T.S. Wittelsbach - Sculpting, Printing & ZBrush 4R8 - Episode 3

you all right you hello and people hear me I think I'm streaming so as I'm streaming I'm still in an ad I'm getting an output on my mic can anyone tell me if you can hear me hello is everyone can anyone hear me because it shows I'm getting sound am i getting sound you you I'm not seeing anything in the chat room that is there something over one of my windows here this is why we start early have oh there we go okay great sorry I had to slide my window there was nothing showing up there hi Kyle hi everyone yeah I the whole streaming thing I'm still working on it all right we're a little early still yeah how is everyone doing this evening hello wall trim procuring balance all right so I was watching a documentary on Nietzsche earlier that saw some really lovely architectural things so we're gonna make a drop earring based on an architectural element and then that way I can show you some fast block up how to use reference images and the such mm-hmm all right now we're getting close yeah well mostly you all right okay I guess we have five minutes to Kyle should I wait until it's actually proper time starting early is that a bad thing okay picture so I did the same you know picture viewer is not the best thing in the world all right I think we're real close so as such on a documentary earlier and I saw some really wonderful architecture and I really wanted to kind of show you how to Boop's that wasn't it so you have to take something from a reference image and then yeah it's awesome so what I do I use a program called mistress and we'll just slide this down to zero transparency and so we're gonna take a really quick reference and not necessarily copy it but use it as a reference and see what we come up with here so let's go to something we can see through and we'll just say okay we like this we like this little guy returns what do we have here let's bring this something in there like that you and then we'll do a double there there we go only is that will reinforce the arrow these a comeback in [Music] those and that would be the beginning of our drop let's see if we can squeeze another crossover in here you is are you having a problem with are we having issues are we not coming up you anyway you I can see myself streaming you okay so now we'll determine sort of crossovers so we have we'll do a quick change of color here this will be our foundation and then we'll just switch colors and we'll say and this will cross over in front there and cross over in front there this will do that we'll see if we do that okay so that's pretty close to our base inspiration now we'll come over here and turn this all the way up so see through it and really that's about all the decisions we're gonna make in here I think we can say this comes around under up as in so that's kind of over under under over there we go so and let's rotate this around so that sort of up and down and so that's sort of a foundational basis for our block up and so that way we've taken an architectural element and very quickly turned it into something that we can use as a foundational block up now this exports out as OB Jason STL's but I'm just gonna show you a quickie thing here in ZBrush we could do the same thing see-through we can then if let's say you're having import issues or something like that you can literally just hide your screen a little let's see the see-through and then when you come over to menus it comes back out when you get back here see so you can pick your brushes and the such so now we're going to go w-will turn this into a cube scale could be an issue here let's zoom out and then we'll just make this and we're only going to do one side for right now get see-through so we can analyze our square a little here I just want this to be well we could go ahead and make it too and did both sides at the same time as we really want it to Pollak you get this okay so that's only one block so that's fine and so now we'll zoom that out let's get our c3 back on I get this roughly where we want it for our Center right till so you can see it a little and now we'll go to see modular and we're just gonna drag this all the way down and then when I give it at this all right so that's pretty close and let us then start inserting some geometry here go here insert let me have that on insert single edge because we want to be able to slide around so we're going to have a line there probably line there these are gonna we'll start that in there with another there and another there alright so now we have a rough line for our block up we're going to tilt this out a little so we can get to it we're just going to queue mesh this out and I tend to like to just generate some geometry and then attack it sort of as I use the move points infinite XYZ and then I can come in and just drag these around and get us some simple base geometry excuse me and as you can see I'm not being super persnickety because this is only a form reference I wasn't going to be super exacting about it so let's get our base shape in and you can see I sort of chose that pink back there as my base arrow form and we're just gonna kind of slide it around here until we get it where we want we'll prepare that to link up to it unless they're not going to join that a little bit closer and there we go now I can come back out get it roughly back to where we want it like I said this is just going to be a base shape reference so I'm not being worried about what's happening here as far as exactitude that's our sort of base shape and then we will let's say this will come off of it so we're gonna insert the line here we're gonna drag these out pull this up and now that becomes the foundation for the next geometry now I find just doing an easy flipped extrude you can pull this out and it does not connect to the layer below it right we're just gonna pull this out to here and now you can see we got a little out of scale but once again I'm not too stressed about that and we'll just drag this and pull this out over here and now back to mesh and just pop a few of these out and that is going to come around and just sort of let's fill this guy up so we don't move that underneath so that becomes that part and that's going to fade down into that so I'm not stressing about that and then we're going to pull one of these guys out and see how you know let's go back from Caesar and I know that you can adjust the snapping and stuff but I find it just so much easier to go extrude pool there's no wanting to hop to the other side so get that sort of in there and we'll just pull a few of these out stop yeah this is the modeler and then we'll slide this back to see-through and so we know that it's coming out right around this square so I'm just going to go back from see-through come to the bottom side here and just sort of pull this out over here because this is where we want to why that and then I'll just start sliding these around to kind of get rough geometry where I want it at this point I'm not worrying about the over-and-under because we'll deal with that in a bit we're just trying to get our base geometries in place all right so there we go this will all kind of come down Shh I'll start with that later and there that's getting to the top let's come back to c3 so now we have roughly those two shapes and now this one we want to come off the center but let's go ahead and insert sorry insert boom and we wanted we have the masking on we don't want that insert we want it to be a little more in half alright wrong place we need to insert here sorry guys insert a little higher than half and once again flip it over bring it down see-through of course you can just attach this as an image behind but sometimes you just you have something there you don't want to import a this is just a really quick different way of getting this geometry in so we're roughly here right yeah and I like I said if we just use cue mash see it'll are we on cue mesh oh no we're not straight so there we go and now just grab two let's come down I get a little quicky on this brushes sometimes we have this here we know that it's coming out down here a little so we're just gonna grab a corner pull it out have a corner pull it out I'll drag it down like that see through back on just to get our proportions right or close you know I'm not too you alright now let's extrude this well I don't give it sir little all right and so there that's the basics and now let's just pull this out a couple more times and but I don't see through and it's gone so now we're just gonna bring this up and make a ball end here you these time so that's fairly close to our base block up right and then we're going to continue to work on this in a half right now so let's grab move type of topological only have to click to turn those dynamics off still grab these and kind of just tuck this up push that down on tuck this up down under and around for some reason it's tagging everybody but that's okay and then this is going to come up and over and kind of be a swirl on this side so now we have this since we did that double side we have this double thickness here let's get rid of some of these huh zmodeler Shh go back to kamesh and just punch that out grab isn't gonna let me grab that from that guess we'll punch that out and then we'll come over here and punch this out and then that'll be a transition area so we've roughly have a quick block up and you can see I really I try not to spend a lot of time a block up unless unless there's a good reason sometimes you know if it's logos or things like that where things really need to good morning good afternoon well there we go and now we'll insert here just to kind of get geometry eat level or geometry fairly be for I start dividing I want my geometry to be fairly even and so we'll come in here we're probably going to switch into dinah meshing pretty quick with this one but all right so there okay so we have our rough arrow shape for those who came in we're kind of taking this as an inspiration and I sort of played with some of this I think we might actually use a return here that I don't have yet but there we go so now we're here yeah come on all righty let's throw an insert down the center of this just so we're pseudo close alright so now I guess start dividing so now have a little bit more geometry but we still are low enough that we can use move top a lot sorry we can still use move topological without it choking out too hard as you can see it's all pretty good we're going to let's grab move elastic and let's give this a nice curved form and this is gonna allow it to hang nicely because we're gonna make a dangle earring out of it some contrapposto is always nice don't particularly like it in that direction so let's see what it looks like back here normally you want your little points to point forward so someone doesn't get their throat cut while they're trying to when you're trying to when you're wearing things you don't necessarily want points pointed towards the body obviously because that is problematic in many ways so I actually think that this should come from above here so we have a nice crossover we're gonna fill some of this and I want this to come down once again so we have these crossovers and stuff are creating dynamic surface transitions and you know that's what we want that's the beauty of this program is it allows us to do wonderful things like sculpt as opposed to cat so we'll get that down so let's pull this up let's get this really down and maybe that'll give us room friend a little transitional crossover here you then stuff out thicken it up yeah I think we can do it let's get this down let's hide this right now and let's get move this up and over that part look at this coming down and under there we go because it's interesting going on here and that starts our right so now we have this nice contrapposto form look at this going out and that's gonna come up and around and I tell my students a lot and when I talk I always talk about it and it's you know staying loose in your block up gives you once again you you don't necessarily have it gives you the freedom to change your expectations of your part and say oh well this would be much more dynamic if it were going over and under as opposed to just under and so don't be afraid to move stuff around at this point in experiment because you can always go back you know that's what we have on before let's see okay and that is just under I'd like a transition there but I'm just not seeing it happening so let's show par look at what we have here yeah let us go ahead and do a smooth topological is still let's get this down let's pull that up a little more it's just that right so now that gives us that and you can smooth and take it and inflate and be inflate in the whole shebang so we have everything going on let's kick this around a bit all right okay so we have a little bit activity going on let's get these curves kind of be a little bit more appealing let's pull this down and okay a little more room stretch the point down a bit and now we're gonna see how far we are you'll move things around while we were sets of I think we're missing something down here in the point but we'll get around to that all right so yeah I think that's far enough for where we're gone all right so at this point dynamesh is always relative to the size of the environment or the size of the part within the environment so you never know when you dynamesh a quick check on what size we're dealing with here update size ratio says 76 by 251 by 29 so this is huge for an earring so we're gonna grab W Center I'm gonna just drag this down update size ratio 11 mil by 38 by 4 that's a little bit more realistic I think we're going to even go down a touch more sighs ratio okay so that means we're gonna wind up with something that's yeah all right we'll stay there for now all right so you can always keep working in the half but I prefer to see what's actually going on in the part so I don't really like working in halves for too long cube let's see what's happening here this isn't the best side silhouette so we're going to move it around a little bit more before we died um I should move on so let's continue that up and let's pull all this back [Music] sleeker form and this is all probably going to come in a little more here okay so if I want to dynamesh right now or as the well Z rematch would be the Ava's choice because we don't want these to join so let us zremesh this thing what do we add 16 let's just say half you now this will get us down and we are still going to have the dynamesh this together because I want to work in the devil I want to get rid some of the load m0re meshing be formed ina meshing not that it matters too much but I want to have a master part here that has these separations and it just in case we lose things so now come here I'll duplicate this and then I'll come in here and I'm going to smooth some let's hide that oops there we go I'm going to smooth some airspace into this real quick so these aren't touching and that way when I dynamesh this leads up to e these shouldn't join as long as we with enough geometry here so it's kind of thinning things that that's touching I could come in and just move some of these out as well but I find this is just as quick a way of getting around it and here let's go ahead and just fill some of this up and I'm probably going to want this I get a snake hook no dynamic since this is a phat shape let's drag that over and give this just a little bit more airspace and that way we can kind of have a double line coming here the topological let's just strike a little bit more airspace into this a little bit more here yeah because I'll probably break these out to pilot groups in a bit so we can move them around all right so let's see what dynamesh does at 128 nine hundred thousand it's a little high for what I'd like to start with but that's okay look at that sub two a master this may or may not work here let's just do this duplicate I don't know where this is on centerline so it's just easier to duplicate I'll take this one deformation and mirror I mean if we get room but just in case W try this over to where we wanted put them over there merge down dynamesh so now that now we have our rough beginnings of our part and so you can see you can get to a pretty ornate block up fairly quickly what was that well I yeah yeah I think yes I do because I have to have a what I haven't I haven't this is my first experience in broadcasting so I I will try to start broadcasting more yeah yeah okay so I'm gonna inflate some of this stuff and once again I'm trying to inflate away from the layer below it because I still want some airspace in these for now and then we'll start doing some shaping [Music] can I get this sort of up an atom here all right so let's get this guy a little puffier so he goes up to carve on and yeah you can do this with these fears that things like that it's just I had tend to just like my block up with the zmodeler because at the end of the day you really can control your geometry do I not have symmetry turned on okay yeah there we go is it low enough here let's lower no I got quite a bit bigger here let's drop this some pre dynamesh 6:14 might be small enough to do it without too much drama you can always come down here and this works half the time sometimes it just gets squirrelly it's a yeah yeah yeah then okay hopefully I didn't just do muss sometimes yes he 0 symmetry found on X symmetry I don't have answers for that one guys so here we'll just come back in and retouch things up the worse we'll just split it in half and we yeah let's just do that just so we're not sitting here flexing around for it now trend Chesky trim rectangle I think it worked more on that side didn't I yep and will now actually this should work because we centered it didn't we no we didn't I'm a ding dong okay duplicate mirror and it's way over here Center where'd you go Oh turn symmetry off-center Oh put that drag this over to do all right merge down okay dynamesh that should be six under side yeah that's fine no no no that's not going to do W Center turn that's off center go to home frame now we know we're on axis at least okay now was no there was going again right in the same thing I did last time yeah yeah yeah alright so we're just gonna get some of this out now let's break these into polygroups w let's go to why mask and am I gonna write you're supposed to be coming this way doesn't work he's like yeah so he's a mystery to get these things to am I not on that limb well these are rejoined all right fine whatever we'll just sculpt letters kind of get these into the position we want on kind of get some form look at this we'll pull this and [Music] you okay so same way okay so I'm I don't worry too much about this because these are forms that's still pretty easy and now I'm just going to fill in and read I notice when I start destroying my mash a little more that I want and I'm gonna block it my volumes last dynamesh I didn't check so or the last time we dine I matched I didn't check because when we were up in the 1 billions it kept the stuff separate we dropped down to the 600,000 everybody joined I don't want to go back and debate the world of dynamesh so we will just start sculpting here just starting to get my volumes and sort of where I want them I'm not really worried about my surfaces yet and my students know I always say I tend to go to high geometry very quickly but that's when I've blocked up a little bit more exacting than we did today so here I'm not going to bother going up at the high res until I have my volume sorted out and so we're going to just get in here now we just sort of go big and then smooth it back to normal go big smooth uh back to normal and see missing something here let's mask that off let's get snake hook and just look at some options here like our little Arrowhead I think I want to return here sword let me dynamesh and this is why a lot of the featuring character guys start and gals and not be starting load you know much because they're pushing a lot of this stuff around I'll still argue that for the most part once you get your volume sorted out you really do want to jump into much higher much higher geometry because as you're sculpting you're making some pretty important decisions about how the light will react with the surfaces of your object and since in jewelry and well in pretty much any small object that you're printing well any large object any sculptural object in the real world you're actually sculpting and light you're dealing with how light reflects off your object and the story that tells so we'll get there pretty quick I'm just so this will come behind that I do think it is mandatory that you make noises and while you sculpt otherwise you take yourself far too seriously it we can't have any of that and I'm just trying to work out some silhouettes I like right now however his oh thank you I think that it's something that I will start doing more often I'm going to Spain in November and I'll be able to set up and really sort of take the time and enjoy right now I have quite a bit of freelance work I'm in the middle of and I've been back and forth a lot so it's a little hectic right now all right and just fill that and so we're getting some curves let's get more here he's a little more full indeed and philetus whole thing a lot too [Music] now that I connect with that I'd probably want that to go be behind yeah we'll make it work okay here we'll just change this line a little make this bell shape that we're getting to here a little bit more important as opposed to the curve of these and now that allows us to take a little bit more precedence and it's okay that sits in front now yeah not bad okay so let's get this little bit a little bit bigger [Music] okay we might be ready to start dividing up and making some actual design decisions all right so now it's 700,000 let's get up I would argue that 700,000 is actually a little if I knew that I was going to be doing a lot of very ornate surface details or let's say snake scales or something like that where I knew that I would need to move the model around and still retain a bunch of surface detail I would probably do what's go ahead duplicate it because this is a good time because we don't have a lot of detail now as low as I want to go this might join so let's pull this out just a touch you so now we're going to be and an angle masks and then we can move that back in a way without it becoming a problem so I still want the freedom to move those around because I don't know exactly where they're gonna sit I may want some airspace here so you know pulling this up and getting these out of the way will be helpful so we'll leave those and now like I said if I knew that because 700,000 is not a really good base level as far as the ability to move and change detail now I'll actually show you what that what I mean by that so we'll just knock this down let's go to 20 and see what it does 66 that'll give us what like six subdivision levels mmm three now four that's not so good so let's even go let's back up go down to ten or as it may be well okay did that join nope that's good alright so now that gives us at least one more subdivision a four five okay then then we can jump up to the 19 if we need to high detail okay so here we go I met I have my block up I have some basic concepts of mass and where I want it to be and I now go all the way up to I usually start sculpting in that 3 to 7 million or 4 to 8 million poly range because as I'm sculpting in this I'll always do with clay tubes because it gives me edges right then you can see is as I sculpt up at this level I'm actually leaving edge detail right you can see right here my brush is leaving nice edges and I can start to decide where I'm looking for light now a lot of people are like ok well you know I'll come in here and I tried because I love it this is one of the hard things to get across to my students and it's it's a concept you kind of have to wrap your head around and you may know it but until you get used to the practice of it I think it's it's still a little elusive and so I'm doing all of this and it is not impossible to get smooth surfaces at this level you know you're you're sitting here and you're fussing with it and then you come back with sk trim and no you have this little bump here and you keep trying to get it out that's a nightmare but that's why we have the lower roses you just drop down a few get smooth come back up and you're still retaining some of your detail and you're smoothing a lot of superficial noise out so hopping back and forth between levels is how you retain your smoothness or your surface smoothness and consistency but I still would prefer to be up here so as I'm sculpting like I said I'll find little turn symmetry on dingdong Boop and as I'm up here and I'm blocking in you know and I'm making decisions on where I want some convex of some kind of caves and I'm like okay well I want this to travel in front of this and now I can start to make some pretty subtle aesthetic decisions that are gonna read to see what's nice here is I can smooth was smooth stronger and you're gonna get some motion and but right now I'm not trying to get all my surfaces right I'm just trying to get the architecture and the forms in place so I know where my lights reflecting and so you can see I'm coming in here and that little lumps funny so do we try to bring it down or do we accent it by making it big you that's okay let's keep it dramatic and so I'm making some fairly subtle decisions about where my detail is going here and then I don't need to rescale pit because if we're doing this at a much lower level in a real rough block up you'll come in and let's say you have a really nice area as you go up in geometry those things get soft so I find it easier to decide on some of these aesthetic choices at the higher resolution and then doing my cleanup and such at the lower resolution and I'm not having to redevelop the higher detail or the more sophisticated decisions and then having to divide it up to get the subtlety of the surfaces come are you going to dynamic in that no not at this point I mean if I decide that I need let's say you know I need to connect here to here something then yeah I'll retie too much but at this point once I've done my dividing up probably won't dynamesh unless I need to or unless I find someplace that I need a dramatic change or let's say I use twist or something that's really sort of destructive to the meshes then I'll read ina mesh but no it's the plan is not at this point to read ina mesh you know see we're just coming in and finding our surfaces finding some of our detail this is returning pretty heavy here so let's get there and see under normal circumstances when I block this up I would have blocked this up and different polygroups so I could come in and do this but honestly we can do it right here right now this is an over group and then ass this off and you'll see me polygroup and then clear i'll polygroups and polygroup and clear i'll polygroups because completely depending on where I need to work I'll assign polygroup so I can get rid of certain area so we control W and I'll tap this and now that should go away right and so now we can sort of get a more realistic impression of where these surfaces are lining up on one another [Music] [Laughter] look at that and so now we can make this appears if it's you know a consistent line you now you can see the mesh in here's a little squirrelly right because of how that diner matched it's not quite on the grid and when I smooth like I'm getting a little bit of see those stretching lines even it's 6 million we're getting this so at some point I probably will read ina mesh just so I can come in here and get those lumps out but at this point we're gonna wind up with more areas like that so I'm not to stress about the dynamesh at this point and here let's what's nice is we can just continue the stroke I'm not you know I'm not pausing there and you can get lines that appear to go under let's just get this a little weight and you can see I'm not real precious with anything I put out this process is really about finding those forms at some point we'll do something that is if I'll ask if I can show working on some of the things that I'm doing right now and that is completely representational it's very rigid and so you can you know obviously use reference and stick to it for like logos and such but let's face it who wants to do that right let's come to the back now lump here let's fill it in here to get a little unfair I think I now see why some of the other zebras use music as they're doing this so I don't have to necessarily talk a hundred percent of the time and you don't have to listen to me hon you'll notice that I do a lot of this sort of cross hatching with clay tubes because I I use it sort of like a rake tool where I can see where my surfaces are it gives me a pretty nice interpretation of what's going on with that surface because it acts as a layer tool though most so I can lay it in one layer at a time and you can see you start to get an idea of where your surface is actually lying anyone so I'll come in with that skate rammer so use h polish you can see the how that actually scoops a little more let's see how it's being aggressive towards the center that's the one thing I like about the sk trim is that it's really a edge heavy so it allows you to see how it's not destroying a rolling over that edge it allows you to really come in and to sharp edges without using pinch so it's not destructive right it's not loading yeah right see how we're getting a nice crease and it's really holding that crease too but it's not loading the geometry like pinch does right so you have pinch loads the edge well the sk trim polish oops touch that harder than sk trim polish really I don't know enough about the brush to tell you what it's doing exactly but it's pretty rad because it lets you hold sharp edges and still not load that edge with geometry and especially in this stuff you know you want your geometry to stay pretty equal because you never know where you're going to decide to put well unless you do Schedule C you know you never know where you're gonna wind up wanting to put your geometry at this point so it's a good thing so now we've kind of decided on that let's get something going on here and you know it's with easy decision to like you know and edges make things sharp but once again you're wearing this around your neck you know your ears or your ears tend to point towards your neck so if you have something that doesn't have motion on it the holes are never Pierce going totally with you this way so they're going to go like this and they'll wind up stabbing you in the neck so it's a good decision not to put really sharp points on the ends of earrings which I am doing right now exactly on other pieces you know think comfort you don't want to harm people you want people to buy a second round of your stuff so let's not make sharp points now you can create a visual you create something that visually looks like a sharp point right you know I mean that can look pretty aggressive but you know you're not going to hurt it [Music] mmm-hmm that gives us a little depth a little change of layer get there that's one pitch I don't lock that down the other thing is a lot of these polishes will often grab edges I keep trim dynamic around because trim dynamic is really one of the best ways to hear let's pinch this and trim dynamics one of the best ways it it does not really pay attention to sharp edges so you can just come in if you just stroke across it you can knock hard edges down without getting some of that weird you know that happens as you try to cross over edges in this program all right I will make that a graphic edge sort of reinforcing their mouths and these are coming [Music] that started and that hat back face masking on that nope I tend to keep back face masking on for my masking because that way cuts down on some of the bleed over issues when you're masking you'll notice I also keep a pretty sharp mask brush I have my fall-off set at a hundred that high part and now let's make some decisions on the center of this piece okay I want this to be straight I'm gonna use trim front I want it to be a little more architectural then see how you have this wave in here so the easiest way trim front hit come up and around and there we go now it was sharp edge there [Music] what's happening back here okay so we're gonna continue that up let's just go ahead and continue it up to here let's go do this back here trim from [Music] and so now we have a consistent thicknose show part right and the rest of that is originating someplace else that'll crossover I'm not too worried about that and say this is where people get a little weirded out when they're working in higher resolution they're like oh look I'm smoothing this I'm smoothing this and I just can't just don't stress it just knock it down tap it it's gone high res tap it higher res tap it and now you can see that you don't have that edge there anymore so it's just easy - it's easier mmm there is no difficulty in smoothing if you get yourself into trouble but it allows you to not blast everything away while you're smoothing otherwise so once again why I tend to keep it there okay so that's our back did I do this backwards nope that's our front part now let's just come right here yeah just get inside there it didn't say that head part okay let's down the side see that looks fine and here since this is a long key we can come in here and with move to sort of tap this into a nice clean curve all right that's Kate Ram you you can see how the eschaton polish wants to keep nice even surfaces so it's a good way to find surfaces [Music] and come in was back a little yes that is the ideal hearing is to harm people horribly you always have to provide a where at your own risk stickers that is your agenda though because lawsuits are horrible and we do live in litigious societies unfortunately all right and let us come hold on Shh downshift and then these were something like that all right so kind of like that let's go slash instead of pretty legitimate let's get it smaller let's run /center give us some depth there you but can we that's good let's go a less soft shirt what's going on and you can see as the start stretching these meshes out we may need and/or want to rematch again here it's or read ina mesh again at some point before we start putting in fine detail because this is an easy level of detail to reproject up to so we'll probably do another I will do another dynamesh to reset our meshes nice because we're getting a little distortion in some of these places when it comes down to it the distortion is not your friend mesh integrity it's always it's always a fight just to keep your mesh integrity you you it sees just I'm always looking for that surface and that's yes when I go back and forth and use this almost like a rake positioning tool so I can see where my surfaces lie it also allows me to control the transition between convex and concave like you know I could come in here pull and then go and just a couple taps and now you have so interesting plane transitions because once again right now we're just seeking or we're just looking for those surfaces right now I'm trying to get everything in an interesting place we'll make that that surface so there's a return both layers of that so now we have some lumps in this thing but that's easily dealt with and which ones going okay that one's going over under yep you if you're doing something you're pulling out just mask [Music] I'm going to mass this whole thing because I want these to come back you that's I wanna see see this point up in here so we're going to pull this up in a second so whenever you adjust this line that gives that room enough to pull up so this is going to come down here so as you can see we're now doing destructive things to this mesh which means we will need to remesh every dynamesh here in a minute flip that and we are going to pull this up just a bit just so we get that little negative space returned there and that lightens this part up dramatically you can see we have air space back there now let's drop back here and see how that becomes this is just a solid mass in here but if we pull it up now we have the implication of another layer in there or some air space in here which lightens the part up it gives us some more openness in the form [Music] [Music] inflate that we're going to turn that around into a [Music] you let's go back so I'm gonna just drop that back a little and actually I think we can literally just move that whole part back more and that gives us a little bit more room to go up you you that's claybuildup yep wrong brush you know what we're gonna do is we're just going to close this up some so when we read I nimesh these are connect because it point there's no point for that airspace we're not going to take advantage of it it's not visible so there's no point in it being there you [Music] you on brush that clay built it gets very aggressive you see how it doesn't allow us to my services that we can follow you saving get back to that it's kind of getting our levels in place that's a rollover we'll just cut it back so this plane can be defined all right come up [Music] that's its transition into that you you I've got some kind of transition for those guys that'll be a pain you can see I'm just trying to define my visual layers hearing and whether that be sitting in front of the news so this appears to be coming from behind right because the MOR really nice transitional steps you have in a piece the light reads far better especially when you have convex and concave curves acting against one another because they really do dynamic things with light you we have another layer changing here I think so it's really that surface you [Music] the do the same thing here we're changing this up to this we got kick this up a little more just so we can be a little more aggressive with that build up playing change will drop it back down you you all right you just remember like over under over under over under works really well with light because those levels reflect very differently and so you can get some really nice dramatic surface follow-through by having layer transitions it adds a visual complexity and it points and allows the light as the light reflection follows along these surfaces they sort of almost act like like a little neon signs pointing to where you want your eye to travel mmm that pulled over when I did the trim front I had that hidden but I didn't have back face masking done so it pulled that stuff back but something to get rid of new drama so you can see we're slowly working on coming into these forms you in there straight let's see if we can squeak that back up there without losing man a little bit more curve pulling up a little more see we want that coming out of that a wee bit more so it's not just a straight okay for now this is gonna have to come out here um well you know that's kind of tricky how I would approach doing something for my line or something and normally when I'm doing line pricing I'm not really adding hours I'm just trying to come up with a good um sense of line I guess you know I mean the pieces have to be consistent but tell a story and then it or not and normally I just at that point decide what [Music] you I'm not really trying to price at that point I'm just trying to come up with a a system of form that works throughout a series of pieces and I have a hard time pricing in in if it's my work I have a very hard time pricing my time into things because I don't work necessarily efficiently in the sense of I'm trying to make the best of my time I'm usually trying to get the best of my forms so it's I don't usually work my hourly rate into pieces that I'm designing for myself because I want I consider it sweat equity to the line in some ways where I went far rather spend you know two weeks on a single piece if that piece is fantastic when it's done great or I might hit it and it takes two hours and that's great too you know so no in a case like this I really don't have um a price factor for when I'm working freelance I have very clear pricing and then I work a little bit more efficiently in the sense of I'm paying attention to the hours I'm not going to spend more than X amount of time on it but normally when I'm doing freelance work they're very concrete designs upfront because usually freelance work as you're renting my skill not necessarily my designs if that makes sense so you know for my work I tend to have a much more or when I'm working for myself I tend to have a much more free process of seeing what my subconscious has to offer then going through and making real conscientious decisions to begin with because they're often just some really magic wonderful little moments that I would never have thought of you know they are things that are in my hand or in my head you know there's a vocabulary that I have it's another reason like a lot of jewelers or at will ask me oh do you know this jewelry yet know that jeweler I tend not to look at other jewelers work I'll look at like historic pieces every once in a while or you know I'll always go back and look at Lalique anytime I feel bummed cuz I mean dudes just as good as it get but I tend not to look at other jewelers work because I my work processes a lot of freeform or free thought where I don't really have a plan I just go in and look at my forms and you know if there's if you look at something and you see someone's work and they've done this brilliant thing you know chances are that's gonna stick in your head some and you may not conscientiously go oh I'm copying that person but you very well may wind up bringing those forms into your work and there's a big difference between copying and knocking we're knocking off and being inspired like I'm inspired by a Lalique and in turn I use then I'm more inspired by Louis Sullivan and you know some of those Art Nouveau architects I'm really inspired by and that's sort of where this came from like taking you know that architectural inspiration and we're by no means copying that column right but I really like some of the forms and how it played with it so we so you see I could go all the way back down and use move topological which allowed me to move some of that without dragging things around this another reason I like to have the different resolutions so I can hop back and forth between them and get the full usage out of my mesh but let's say you know I'm designing this for myself in a line I'm usually trying to hit there's a concept of who I'm selling the pieces to and in turn there's a concept of what price point I want to be sitting at right and so if I know that this piece is going to cost me let's say $50 to make you know do I want a three times markup do I want a six times markup and a lot of jewelry companies do a six to eight times markup so I know that I want to sell something for you know 300 bucks and you're trying to get six times markup well now that gives you an idea of how much you need to get the part made for but I'm not going to tally in my work hours into that process cuz it's for me and I didn't that's a very bad habit to be and honestly guys but I like to do this I find you know in the sense of without direction and see what the parts give me you know an intern like I said that's not really an efficient way of working if you're tallying your hours so I've just gotten into the habit of just not tallying my hours for a piece if it's going into my line but once again if it's for someone I usually have an idea of the concept and so I work more efficiently and then yeah you have a very concrete concept of what amount of time and energy you can put into something depending on their budget you know that question yeah Lily Rene he's my hero him and Louis Sullivan it's funny everyone's like oh you were so inspired by by Gieger and don't get me wrong I was but long before Gieger I was introduced to hectic mo or I mean well Hector Kamal is another but Louis Sullivan when I was a young I remember being in Chicago and just being awestruck by his buildings and I made them buy me a book on Sullivan and know Sullivan was really the anchor for a lot of my aesthetic when I was really young and then you know like I said Star Wars came out it was like oh this is really cool but I really couldn't stomach Luke I thought he was a whiny turd and so of course you know I like Darth Vader but next year alien came out and I was like holy cow this is what it's all about so I was far more an alien kids in it don't get me wrong I had all my Star Wars toys and let me go into Star Wars but alien was really where it was that for me and if he know anything about Lewis Sullivan and Hector come on you can see where Gieger is a very obvious than the intellectual it's not an intellectual week to jump from them to him and I was always sort of a monster kid so I was drawing all this weird art nouveau Lee boney stuff and then alien hit the market my mom actually went out and got me and remember it was in Omni magazine first and then since Guccione owned Omni as well as penthouse they came out with the more adult stuff in Penthouse and my mom taught me the penthouse it was like look you're not insane this guy's just like yeah so I was headed down that track before I met Gieger but yeah it Kiger definitely reinforced a lot it's a you can see now we're just coming in and trying to solidify some of these forms and I would say if you guys are even doing props and stuff for video games and things like that some of these theories still hold true for everything and that is it's a lot better you know you'll get into some of these organic forms and shapes and you know you'll see that you just a lot of times you just wind up with something that intersects like this you know what do you have this form just kind of coming into this form and there you go that's that way to read a thousand times better if sitting behind that forum and let's take twist and the MA you get something like this where there's airspace between these ones on top of the other and then even from back here you get really nice clean concise separation of light travel on that surface right and so that's it's a really important thing I think and I still think that a lot of people who are even great at the stuff kind of neglected and it would make the pieces read a thousand times better at the end of the day it's just kind of remembering to do it cuz even in even if it's not coming out of the machine it's still sculpting and light you know you okay close that up a bit I was just talking today to getting to a guy trying to get some raw emeralds I love raw stones they're just so exciting because I mean don't get me wrong I mean I say I'm not a diamond fan cuz well I think they're incredibly overrated stones but a perfect diamond is something to see I mean it's pretty impressive and I love diamonds that fluoresce I know everyone thinks that's a negative but I mean come on how much a child of the rave culture let's face it anything that look anything the shines under a blacklight school in my pool you know at least a blacklight posters why wouldn't I want blacklight jewelry oh come on that's just kind of cool but I tend to like colored stones a little bit better they're a little bit more exciting [Music] and once again I really find that if you are your services where there was something traveling behind and under you can create these artificial scent well not necessarily artificial but these senses of tension on your surfaces and I always like to think of curves as like rubber bands between posts or you know maybe like a water balloon that you're swinging around where you're getting the weight distribution between the forms and yeah I think that you definitely go take a closer look it's exciting all right so I'm still fairly rough on all these surfaces but we're starting to make some pretty concrete decisions about what's going on around here and now [Music] I also find that if he stroked across things you fill it up a little better than if you're going just straight down it because often if you're just going on the surface back and forth you're retaining the same dips dents and dings where if you're stroking a cross you're filling up stuff you know I'll just kind of roll with it and then it's simple enough to come back with like flat nurse kick no dynamic and you know get that surface to where you want it to be but you can work out a lot of the dings and dips by going at across Wade [Music] yeah I definitely see why people use music no no does everyone talk all the way through their pieces there I need to watch more you thank you [Music] you all right let's print it for the back for now all right so now you have to decide or basically done with a rough and form because we will read ina mesh this one more time and then we'll start going at it doing finesse and start to by defining some surfaces and such move all that adalat Osen that hole is relatively the right size here let's do this real quick gonna make this in the so something on the pivot yourself let's get a nice return [Music] that's an okay shape that looks like a spade and a snake hook before a snake hook I'm going to duplicate and I'll just move around a bit all right now why I decided to do that was because we are now going to read ina mesh this I have duplicated dynamesh where's my water model you went lower the last time didn't I what is this oh okay close enough IRA's go back to this guy that's fine let's divide divide let's reproject here so we're just getting our mesh back to where it was and I'll deal with the rest of this stuff when we separate it out so now let's look see what we have do we really need anymore projector geometry than that you can see how they get a little mess here I'm not worried about that nope that roughly has all the geometry we needed from the last one so let's divide up all right and now here we go who you some of us know alright go back up to our Jerez I think we're okay with where everybody is and so now I'm really going to come in and start defining my forms turn that down a little you and a lot of this is really just depending on how these forms feel as I'm stroking them in you yeah you start making some final decisions on how we are laying in these surfaces you and once again you can still see how stroke things in I'm still using line so I can really see what my surfaces are doing [Music] super and which is there's no real specific reason why we start at any place this just seemed like a good place to start and now you can see that we had decided in some ways on the flavor of these surfaces by where we were putting our lines and now we just need to come back in and really define how these things work now you'll see this is once again sort of what I mean by layers right instead of just drawing a line I really want to separate them into stepped layers because that's going to allow me it's going to allow us to like as we come back here you know you can see that reflects differently on that front edge than the lower edge where if we just put a line in this dynamic dingdong we just put a line in this and let's get back here you can see really you it's just traveling along that line that's not changing edges where this here you can see those reflect light at different points which makes it much more dynamic from a distance it gives you flashes yeah hello how we doing today what I do oh every dynamesh tip that is the one thing it thinks a little weird is that oops wrong brush how are you doing tonight cz or this morning or whatever it is let's this transition you and once again constantly going pound curves because they travel you know I can't iterate it enough how the light travels through these things become very dynamic and it really is a big difference in a successful piece you know because the model can be look can look great but if it's flat it really becomes an uninteresting object at the end of the day layers layers layers layers did I mention that you guys should be thinking of things in layers so it's sculptural not illustrative or Illustrated or whatever you we're going to do something here let's knock this back around so once again a nice step stop that just gives you a visual interest just step down will make this a nice big flat area so as you get darker under that step it turns and this will reflect kind of a nice big bright flash you [Music] okay and now we'll just keep working our way up you I well I I kayak a camp run around but really I don't spend a lot of time not sculpting honestly I myopic OCD so my my free time becomes very funny that's a bit of a new experience for me thinking about how I reflects makeup suits more appealing yeah well what's funny is we recognize it in objects but often we don't understand that's actually what is happening you know and once you start working in high reflective materials like silver and gold and stuff you start to realize it and then as I started to make objects that aren't jewelry just like little toys and stuff like that you realize that oh well it's the same for everything you just need to know that that's what's happening and then you can side kind of think about it you know try to make it something that you are conscientious of because you know once again let's say you're putting pockets on something if you this and just cut around your pocket well looks like hello you know it just looks like this is just all the same surface where by you know by yeah you know if you put a pocket on something and then you leave a little opening for it and then that comes back yeah you know now this becomes something that's sitting on the surface and you're like oh well it's sitting on the surface but how it reads is you know really a process of light reflection so it's because you have a shadow where it's telling you and that's why we can have you know visual optical illusions and a lot of them are dealing with like gray tones and how things sit and listen at and our brains are trained to recognize certain things and so either you can you know try to pull those little mental tricks on it or and we are in some ways pulling a little mental tricks on it we're giving it what it expects to see and we're also providing interesting surfaces for interesting surfaces for light to reflect off of and so you know if you're looking at something and you know it's moving and this is not a very reflective surface but you can see the light travel around this and you know if you're creating interesting jewelry pieces you have to really pay attention to how that light flows on that surface and then as it's going here what's it seeing next and how does the light travel and how does your eye follow these surfaces and it yeah it's it's a tricky way of thinking about things but I find that it really does work on anything I mean it's much more obvious in jewelry because you have very bright reflective surfacing but you know on on let's say I used to sculpt the in D or D and E figures and things were citadel and you know like little orcs and stuff and you know if you just scratch lines into something as opposed to building layer upon layer upon layer and getting these complex surfaces which create really nice deep shadows in big flat areas for light reflection and then shattered surfaces so you're not paying attention to it it the theory works on that scale as well okay I don't know ZBrush but I would like to know if it's possible to bake texture material by ZBrush directly on a UV map you know what I'm really not the person to ask that because unfortunately when you're going to printing or in jewelry or model making you actually need the geometry we're baked textures aren't necessarily real geometry so we can't really get away with baking textures when we're going into into printing or model making and such because you know at the end of the day that winds up being fake geometry and so we actually need the real depth now you I guess you can take the UV maps and convert them into depth maps and then have that you know become real geometry at some point in some or Matt yeah I'm a sculptor I just put I just put you know I just sculpt it on so I'm sorry I wish I could help you one but I don't I don't use maps I don't really know much about them sorry but you know even in sort of this stuff you know it's easy to go ok well oh you know I want to design mine here and I want to design line here but I just find and that's once again why I use clay tubes I just find it is so much quicker by just laying it on and then I can lay another thing here and you can see how I'm getting the exact same stuff by brushing on depth as opposed to drawing on the line and sorry about that Mia does this make sense I mean this concept of not drawing on lines but building up layers around it so you're getting the linear detail you want but it is actually depth information as opposed to a drawn on form I think it's a really important thing and I think that you'll actually have better more compelling models if you're thinking about it as you know more as a dimensional object like I said I'm I'm a sculptor I don't you know I think it's real important for everyone to at least go out and take one sculpting class so you can really view real objects in real 3d you know I think people get used to you see what I mean I wanted to linear detail there but I didn't draw it on I built the forms around it and I just think that you know if you're if you're actually taking a sculpting class I think you'll find that it makes you view these two-dimensional objects that we're making a little bit more I think you'll have a better understanding of what they actually are in three dimensions that's what's really nice about printing is you just throw it on the printer look at it you can see that oh well my detail is not there oh this came out really well or that didn't and through that exercise you're going to start to find out you know what really works now printed a lot of models and every done a lot of models but you know I came out of sculpting and I the first thing I had was a mill and matrix its before I even knew ZBrush existed and having that mill was awesome because anytime I built a model I would just have it milled out and I'd be able to hold it in three dimensions and really evaluate what worked and didn't work because if you're just creating things in the computer if you ever plan for them to leave the computer you're kind of creating in a void because until you really hold the part in your hand and you see what cuz you know none of this is real I mean this is not real reflective light there are algorithms and you know one material is different than another bla bla bla bla bla until you hold that thing in your hand and look at it and really start to wrap your head about what's showing up what's not why then you know I think you're going to probably always come up a little bit short you know you can have great designs that still have mediocre figurines you know it there's a lot that goes into really making something a good sculpture as opposed to a good digital sculpture makes sense but it's true all right okay that's looking okay let's come up here we're gonna make this like a bony protuberance to get a little bit more moving you a lot of the problems we had so mess management is a really important part of the jewelry design or object designed to printing and a lot of the problems that we had with meshes and stuff have really been solved pretty cleanly by ZBrush it's like what we used to have to do to manage a mesh now being able to use the the the boolean tools is pretty fantastic and yeah for people who are starting now you're also lucky man like there was just stuff you couldn't do and now most of those issues are resolved it's pretty exciting [Music] little bigger slightly more interesting object okay [Music] you all right it's also great because it's a possible excessive yeah so yeah it's funny - digital sculpting after you know decades of actual sculpting and you know in the industry we sculpted very large objects with the most part and it's funny one of the things and why you'd always go see the movies and what other people worked on was you know you're like okay well I'm gonna sculpt it this way then you go and see with the lighting and everything how it worked and you know so on so I was like oh well we did it like this that you go see it lighting and how it worked and you know when you start to see your objects on film as opposed to in person you know what in it's primarily lighting an environment you know how in Jurassic Park they can take you know foam trees and a foam set and make it look like an outdoor environment on Kauai you know it's it's quite amazing what lighting and environmental effects can do you know just like throwing fog and something or this thing and so when you start to see your work in film you know on the screen compared to what it was when you sculpted it you you're like oh my god it's amazing what lighting does for the pieces that's so you know I think that's where it started to fill up some of the hard core issues of we are actually creating objects for light reflections you know and if we really want to get into weird that's you know it's all you know what we actually see are we seeing black you get into a bunch of yabbering about esoteric nonsense but yeah it's it's it's tricky it's interesting to see what works and what doesn't and why and then how you evaluate what was working and what didn't [Music] so you can see by making a large flat edge here and scooping edges off to the sides you're creating you're making the design a little lighter right because it looks like it's a thin light see how it actually sends the part out because the bright line of reflection is thinner than if it were just one big flat line and by making these scoop surfaces as opposed to flat surfaces it gives a far more dynamic exchange in the shadows and then how these reflect out of the shadow [Music] a little we sort of have this machine finish here so let's make this a flat surface and then I'll sort of so that seemed architectural as opposed to organic feel you right you [Music] so how're we doing on time okay and soon and we'll just start filling some of this giving ourselves a really nice light step there as well [Music] okay it's funny it's it's quite hard to talk for a hour straight let's see how do we want these swirls to behave simple so that's so here we're picking reflective surface we want all right I want that to be a nice big flat reflective surface [Music] and see even though this is a pretty fat I mean comparatively speaking you know this a pretty broad object here on the end we can keep it thin by having these two large flat [Music] flat line and so now you can see that that as we come back here you see how that will read then once it starts once we start getting into our metals we also like you can come back in here and I have this brush set up see so make it a little smaller and come in and often I'll do something like this so that becomes a scatter field it won't reflect light very well you know it's throwing it off so that really accents this line and this line so you know by using texture to a dull your surface it's another way to control how it's reading nope not claybuildup pleat you [Music] okay and it's a little more architectural than super-sweaty so all we have to do is come in and just flatten that and now it'll read a little bit more children organic ring see so make sense now okay with that let's kind of here we'll start defining some list beside where our transitions are happening all right that's okay you you make sure you're not creating big wall-e look at him from directions remember to rotate your model a lot because you can start to see like if you have something really funky going on you can identify it pretty quickly if you look at it from a different angle how do you get in that process of construction of a piece or is your job done after you've created the same um well actually I get pretty anal about the actual construction of the piece I mean one of the things I've gotten known for is my ability to retain surface detail through the fabrication process and so you know like setting up quality control processes with the people who are fabricating your pieces is actually really important luckily have a really good relationship with a lot of the people who actually make my parts and for a lot of them you know the ability to produce it is actually like casting house uses my pieces when they go to trade shows to go Hey look what we can do so yeah I think that you know II unfortunately my stuff's really hard to produce and we've been developing ways of doing it over the last you know number of years but for the most part I've had to be really on top of the fabrication facilities casting house in Chicago really stepped up and I mean they really did my work did my work well and you know took a lot of stress off that whole oh my god am I gonna get crappy pieces this time and so we use them a lot and then we set up our own shops and you know those are designed really to produce my work and that became a much you know when the shop is actually set up to produce the pieces then a lot of those issues that you come up with when you know you're not using the best waxing machine and you're not using a vacuum injection overpressure movement a vacuum overpressure casting machine and you know just some of that subtle stuff in the machinery you know if you don't know what they're using it becomes tricky we're dealing with a company in Thailand right now for some of the body jewelry stuff and I must say that there they stepped up pretty well I think there's a little bit of over polishing but that's really we didn't we've rushed the first round of pieces through so you know at the end of the day that's our fault because we didn't even get to discuss the parts with the parts on the part creation with them we didn't say look I just want the tops polished and blah blah blah so often you know if you have specific needs it's going to take one or two rounds with the the fabrication facility to tune the pieces and then you know you have to set up quality control standards so you're not getting dud pieces you know you're like okay I'll accept this do this but if it's this then that's on your back and you know so I think that if you're if your pieces are easy to fabricate you can let a lot of that go because these places you know this is what they do for a living you know but unfortunately my stuff is such a pain in the butt to make you have to be a little bit more involved if you really want you know the quality standard not to go down quick like I said the place in Thailand that we've been dealing with it's been actually pretty awesome and hopefully once again everything we've been doing is sort of rushed or bit has been sort of rushed so it'll be nice over the beginning of the new year to be able to go down to Thailand and go to the casting facility and talk to them and shown the parts and really set up you know a finishing process that they understand and I like and you know so it's I mean if you're going to do one-off pieces that's one thing but if you're going into fabrication with you know hundreds of thousands of pieces you better make sure that all that stuff sorted out and set up QC standards and it's an involved nightmare I mean making jewelry isn't easy it's like you really need to make sure that these people a certain casting house was not so sweet for me we had wire then deposit evolution job T so they finally wrote me on Java soon as the yeah you know it's interesting I mean I've had very very good relations and luck with the people that I've worked with because once again I think that I I established a personal rapport with them very quickly and like I said like I wouldn't be a jeweler for it wasn't forecasting house because everybody else told me no they were like that's on castable that's uncatchable that's been castable and I ran into Jason and from casting house and you know he looked at stuff was like oh hell yeah that's castable here let's do it and yeah I've never gotten a bat part from them but you know I mean everyone dances things in their own right without a doubt you know I can just attest it you know my experiences yeah no problem I mean I enjoy doing these I must admit I really need to sit down and watch what some of the other people are doing cuz I I don't know how they're doing a lot in two hours I really should please feel like my god I don't know if I've actually got a guinea pig done is worth seeing in two hours and I've come to realize like I said I realized tonight why people play music because yeah being able to not talk for a few minutes and actually sculpt because my poor brain I don't multitask very well so trying to come up with things to say well stop is the is tricky Oh because we sort of discussed why we have these things here now I'm just trying to get things into place and resolved I don't know necessarily what to say at this point you you you I will say one of the really nice things about being self-employed as I can listen to books on tape and watch documentaries all day had a good documentary day today it's been interesting [Music] all right you okay [Music] you somehow that D had to run for it now whatever okay so you consider see we're creeping up on these surfaces you in it really you'll see me kind of go back and forth on whether they're convex concave oh great I'm glad someone's getting something out you ever had issues with your you know when I used it for six months well seven months on the road and the only problem I had was I almost got one of the hijacker irises i i luckily shut it down before it actually got through with the hijacking process and off of a picture from you know downloading a picture and but luckily i I was paying attention enough that I I got it didn't actually fully get me but it trashed my machine I had to completely reinstall everything it just ate it it was pretty impressive boy viruses are nasty buggers but as far as the machine itself I have not I've had nothing but very good luck with it do you have one have you had a problem with it I mean or have you heard reports of people having problems with them because I'll tell ya mine's been a dream you know the only I mean the only will one the screens dramatically smaller than this Sinti but as far as processing power you know the sunglasses I did were you know it's a 33 million poly model and it opened it and dealt with it fine I just had to I couldn't work on it in one swoop you know I'd have to you know do this and work on one little section but I mean it handles 7 to 9 million poly models without a problem and you know you get up into to 12 to 14 mil and you get a little lag but now you know honestly I I been nothing but impressed with it but I don't have anything else on it I mean I have Photoshop on it and you know some of like mischief I have on it and that I have Microsoft Word so I can send you know invoices and stuff but or Microsoft Office but it's pretty light I don't have tons of stuff on the machine so there's plenty of room and then I dumped all of my quicksaves off onto another drive so I don't get a big stock pile so let's go right out of the box work for 20 minute session listen up then ouch yeah you know I liked my companion as well the only problem is it was completely useless for me to sculpt on I it didn't have you know just the difference in screen size it's pretty dramatic I'm sorry to hear you had a problem with the mobile studio welcomes really really good about dealing with any issues I had a problem where one of my little like the screen burnt out or one of the solenoids or whatever the living cheapest it was burned out of my Cintiq and they said just put it Vox send it back and I mean they fix it sent it back to me it was it wasn't even gone a week and I'd you know they completely paid for it they had no you know I've had nothing but incredibly good experiences with Wacom I mean I'm a real turd to companies that you know if I pay something you know and I pay five bucks or something that's one thing but if I'm spending you know thousands of dollars on your product and then something happens to it and then you know somehow it's always my fault I get to be a real turd so I'm not someone who is going to defend a company just cuz I like their name you know I really do believe in customer service you know if if someone calls me I was like oh you know this ring cut my finger off well I'm gonna accept responsibility for it you know and you know I tend to really try to help you know I had a woman who got pregnant and she put on quite a bit of weight and I had done their wedding rings and she asked if she could space I was like well I don't really make rings that you can put spacers in you know and she sent it back to me and we actually found a way of dealing with it and honestly it took a lot of work to get it done but you know I mean this is a wedding ring and it's old or to her and then charge her for it or that because it wasn't a huge issue for me to sort it out and just the positive word-of-mouth of actually taking care of something and not causing grief to the client I think that you'll find that if you think that the client you know if you're really there are people who are just out to get something free you know they're like oh this came in and there's a scratch on her don't what three free things you know that's a different thing you know those are people that I have no problems talking very poorly to but you know if people are really trying to you know people who have brand loyalty who really love the work and you know just something happen I'll do everything in my power to help them get that sorted out and that's one thing I'll say about Wacom is that I've had a couple problems with pieces over the years and every single one of them was dealt with without an issue and once again I can only speak you know for myself I don't know how they're rated or anything like that I can just tell you my experiences with yet I think they're a good company in my opinion they're a good company and I've done some events with them and they were always very generous and very pleasant you know for the most part the employees are interested in what you're doing and you know it's not just oh or so yeah I hope that they do come through for you there I'm actually really looking forward to seeing the but is it the 31 or 32 inch that they're coming out with that just makes me giddy all right let's see I'm a firm believer as much screen as you can afford get because I never have enough room to do everything I want I have everything open all the time it's one of the disadvantages of having a fast machine is that you get lazy about closing stuff and you know I have like six mission six programs open and you know 13 web pages and you know I pause for half a second I'm like what's going on so that was the one thing switching to the mobile studio pro was you know you can't I just don't have enough where I am to beat it down that much as I do my machine instead of funny coming back to my machine after being on the road for so long I'm like oh my god I screamed so big [Music] right on right on ain't getting there right yeah once can't see a way sort of I think making that a little more Sharper this is a little flourish II for this they started with a fairly flurry thing didn't I you I wonder I wanted to get to breaking this piece up here so Mike all the design done here soon or at least enough to bullying some of the live bullying yeah that's got a little weird when you lose sight you let's see alright so we're gonna make this a hinge [Music] so those kind of decide where your hinge is going to be what [Music] so we're going to separate it there so this is where I'll have to select our box there Pollak you let's turn this on so we can actually see what's going on here we want [Music] does he modeler slide complete you and we're just gonna sir get it roughly into the right space you here there we go now another thing we could do right here let's just see model just like that down insert turned well what happened there Oh slide my concern wanna do that's just so no matter what's going on above it you can clear and then go ahead and get both these surfaces and just pull it up so you have a clean clearance and now W control let's make that turn the X off cylinder we like that W that [Music] was my excuse me 19 make sure it's out W make it all right that's that so now we come back to here grab move and let's just make sure ah that's not what we needed I felt it stick come on deal the deal with ring size variations and start pieces which is full time cousin um do you have to do three sides very yeah you do of course I do a lot of custom that's tragic I do a lot of custom nope I do a lot of custom work but yeah you definitely have to deal with rings Isaac that's why when a lot of people are want to start like at home companies and they're doing it with rings it becomes problem because well namely sizing tons of rings is a real nightmare once again I like for the skull rings and stuff I literally just sized them I just scale them up to the to the mandrel size that the of the rings I did full sizes and normally how I built my pieces I could grind out the ring to get to the half sizes so a size 12 would be a 12 and a 12 and a half anything below like six I tended to redesign like the sugar skull and things like that I tended to redesign the park so I wouldn't have to go back in and change the designs on things that are really tiny cuz you know let's face it you just can't get that much into it but now with zebra summit everybody going now with some of our production techniques we can really get some of the detail to retain even at its smallest order did that answer your question go recover documents let's see if it'll get us back to where we were there it is tada so now let's see if we can do this without a block no that's move move oh my dynamics are on so you can see we went to here let's lower the Reds maybe that's why it was crying about it you know you obviously want to readjust your meat around your bully and right come back out here and we'll just push that so that's where we want it [Music] right so now you can see you were cutting that so we come over here let's split this two parts we'll make that our start what would make this cutter we will make that a cutter let's look at it and you can see that that gives you your pen and you will need to do a different because this is cutting through your PIN thing but if you change the order is that doing it for us no hmm that's odd another should change that well that's okay and make boolean mesh and let's see what it has to say you you you okay so let's hope this goes through without any major chaos certainly any questions or anything while we're sitting here waiting for this to think you see music is important you I used to do some ham fabrication then I really um I want to try to get into some chasing there was one up before you is pro passion by Nevada Oh do you need sniffing oh that is he that was the one I really want to do some experimenting with chasing and represent two similar well split parts let's separate all those bad boys and I used to just do a lot of just hand fabricating in and silver and soldering [Music] is the owner not just yet right now if you we have all these different parts here let's turn on transparency so we can look at it right normally you can you can also cut a bigger hole you know because at the end the day this is the hole of these Eagle pens right here let's hide this let's just look at our pins and something like this I actually would do this let's hide that merge down merge down frame and I would shrink this just a touch probably been shrinkage just a little bit more yeah make sure it's centered and then dynamesh it so it's all one thing and [Music] how to drop my part brain freeze the will : do something in this thing now that's your pan ring and you can either you know sort of take this w Center it and get this to where it's almost the same size and you know now you can and I would obviously hide this again no wait take this smooth this edge down right and then let gets Kate trim or something and just get this to be smaller than that size and now this will act as a wedge pin right you slide it in this is wide enough you just tap this in and now that's pinching in and you can fill this in with solder or you leave them loose you just hold it and tap it and you can solder that in and or weld it in right but see now if you enlarge that side you know you have a little bit of slop on this side you just take this in hammer it into two until it gets in now you have a pressure fit pin and you know you might want to play with it and see you know you might want to enlarge the sides just a touch but just make the other side the exact size are just a touch bigger and just tap that in and now you sort of have a free-floating and that's a quick way to get a hinge in there now once again this is square so of course you would have to come back to this and hide these guys for a sec this yeah and at this point you know you would obviously have to come in here and knock this edge off you'd have to return to my because I did that with something that had one plane on it so you can see that it all right that's we dynamesh come back up to this you know just not around plana let's do trim front [Music] and then shrimp dynamics good to knock these lips off you you know you can spend more time and actually do a little bit more concise edgy you know you just need to see where your hinge point is and then make sure that it clears right so that let's just go to this w let's get that notes this part w you right and from here you know you can rotate and see if what's hitting or not I took a lot off that but you know that's something to consider thank you want to give it enough room to move and yeah right that make sense okay it's awesomesauce I say thank you do you simulate the rotation or just eyeball it well I mean if it's very tight I will come in here I will then Center on the actual pivot the hinge I'll come in with a mark and you know well this has no geometry yeah yeah yeah come on you dynamesh 128 whatever yet okay that should be better right no divide it divide it all right that's w and normally I'll do this one line at a time which to this now man rotate it but I'll use this line as it died right and then you can do the same thing here get your line use line has died and that's obvious like that very place exhume in get it right there it's like that and get there right so now that is that part so now so now when you come to this guy you go to W nothing that's one part we watch this one and you know it was over here so I just come in grab this line it up to where the center of my pivot is and now you have a more accurate view of what your pivots doing and what you could get away with right oh yeah the glasses would have been a nightmare to chase so that's that's how I check my tolerances is out normally mark the center of my pivot and then that way when you're out here and this is another great thing about the gizmo is like you know you can get in here and you can really see oh what's going to hit what's not going to hit what's going to hit okay let's go back to this point right and W yeah okay and we'll set this up no have this come to here and see anything's hitting you know so it's lifting off from there so that's fine you know but you can see is should come back here that acts like a stop so you know you can decide exactly what you need you can trim it a little more slide a trim it slide a trivet slide it where you can go like this and just give yourself a line and now just Citra it hide this part and now you can see where your line is right so that's sort of where that curve is going to go to there's trim dynamic look at let's shrimp front that's our edge line so it just got a touch past it Shh and shouldn't dynamic now you can be you know obviously very accurate with this in the sense if you can take this pin duplicate we drew that line on this ring and just go W and now you know that's the angle of the curve as it hits that line right so here if we come back to this trim dynamic no one trim dynamic like that see that all right and now W it's done the same thing yep and now you can see where it hits or not right right so we needed to take a touch more off that that wasn't quite on axis oh I see I went to this not this you would make that hit the edge of this and that gives us the angle I went off that liner on does that make sense I see there's material shrinkage she has to take into consideration when you're casting apart in regard to well see this that's tricky because if this is thin and this is really thick how these shrink like different shapes shrink differently so really what you're going to wind up doing is doing one seeing how it looks and then going at it and changing it there's it's there's no real science well I say that I'm sure there's some wing dinghy mathematician who could figure this stuff out but like with us we have about a 3% shrinkage and so we just shrink everything 3% and you'll find out pretty quick is this gap big enough and then you'll just be consistent with okay I need a millimeter gap oh I need a three millimeter gap oh I need a blah blah blah but that's why it says whether you can't just take one you can't just do a piece and then you know think because your PIN works here and you know everything sort of works that it's going to work as a part the problem with development is that it's not easy it takes a long time and let me tell you the second you think you know what's going on you're we're going to be really disappointed because I mean different materials shrink differently fat things shrink differently compared to thin things and you know it's like which shrinks evenly what doesn't you know so that's that's such a there's no real answer for that other than yeah you do it once you see where it is you change the model you see what happens and I know when you're trying to do things at home that becomes a real pain in the nuts but there's there I mean there's no solid answer to figure it out I know that like I said the way we're doing things were getting real consistently about three percent change I'll do everything I'll get it in the right place I'll then tune the part to my percentage changes okay I mean that's tada [Laughter] we have a dangly earring I think what time is it yeah it's almost 11:00 all right so um yeah are there any questions I mean you know the what's so nice is all of the drama that you used to have to go through to pre-process parts for printing really are solved now it one easy step you go to decimation master yeah pre process let's just repress those current repress those current you can pre-process all and then you can do it all at one shot but we'll just don't necessarily want to wait for it and honestly what you probably want is to decimate for the most part decimating decimating pieces you like there are some pieces that I've needed a million polygons in like if you remember the thing I used on the zebra summit there was this woman who had a tengu hat on and that that head was 50 million Polly's and I needed about a million Polly's to retain any of the detail it was stupid it was ridiculously detailed but that was sort of the point no it's still thinking but for the most part most of your printers well they can handle much bigger pieces on that used to be able to handle like I said my god you you're coming into it now you're all living in heaven compared to the hell that I had to go through what I started all this with those at it later how about gemstones have you ever made something with those at it later yeah you just measure it and once again just make sure it's the right size and then with the shrinkage it'll come down is that what you mean you we can I can do gemstones next week if you want I'm going to have to get my head around of what we can accomplish in a few hours really three crazy oh yeah yeah no I mean all of these are up at pixologic live I don't either I I'm not sure if I link them through me through my site that's something I haven't talked to them about yet I have to figure out like I said it just started this I've only done a couple times so I'm not exactly sure the process in which it is but I know for a fact that they're on the pixologic site and also the pixologic youtube site I think that they go up there as well pre-ordering now this is emailing Polly shouldn't take this one so yeah all of the shrimp's wind up online you have a stone sitter you go to yeah I have a couple Stone setters I go to yeah we can do that but this is decimating I can't do anything it's thinking at the moment yeah you know see brushes I mean as a sculptor you know I really don't see any every you know ZBrush is just absolutely the way to go it's magnificent it's just you know I tried to work with Maya for a while and I just wanted to pull my hair out we're here I mean as you saw this was done with you know two brushes you know you just need to sculpt and that's what makes sleep are so fantastic so I think here let's just decimate this real quick 200,000 enter 200 does make current and this is now 200,000 Poly's it was it almost nine million you can see how it breaks it up it keeps our detail but I mean look you know for the most part we've lost absolutely no surface fidelity so you can see that you know 200,000 Poly's is a perfectly legitimate way of going through we need to catch up on your previously my first time here I'd love that piece this makes it yay sugar skulls okay so and then really you know all you do is export as STL 3d print hub update size ratio except what's really nice is that it used to be where this would give you the entire scene size now it'll give you the separate sub tool size that's cool one thing that will screw you up though is you go okay I've selected this it has calibrated to this part and then let's say I'm looking through something and I go here and I have not changed this upset update size ratio it is going to look at this part at this size ratio and you wind up with really weird exports that way so make sure that if you before you export all your pieces look at what's what tool is active and just re update yourself that's ratio see how it's different okay so now everything's calibrated to that part and then you just go export to STL you choose its naming convention and now everything's to scale on the scales are pretty pretty convincing alright hold on let's do this I don't have my here we'll do a cap I don't have may I have like 20 terabytes it drives right now that I'm going through and trying to get organized before I shuffle off to Spain and man I am all my drives are cats right now so I can't find anything but let's do this real quick minute upend sphere sphere W flatten marry so you have a cab right no no I won at 180 tonight you know if you're doing a cab so the easiest way to do this is duplicate make a cylinder same size how awesome is that whiskey some geometry w get it down the sin sides come in here and just sink it in a little that start let's bring this down just so we don't get any weird as make that negative so now that's receipt right and for a cab chances are all you're going to need to do is you know this has been decimated sorry you know you just have to give it a ridge of meat that you can catch and fold over your part you can do the same with I don't have any stones on me right now or I'd show you this with a stone say but it's all basically the same next week or not next week week after I'll show you how to do stone setting if you have a cloud service like Dropbox see where you store some of your projects or do you do everything local oh no I put everything on external drives and then also mostly up on Dropbox it's hard to sync I've literally like 10 terabytes of files it's I'm ridiculous that way yeah is it sorry the lime green I can barely read it charlie no there's ooh me I will know who asked me about stone setting am i hallucinating here yeah okay so my next one week after next I will get some of my various pieces and then we will talk about how to set stones into things in the next stream that I just I'm not quite prepared for that I don't have stones I don't have anything in it but you can see how you can start to use the others as cutters you can also use the stone you're using as a cutter we'll go through all that next week will be next week after next will be stone setting stuff okay good so Nezumi do you have you seen the plugin lazy Nezumi it's awesome guys everybody should go get it I'll show you that as well see lazy Nezumi all right any last questions before I wrap this up you you yeah it's awesome and it is a completely rad plugin alright guys so and gals will do will do stone setting next string all right guys I appreciate you being here and you know I'll try to tune my timing a little better I still I'm still working on this streaming thing I have a quite mastered it but we're getting there I think is a little bit better than the last time okay thanks a million I really appreciate you being here and I'll see you in two weeks or yeah yeah every other week two weeks yeah okay have a great evening guys let's see little Bob it is all right good night guys

Channel: Pixologic ZBrush

Views: 8,209

Rating: 5 out of 5

Keywords: twitch, games, pixologic, zbrush, zbrush live, 4r8, jewelry design, 3d, 3d modeling, jewelry printing, model creation, art, create, how to, series, 3d sculpting

Id: uMIz64cDC4o

Length: 196min 0sec (11760 seconds)

Published: Tue Sep 05 2017