i'm going to go i'm gonna use this button crisp and i'm gonna create an edge loop you can find this here going into what is it h loop and turning this on crisp and make an h loop and i'm gonna start polishing fist a little bit like this and now i'm gonna put everything visible together and then i'm gonna create a mask based on the polygroup or the backside control tab here and now i'm gonna pull this back and if you want you can use now the the knife brush the new knife brush this is a new feature that i love it inside of ctrl shift you can use the knife curve brush to cut this out and now you have this this is uh this is a problem that we have because they are not have been already booleaned together so and then i'm not going to use this i'm going to use the transpose again so from this to here i'm going to flatten the back part like this okay i think this one should be a little bit deeper and now okay and now we can make a new topology because the topology that we have here looks a bit weird so siri messer keeping the groups let's try to get the double amount of polygons okay that's polishing them and now we have the the starting point to start detailing the the shape and start bending the shape and start using it as a as a main element of the of the thing that we want to create so let's save this uh yes i'm sure in the hands the hands ability because i i feel that i have lost it because when i try to draw something on a paper i i feel that i have lost a lot of a lot of a little hint a lot of feeling with the with uh with the real tools yeah like raining on a bike this is something that you have in your brain that never disappears but you need to you need to get practicing but uh do you have a rule or thumb for balancing the level of detail um the level of detail yeah this is the very big question that that all of us which works with uh digital the detail tool we only have in mind that the things that we are doing is going to be able to be casted or going to be able to be they are going to be cast able to be cast on a printer or or in metal in this case i think there isn't uh a magical rule the best rule i think is a trial and error i think if you you need to test the printer that you are using and for and start making printing tests and start checking what you are doing you are going to start learning about which is going to be able to reproduce and which not so it's just practicing and making tests hi uh more people are coming welcome okay so okay we have uh half an hour left let's follow making things okay from this point from this point what i'm gonna do is to start splitting them again into pieces because i am still thinking that i have more control about we are we want to achieve if i if i have the element separated into different subtool them if i make a boolean of everything together now it's going to be more difficult to clean some shapes so we'll be better to start splitting things but where i'm going to split i'm not going to split the same things as before so let's say for example i think that for example to start getting this form and this forms together will be good one or even this one maybe this one could be the sub tool number one let's see and for example i'm gonna keep this as a separate uh subtool and this this is going to be the subtotal number one and maybe this this is going to be the subtotal number three maybe now we're gonna have three different subtotals um yes it should work i think so let's say use the outer groups again so we have different poly groups so i'm gonna select this one with uh with with with with this one with this one with and with this one this is going to be one one thing so split split hidden and here i'm going to select this one this one and this one has another subtool split hidden so now we are going to start working with one two three sub tools so let's select the first one i'm gonna subdivide the mesh polishing and from this point i prefer to work with dynames so i'm gonna make some adjustments first because now it's time to storming in some adjustments because they are still individual parts like this this is going to be the flow it's going here maybe this now i'm using the moved about topological brush which allows me to touch individual things as individual parts can i make this a step a little bit higher to don't get problem don't have problems with with the dynamesh like this and i'm gonna make this higher i'm gonna put this a little bit try to make this kerp a little bit more parallel okay i think should be enough uh let me ask your questions nice projects thank you former goldsmith yeah i i really like my your the goldsmiths the knowledge that you have i kept practicing julie make into a boy to unlearn everything i have learned in the past yeah yeah it's a good it's a good practice just trying to from time to time to put some time or to don't lose your manual skills yeah google setting up lighting for shadow casting helps at this point i don't understand what you mean spare chuck ghouls ghouls setting up lighting from shadows casting help you're saying for example if we select this to start to start changing the light orientation to start casting shadows depending because to start knowing that the form that you are working you are doing works well or not yes could be a good practice i'm not used to do it but i have seen that many people are doing this when during the sculpting process they change the light to see how the the forms react to the light whole cast the shadows to know that they are making the forms right but this is this is no nothing i don't use it i don't i don't make it very often it's isn't it easier to take that picture on left put it as an alpha and on the layer brush and transfer it from free uh no this is not going to work as an alpha because keep in mind when you are making alphas you are you are working with black and black and whites and in the middle you will get different gray scales values so in this case for example if we grab this as an alpha for example let's do it if i if i grab a plane frame let's make a polymes you are here so let's make the mess a little bit more dense divide one two three four uh five times so we we already have one million e i'm gonna load it this as an alpha import i'm gonna this oh i already have this now i can go to alpha no i can go to masking i'm sorry i can go to the masking mask by alpha and mask by alpha here i have and now if i invert the mask if i create this this is what we get and you can see all the noise we have based on the different values of its pixels from the picture so in this case you can see this compared to this to an to a physical product this is what we are looking for more volumes different heights different layers different details it's not able to do this with an alpha i think or i don't know if i'm not sure if this is what you meant or not hey cat how are you doing thank you very much for being here thank you maybe only if you maybe only if you make the frame full white inside of ourselves but it will be kind of hard after to move different areas into an all axis yes but the problem with an alpha of course maybe you are saying that you can correct like uh i don't know how to say like a shadow or like a template on photoshop then you kind of start importing the different curves uh to create the extrusion but with the extrusion you will get something more something like this starting from from an alpha you will get like a blocks like some different blocks or different so then you will takes more time to start removing the corners to start making a more organic filling to the to the sculpting instead of starting from tubes as i did before but anyway it's just a different way of working maybe it could work for you but i think it should be it works much better with tubes ins instead of extracting from from forms from from alphas or from images okay so let's start sculpting with we have 20 minutes so now from this point i'm looking forward to have a good resolution uh dynamis to work with i'm gonna fix this first instead of using the the dynamesh where i need to decide which is the best resolution i prefer to go to the dynamesh utility i'm for example for this kind of sculpting 1.5 million i think will be enough it's not going to be necessary to have more polygons so now clicking here we will get almost 1.5 million you can see we didn't lost any detail but now everything is well together and the polygroups are still there so now from this point it's time to start merging things so now is the time for this called smooth peaks and smooth valleys let's grab now the smooth valleys and then start melting or welding or fading i don't know how to say this part where do i need more here for example this is going to be a very good example about how to use the smooth valleys press with the smooth valleys we're only smoothing the valleys the depressions so for this it's going to be very handy to start blending things together you can see that you are not destroying the details you are just you you are just filling the gaps between uh two elements or two two volumes sometimes i don't find the right works in english i'm sorry like this and then gary solzheski in the end it is about the sculpting an individual piece of geometry art yes not about copying or drawing yes i know it's tempting to work with alpha massive there is someone yeah many people i don't know if you are thinking what i'm going to say but many people are things that then the alpha is the magic way to create things or it could be the magical way to start creating things if you start thinking if i already have this alpha maybe i can start getting almost the final the sculpting without making almost anything a sculpting on it but in my opinion never works or 90 99 of the cases works so much better to think about which is which could be the best way to sculpt anything from a scratch or like this or using primitives because at the result it's going to be way better than using an alpha and making an institution i don't know if but and most of the time more many people from jewelry from the industry or the jewelers who are using cat soakers things like this so because they try to avoid twist cult as more as possible because maybe they don't have the necessary skills but the alphas of course many cases helps but this is not it is not the magical way to to create things like this even even more like this things just to get a good result or a professional or um a good quality finishing uh i have lost many questions [Music] better gibson hi can you tell me what the drag over software you are using it is a plugin or overlay software this this uh this is the spotlight i'm gonna you go to texture you select the image that you want to load on your canvas you select the image and you click here you will get the image directly on your canvas now you can start using the different icons in this case this one you can click on rotate like a wheel drive so now you're going to start making bigger and smaller and clicking here on the center of the of the circle you can drag it and drop it whenever you want so with the c front of your keyboard you can turn on and off this you can play with the transparency here you can do many many different things it's a very powerful tool inside of zebras it is mainly a texturing tool but i use it for placed uh images on the canvas for reference when i am scolding cat is asking the value of the scrolls in this piece will print and cast well too much detail makes the jewelry piece look dark and it's too much to the scroll will read yeah the scroll i think i'm sure that the scroll will be read perfectly i i was showing before this ring this is the ring i'm gonna make my face bigger i'm sorry it's not necessary to see my face but okay i'm gonna try to maybe unblock the contrast i'm getting you can see here the level of detail i have here on this ring let me show you more detail surface come on oh i'm sorry but now here you go you can see that you can see now here the level of detail that you can achieve here and even this ring has more detail than this one than this scroll it it has more just little small lips i'm going to show you like this uh oh no no okay but i think that you you can see it on the rings and this is a good to be enough for what the the ring doesn't look too too hard or too um too dirty because you are watching a lot of detail tiny detail only in one place i think you are managing well the the stepping on the different layers on the high you are gonna get good lighting reflections on the ring and i think a lot of new jewellers haven't put too much detail yes i don't like to put a lot of detail this is not this is one of my things that i don't like to to populate uh with a lot of the to load with a lot of detail the sculpting the jewelry pieces that i make i prefer to get clean shapes on big reflecting surfaces instead of tiny tiny a lot of details on the surface that's it's just my personal taste yeah when casting the details you lost a lot of details and looks very dark and dirty you know maybe you can't recognize what you are watching because there are many things on on on the surface so the real question is how you are going to flow it around the shank most of the cut people would yeah this is for example i i will use it for example okay let's make a quick example about this i'm going to create a copy of this duplicate i'm going to put the banner top i'm going to shape save a backup this is going to be the for example this is figure out that we already have everything completed completely detailed with all of the necessary sculpting process with that we still need to make but for example let's put it here let's uh send the gizmo to the center click get into the options inside of the gizmo then arc let's bend it like this and we can see that we are distorting a lot the too much to shape let's make it a little bit smaller and now we can start bending the arc like this let's pull this in inside let's cut the transparency maybe she should be bended a little bit more click bend arc again i think i'm looking for 90 degrees here more or less okay this is going to be enough i think like this let's pull this in and now what you can do now is to you can start using the ray mass you can go into a ray mass turn on the ray mass lock the position reset the position to start how did you say uh to flow it around the the surface so let's click rotate and here this is going to be 36 degrees and now you're going to start repeating the form that you want depending on the shape that you are you have to you have to play you can start combining uh once another in the middle then the next one and start playing around with the different elements but this is the idea using the remiss of course here on the top we should have something like this let's make it let's make a duplicate here let's make it bigger to put here some kind of something like this more or less okay i'm just making things fast so for example if we decide if we come back here where are you where are you here and this one is sticks too much from the from the surface we can pull this in back and with the ray mess you kind of start playing with the pattern and you're going to start creating different patterns that's the reason why the key of the process is how to correct the the this element the leaps or the details so once you have the different details you can start playing around with with a different combination of different for example i don't know maybe we can we won't make it we can make it bigger to start intersecting one into the other i don't know the possibilities are endless oh i'm sorry i'm sorry i'm sorry i'm sorry sorry [Music] like this i forgot to to to make the my camera smaller uh let me read more all your comments [Music] okay thank you i got the point even though your faith i'm sorry i'm sure you guys said yeah yeah this is just playing around with the with with the rainbows like this maybe this part just sticks too much from from the surface what i can do is with the transpose line from this to here to here i can make it flatter a little bit more and here we have from the top to till the highest point here we have one millimeter more than enough to cast to print it and cast it i think and here for example i have point six millimeter it's okay for printing and casting so here this is going to be the right place that's the idea to start playing around with the array mass settings uh do you sign your ring in zebras do you have your to account for any shrinkage i'm sorry about the my camera i'm sorry i forgot it to make my camera smaller i forgot i'm sorry it's the first time that i do it then i forgot to say size it down okay uh keane is asking do you slide your ring in zebras the eye size might say i do everything inside of zebras on about the shrinkage uh value depending on the client is telling to me apply this percentage of shrinkage i do it and that's it depending on the curve each client has its own way of working its own processes different printers different casting machines so i apply the shrinkage percentage as my client says how do you place the array mess to be aligned perfectly in the center of the ring i do this this is very that's a very important question because i'm going to make a new copy of this if we go now to the array uh where you here we turn this on and we go to the rotate and we start rotating we are going to start using the center of the sub tool but if we move it we are still we're going to try to put it on place more or less we are still getting the same problem even if we start repeating but the process is to start resetting the center of the of the array so how to do this is you need to lock the position to tell the zebras that you are going to move the mess and you are going to change the pivot point the pi bot rotation point so lock the position and reset the existing position we had before so reset and now we you move it just start rotating but if you start moving it you're gonna start getting what you want now here you have you put 360 degrees here and now you are able to start repeating the things with the ability that you when you are this is the best thing about this is when you are moving one you are touching all of them at the same time because here we it's like we are working on a virtual mode we are not now touching or sculpting real topology it's like working with nanomess or this is a rendering way of working so once we are happy with the results we are getting for example if we put it here this is what we want for example we can now make the mesh and now [Music] yeah okay now you can see that the the settings are gone they are not available anymore and we are started i'm gonna and do it from 1.5 million for one mess till multiplying one mess by i don't know how many i set by seven i will get almost 10 million so be careful with that so don't make the array message too heavy because you are going to multiply it many times so here i am working with 1.5 million because i still need to be sculpting the surface uh okay almost we are almost done for the next week or not the next week next week and i'm not going to be able to to make my stream maybe the week after the next week we will follow making this this spring and started sculpting or trying to show you the different ways to start detailing the the the the scrolls and the patterns to start trying to replicate what we are getting on the front original to start making for example with this with this brush should be necessary to start creating the the different forms like this to start making the forms and this from this point is just a start putting time to start us sculpting and sculpting this for me this is the funny part of the process when i can start when i'm gonna start sculpting things i'm gonna start adding the necessary details like this start adding refining the forms adding more forms more detail still getting the effects that we are looking for like this kind of baroque element okay so like what is the white toolbar that you are using to add notes this one is this is an epic pen i'm gonna you can find it very easily on the net epic pen it's a free application yeah zebra summit um this uh this is going to be uh this yeah it's gonna be this this this weekend it starts at 23 till the 26th i'm going to be there watching the halls summit because i'm sure that there will be interesting things to see and to know what comes in the new version of zebras and many other things i am strongly recommending you to be there watching the the zebra summits zebra summit this weekend like every like every year will be awesome yeah i love it and you can print a 10 millimeter calibration block on the print plastic measure it then determine the percentage of secrets yeah the shrinkage is very it's a very tricky part of the process you you should know it and depending on the kind of metals are you casting you you can have different even different values of shrinkage right so depending on the metal that you are using uh so again thank you very much to all of you who has been here watching my stream hope uh it has been useful or interesting for you i try to to offer different content everything related to jewelry design of course and i hope so i could finish this ring [Music] in the future but from this point it's just going to be just a matter of start detailing and start creating the the main shape of the ring and start talking about the the background maybe other things but it's going to be still interesting i weighed you there on my future and streaming of course i i glad to know that this this is interesting for you because i know i i was making characters monsters and things like that many some years ago i started making monsters like everyone but i for me it's a bit boring boring to continue making monster or making characters all the time but i prefer to talk about more about product or jewelry designs i know what you to perfect on my process i'm glad to know that jeremy catherina thank you so much for yeah this is a relaxing time thank you uh christopher murphy is asking can you talk about to get the proper real-world seasons inches etc of course for example just a quick overview for example i'm thinking about to start making a ring so i start grabbing a a cylinder i converted the polymers i i need to start setting the finger size so i go to the scale master clicking here i decide in which units i'm going to work i'm going to work in millimeters centimeters inches or fits so i select millimeters and now i'm looking forward to create a 20 millimeter cylinder calibrated for the finger size so i it this time it's going to be important to keep this r active so let me put here 20 resize a tool and now i am working with a 20 millimeter cylinder and now from this point i can start putting elements on top and start making my my ring design so the the answer for your question is start using the scale master plugin for setting your your your your as you said real world sizing for your scene okay i prefer to do this at the beginning some people are making this full sculpting till the end and at the end of the process uh they gives the real measurements to the to the to the figure or to the ring or whatever they what's doing they were doing but i prefer to start with real measurement or for from the measurements who my customer is requesting to me from the beginning because during the process i need to start taking measurements and i start knowing that i'm making things properly in terms of thicknesses distances and weights or even weights in jewelry it's very important you know thank you very much uh s peer check and you're gonna practice using the kerberos and i'll transform tool for body control and moving yes will allow you to make it a much more controlled movement or the flow of your designs i think it's going to be better and that's here i've finished up some necklaces and now i need to size them to 3 80. yeah maybe in my future stream we we are talking about once we have the ring completely finished it we're going to make a collection of different sizes for example to try making the finger size to have the same design with what with different sizes we can talk about it on my future and stream yeah the ring master or the ring the new name is ring utility their old name is remastered now the new name is ring utility plug-in it's the same it's a good it's a good starting point you can set the size very easily uh you make the desired size at the end can it cause some kind of distortion no no because you are at the end of the process you you keep the r active as i said before you are going to change the size proportionally so you are going to change one axis and the other two are going to grow and shrink proportionally so it's no distortion i think so thanks for your answer my question you're welcome that would be a super helpful stream idea yeah in the future to try once we get once we have the ring finish it or almost finish it we're going to set it up for different sizes in this case it's going to be very useful because we don't have a stone so the problem is when we are creating designs with the stones so we change the size of the designs and also we are changing the size of the stone so this is a completely different way of working but like this that we are or or even when we are making hollow things or hollow rings we're gonna maybe we can have problems but in this case this is a simple band it's gonna be quite easy to start making different sizes from the same design who do you how you do other numbers to same ring use the scale yeah using the scale we will talk about it on on the next string to start creating different sizes just using this the scale master and start changing [Music] the key the most important sub tool when we are making a a design ring which is the mandrel so we are changing the mandrel size turning this on we are going to be able to change everything together according to the new module size that's the key okay so because i don't want i don't want to waste too much time from from the next streamer because well this is still 10 minutes from front eight so for example now uh let's make it this uh i'm gonna turn i'm gonna use this like this we already have this i am making this ring for me so i said that the mother size is 20 millimeter but if i am looking for the new size of course we need the new the size the measurement so sometimes i used to ask to my client so the client has requested to be three different sizes from the same ring i prefer uh that the customers tells to me the measurements because there are many different criterias as far as i know as i see there are many different criteria about the ring sizes for example if i this is already 20 millimeters but i'm looking for 20.5 millimeter if i keep this active the all button so if i change this the size of the mandrel i will adjust all of these tools at the same time so clicking here everything is growing now we have now we have another finger size which is 20.5 millimeter of course everything is growing so the weights start growing so depending on how many sizes you need and the kind of metal you are casting your design hello what you are teaching for julie it's just also applicable for two yeah it's also applicable for architecture and for product designs many different product designs the scaling the scaling is very important you know when the people like me which are making products my case jewelry or scale figures the scale and the measurements are very important since the beginning of the process it's not just about to start sculpting beautiful things so from the beginning you should know how big is this oh wait in in dually it is heavy it's light the weight this is a very important part of the process so and you are able to do to do that with zebras okay okay so again thank you everybody for being here we have been a lot of people i'm very happy with with that because that means that uh this the streaming that i'm doing looks interesting for the for for for the people so i'm gonna start continuing making more streams in the future next week not maybe in the week after the next week and should be think about it but i will be posted on my social media so have a good day and thank you bye you

Channel: Pixologic ZBrush

Views: 14,659

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Id: VcFNRW4C4ic

Length: 139min 55sec (8395 seconds)

Published: Wed Oct 20 2021