Original subtitles

Hello, so in this chapter we are going to start creating a lot of the assets for the character.

So if we check out the actual concept piece here, the one I created in my previous tutorial,

then we have a few things we need to make.

So one thing, the big thing here is the blue cloth around his waist here.

We got the sandals there, we got the headgear with the scarf covering everything,

and we got the belt area, the scabbard and the bag, and of course we got the sword.

So all those things are things that we need to create some kind of model of in Blender.

We're going to start off with creating the stuff on the character itself,

so the cloth, the belt area stuff, then this, and then we'll do the sword as the last thing.

Okay, so for the cloth, I think the easiest thing to be done here is maybe creating some kind of cylinder,

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and then setting that cylinder to be around 8.

Just keeping it very simple, then deleting the top and the bottom,

and then bringing that in, kind of like this, figuring out the right height for it,

something along those lines, maybe a little bit taller.

Just seeing here if we can bring it in-ish.

Then I think the concept at least shows that there is a slight gap there,

right here where that's where the cloth meets, and that can be a way to peek through also.

The concept doesn't really suggest the character having anything underneath,

but I think maybe it would be good to put some kind of garment, like an underpant or something like that,

so I might also put that in.

We could kind of sculpt it in and then just color it,

but I think creating just a little bit of a cloth might be interesting,

so I'm just going to subdivide this here until I get kind of square-ish looking things,

maybe a bit more like that.

Yeah, I think that's pretty good.

Then I could subdivide this.

If I needed to, just set it to simple, or I could set it to Captain Clark,

and then say Keep Corners, then we get that instead.

And this is just getting some sort of a base here,

and it's not supposed to do anything really special.

I could, of course, sim this to get a base, but I don't think it's that necessary.

I think we could just sculpt it out and get what we need from that.

So I might just pull this out here a little bit at the different directions

so we get what we need here,

like that, like that, like that.

Rigging this will also be a little bit of a challenge.

I would potentially sim this in either Unity or Unreal

if I was getting it into a game engine.

I think that's actually how I would properly tackle it.

But I think we can add some bones also to the cloth

just to be able to move it.

And it depends on what it is you're looking to do, of course.

Let's see. Okay, cool. So I got that.

And I am intending to potentially sculpt this to get it closer to what I want.

So I'm just putting it in a rough position here.

That seems pretty good.

And I'm just going to be doing a single layer kind of sheet around the body here

because that's all we really need.

Doing thickness doesn't really make too much sense for the level of detail we're doing.

Okay, so we got that thing there.

Then it would be good to create some kind of belt-like structure around

so we can kind of create this cloth with that in mind.

I might just pull this up a little bit more

and then just give everything an extra subdivision.

Is that necessary?

I'll keep it low for now.

Let's see. So we got to create this belt here.

So we got kind of like a leathery thing underneath, I think,

and then some kind of metal thing and a metal thing there.

So let's start with the leathery thing around here.

So I'm going to grab a cylinder.

Maybe set that to 16.

Delete that.

Bring that up here.

This is going to become the thing around,

like the bigger leathery thing

that kind of sits and tightens everything together.

And that thing, I might just place that so that it fits with the waist here.

So I'm going to just get that to exactly kind of fit around.

And this I'm actually going to conform to the body somewhat.

So we could do that by putting a shrink wrap on it

and just saying, you know what, go here.

And then it does that.

And then we could make it expand a little bit like that.

And then we could do something like that.

And then it kind of just conforms by itself.

But it gets a little bit uneven.

We could also try a project method instead and see what we get there.

That actually doesn't look too bad.

Then if I subdivide this one.

Yeah, subdivide it and then give it a solidify modifier on the other side here.

Then we give that a little bit of thickness.

I think that could actually work.

It might be too high detail for what we want here.

Let's see if we bring this one down again.

Maybe it's just because it makes it less jaggedy.

We could also select these and go to select and say checker deselect

CTRL delete and then we get this.

And then here we get this here and we want a bit more of an offset.

That's almost nicer to have it like that.

Just keeping it simple and this is really where the model references can come in handy.

How detailed these ones are and then do something in the same vein.

But I think we were almost fine having that little of detail there.

I think that's a little bit on the heavy side.

But I think that's okay if it makes everything a little bit easier.

Cool, so we got that going on there.

Then we have our cloth underneath.

This one needs to go over there.

And the sculpt here can also go in there.

And the eyes there.

And then I want to sculpt the cloth so that it fits underneath right there.

Okay, so let's see what's next here.

I think the belt buckle, the big golden piece, this piece here is what I should be attacking.

And this is just some simple modeling.

Nothing really crazy going on here.

I might do it with a piece like this.

And then mirroring this across.

And then having a cylinder maybe.

So do something like that.

Then I could also...

And then I get half of this here.

Like that.

And then that's mirrored over, so that's good.

And then putting that in there.

Maybe even trying to conform this to this one a little bit.

It should be even on top and bottom.

No, it doesn't have to be.

Like that.

Then...

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Let's get...

I'm going to set the 3D cursor between these two.

So cursor 2 selected.

And then this goes around the 3D cursor.

So I get this kind of behavior here.

And then making it go like that.

Maybe even bringing it in like that also.

Some kind of lip like that.

And then...

I don't know exactly what this thing is going to be like.

But just giving it some kind of detailing.

Like this.

I could always sculpt on top of it afterwards.

Maybe I'm just beveling in an edge there.

Or something like that.

That's not too bad.

And then here, got that.

Got that like so also.

And then we can bring in this one here.

I could solidify this one or just give this one some thickness.

Like that.

And then back to a median point.

And just adjusting that a little bit.

Just give it a little bit of soft selection to make it a bit more...

Like a metal that's been actually touched by human hands.

Okay.

Bringing that in.

It looks a little bit like a wrestler's kind of...

Or MMA fight or those kind of belts that they wear in the champion's belt.

And this one definitely goes here according to the concept.

See how big that is.

It could be a little bit bigger.

And I think this one could then also be a little bit bigger.

And that's kind of the look that it's suggesting here.

Like that.

Okie dokie.

We've got that there.

And then we do have potentially another cylinder.

Then I will also make that happen here.

Could move that one so it's a bit clearer.

Like so.

And then we have that here.

Just creating a little bit of a definition here.

Set this to normal.

Like that-ish.

That seems pretty good.

Then here I kind of want a hole in here.

So press I.

Faces there and there.

And bridge.

Set the edge loop there.

Then I get a little bit of a...

Also try this here.

Make it rounded.

Like that.

Then do that.

Then I get a little detail like that.

Not super essential but it's just a little thing that we might see when it goes bigger.

And I could sculpt on this one afterwards if that was something.

But I don't necessarily think that we need it.

But it could be interesting to sculpt on it just to get some slightly metallic look.

Getting it buffed up and edged.

Then we could project some stuff.

We could do it with that one and the helmet.

Okay.

Then this one here I think that I can create the next layer.

I might just duplicate this one.

Not like that.

But going in here and then duplicating it.

Turning off the shrinkwrap and turning the solidifier off.

And then just doing like this.

Then I might do that there.

Then put key corners on this one.

This will be the second part of it.

That's going to wrap it around.

And it's going to probably just stay like that.

Let's see here.

We need a mirror.

And we need to turn off normal here so we can move things again like we used to.

And getting that in there.

Just adjusting this a little bit.

Probably turn on clipping so that we don't have anything intersecting like that.

There we go.

And this one can also have probably a solidifier modifier on this one.

Should it go inwards or outwards?

I was actually thinking outwards.

Let's try that.

And then we do have this stuff here.

That is, we could snap it to the surface like that.

Let's see if that gives us something.

Maybe that gives us a little bit of room to play here.

Just snapping this to this.

That seems pretty good actually.

It's a little bit uneven here and there, but that is okay.

Getting a little bit of that look there.

That's quite nice.

And on these planes themselves, I could use another layer inside.

So I might go like this and then like this here.

Just forget about that one.

Slide that over.

Put that layer in there.

Without that one.

This layer will have something a bit different.

How do I want to do that actually?

Because I only want the outside to really go crazy.

I could make it so that it only peeks through.

Maybe we'll just delete it.

And then this one will have...

Keep corners, keep corners.

And then that one is like that.

Maybe that's okay.

And then we have it.

There's a little bit of design work here where we're just figuring out exactly what could be good on this one.

But maybe the detailing is kind of like this.

And then it just sits like that.

And then it clamps together with the other one.

So I'm going to reduce the thickness of this one a little bit.

Not make it as bulky.

But that does mean that it is coming together right there.

Maybe it's just the edges that I don't like.

They're coming out too much.

Like that.

And then these ones can come in a little bit.

Like that.

Like that.

Yeah, okay.

You know what?

I think that's fine.

And then creating some kind of lip over here.

A piece that can connect them.

Like that, like that, like that.

And then just connecting these two here.

And then we have this one.

And we can group that one in there.

And this one can also then be a little solidified piece here.

Just to give it that thickness.

Like that.

And that can stick out like that.

I think that's actually fine.

Cool.

Like I said, that's a shade smooth.

Shade auto smooth there.

And this one could get like a bevel or something.

But I don't think that's necessary.

Because we might be doing that slightly differently.

Mirror.

Set that over to the other side as well.

Like that.

And that essentially is our belt piece there.

Then I can bring in the cloth again here.

I'm going to call this the cloth.

And then this will be the belt area here.

So the question is how I should do the belt.

If I should combine everything as is now.

And then that might make sense actually.

It's not really going to move.

So I think I'm going to visual geometry.

That doesn't make sense.

Yeah, I think so.

And then I'll just combine that.

So that's the belt essentially.

And then we have some material separation we can do later.

Then we get the cloth.

And now I want to actually apply the cloth.

That's the mesh we have for the cloth here.

Then sculpt mode.

Let's see.

Do we want to get a higher resolution for the cloth.

And then sculpt on some wrinkles for the cloth.

That could actually be the case.

So let's say subdivision surface here.

Keep corners again.

Let's give it one more layer of subdivision.

And then we get maybe one more layer.

Like that.

Then it's a bit easier to sculpt.

Then I'll jump into sculpt mode here.

And then I'm going to make it fit underneath this belt.

Make that come out there.

Make that go out there.

Make that go there.

Make that go there.

Like that.

So just getting it in underneath here, under the belt.

Like that, like that, like that.

Squeezing it in under.

And it's okay if it intersects with stuff underneath.

That's fine.

But I just want a clean kind of separation there.

Okay.

That seems pretty good.

At least this lip here, that's just being a little bit annoying.

There.

Cool.

And to avoid kind of that stuff moving too much, we might come in here

and then go to sculpt mode.

And then go and turn on face sets.

So I'm going to be painting in some face sets here.

So if I go to this draw face sets thing, then I can kind of just draw it out underneath.

And this face set is basically what I don't want to move here.

So it keeps drawing a new one here.

So I'm going to hold control while I paint.

Then it picks up the face set that's already been kind of done.

Let's see if I turn on ghost mode.

Can I still see that?

Nope, I cannot.

So this thing here, I'll just hide it.

Then cloth.

This is the kind of stuff that I don't want to move.

I don't want this stuff to move at least.

All right.

That's the idea.

And I clean this up a little bit.

Nice.

So I got that right there.

I don't want that to move.

So when I now want to sculpt this one, I can go in and say, if I had a brush like this,

it would just sculpt on top of everything.

But if I said, when it's here to advanced and said,

affect only vertices that I share face sets with the active vertex.

So if I say face sets onto that one, then you can see it kind of stops me from there.

And then now I can sculpt there.

So it works as a mask essentially.

And that means I can sculpt all this stuff and move it.

And I can do it like this without affecting that area.

So it's going to stay in place where I've kind of masked it.

So that's pretty good.

Because then I could go in and use a tool like this, the cloth brush like this.

You see this one, it is affecting it quite a lot.

So I need to turn it on for this one as well.

And then there it's a little bit more.

So let's see if I kind of just drag.

Very.

Let's see what we get here.

If I really reduce the strength.

We might get something that could be useful.

Maybe it's also just around here.

Maybe it's more around here.

We're getting stuff that could be useful.

I was trying to create something that gives me some variation.

That's kind of interesting also.

And if the cloth brush is not really doing it for us, then we could also just get.

Oh, that's interesting.

I'm just creating some variation here.

Then we could also just sculpt in by hand.

All right.

Just moving some stuff around here.

Just getting slight wrinkles in.

Okay, let's see here.

Maybe this stuff here.

Let's see what else we can adjust something.

If we adjust the drag, we could also say push.

Then stuff gets pushed inwards.

And then we get cloth kind of going that direction maybe.

And then with some weight on it like that.

Kind of like that where the cloth gets pushed inwards here.

It's also kind of interesting.

The kind of shapes it creates there.

I'm just kind of experimenting with this thing right now just to see what I get.

It's quite wrinkly.

And I think the wrinkliness is definitely dependent on the topology.

So that's something we'll be fighting a little bit I think.

Also got features like the grab feature here.

So if I just grab this one, then it will.

It won't really cloth the form.

So that's interesting.

If we go to cloth here, I just say pinch perpendicular.

All right.

So that's pinching everything together here.

So we could use that for everything around the belt area.

Just to see what we get.

I might get a few clumps here just kind of coming together.

Which could look interesting.

Or something along those lines.

Yep.

This is definitely creating something that is a bit more akin to what I was imagining.

Like bigger kind of strokes of cloth.

Then it's a little bit wrinkly and decrepit.

Nice.

And then I can move this out.

I could probably also smooth out a few bits and bobs here.

If it doesn't really work the way I want it to.

I'm going to bring in this again.

Like that.

Like that.

Like that.

Cool.

I think that's it for the cloth.

It might be too much in terms of the actual folds.

When I'm looking at stuff like this.

Then the folds are a lot simpler.

But I'll leave it like this for now.

And then maybe when I see the rest of the ensemble.

I might come back and remake it a little bit simpler.

But there you have it at least.

The cloth brush.

It can be used for some things.

It's quite a fun one.

Okay.

Very nice.

Then I just want to adjust these ones inwards here.

I can get this.

Get that.

And get this moving outwards there.

We do have some kind of folding and variation on the actual concept.

That's a bit more.

These fold in on themselves a bit more.

But this is also totally fine.

Like that.

Then what else do we have?

Then we have the headgear and the undergarment.

I think I'm going to do the undergarment.

I'm just going to hide these here.

Maybe.

Yeah.

I'm just going to hide these two.

Then bring in a cylinder.

Cylinders are nice because they can just quickly wrap around something.

But are they really the actual.

Actually I'm going to grab a cube.

Then I'm going to split that in half.

Make it smaller.

Make it go over here.

Make it like this.

I'm going to create a pair of underpants essentially.

Alt E and say individual faces.

And then.

I guess they should be actually mirrored.

So we do this instead.

Then we mirror this.

Mirror.

Then I can move this one out.

I don't know why that one is there.

There we go.

And then we'll say.

That should also be gone.

And then we can use shrink wrap again.

To just wrap it around the model.

And we can project.

Let's see here.

Not on surface.

Project.

Positive negative.

And then give it some more subdivisions.

Or we could give it some.

Let's see here.

Subdivisions there.

Like that.

Maybe a few more subdivisions.

And then we're starting to get something at least.

Oh okay.

It's wrapping all the way around here.

Why is it doing that?

Let's just say nearest point on surface then.

Let's see what it's doing here.

Maybe this one first then.

No.

Clipping and then getting this to merge.

Okay.

That's definitely causing some of the issues here.

And then let's get this one to be offset a little bit.

Not that much.

There.

And what do we have here?

Okay.

So we also have this one of course.

They're locking up like that.

So that's causing some issue.

Let's try moving this up here.

Could also try bringing in something a little bit more like this.

And then letting this kind of just having a little bit of space in between.

Like that.

Then we need to correct this also of course.

Then offset.

Yeah.

Let's see what project will do with this one instead.

Project is also a little bit interesting here.

So face orientation.

It's almost something like that I would want.

Also that level of resolution.

So if you say wireframe.

No actually optimal display here.

And not wireframe.

Okay.

Let's take this one and just raise this one a little bit here.

But if I just offset this just a tiny bit.

Then we see this one's going to have a higher back than front.

I think that'll be a little bit more natural.

Like that.

Maybe something where these things are a bit higher as well.

Let's see here.

Something along these lines.

And move that up.

Let's try that.

So we got these underpants here.

And then we say subdivision surface.

That's going to even them out a little bit.

I'm going to smooth these.

Just to conform the vertices.

And then I can cut them in half.

And then I'll just mirror these over.

Before the subdivision.

Let's cut the subdivision.

Like that.

Like that.

They might be annoying because they might cut through some of the other stuff here.

So let's see what we get.

It's definitely cutting through some of these things.

But that means we can comfortably raise these ones a little bit.

That's probably not so bad.

Give a little bit of space to this.

It was pretty tight before.

That's probably fine.

Something like that.

I don't think I like the wrinkly cloth.

The more I'm looking at it.

I might hand sculpt some features in.

A little bit later.

But this is actually more than ok almost.

Just keeping it pretty simple here.

Then we could always come in and do things like this.

Especially around where everything is crumpling together.

Like that.

Like that.

Like that.

Like that.

I mean we're seeing the character from up here anyways.

It's going to be hard to see lots of the stuff.

But now we got that.

So that's really good.

Then I think I'm going to do the sandals.

So I can reward myself with the helmet gear a little bit later.

Ok for the sandals I think I'm going to create a sole first.

And that's probably going to be with a plane here.

Like this.

Mirror it over.

There.

Then.

There's got to be something along these lines.

I need to create some kind of sole here.

Like that.

And then maybe a subdivision surface.

Yeah it could be a subdivision surface.

But then before the solidifier.

Maybe just get like a little bit more resolution there.

Yeah.

And then this can be adjusted.

A bit too.

It doesn't have to be a perfect sandal at all.

It can just be something like that.

I forgot to get those bands and strands that we see there on the feet.

There's a couple of ways of getting those in.

We could use some curves across everywhere.

And then just extrude those.

Yeah maybe a curve is actually a good way of doing it.

If I go into shift A and add a curve here.

Add a basic curve.

I'll just kill that curve for now.

And then I can draw on these curves here.

I can do it like that basically.

Oh I need to go into surface.

So I can draw on the curve like that.

And draw on another curve like that.

And then this curve can get an extrusion like that.

And then I can press Ctrl T to tilt it.

Actually the whole thing here can be tilted.

I can minimize the extrusion there.

And then we could add some depth to it as well.

And then we're getting that.

But maybe that's too much.

Depends on the resolution of that one.

So it's quite a lot of resolution there.

I might want to decrease that a little bit.

Yeah something like that.

That's a bit more reasonable.

Okay actually I think this works pretty well.

Then I can move these ones afterwards.

Just to get kind of closer to the result that we need.

Then these ones can go upwards.

These two can kind of just meet here in the middle.

That's fine.

Then I'm going to turn on Fill Caps.

Like that.

Ctrl Delete.

Cool.

And then this one I'll just recenter the 3D cursor.

And then I'll just set the origin for these bands to be at the 3D cursor.

And then I can mirror those over.

Exactly.

Then we get those things.

And then I want to keep creating some of these bands here.

I'm going to draw them over if I can.

Like that.

That's going to be a little bit tricky.

Maybe like that.

And then I can bring this one down.

Then I can Ctrl T.

Just twist this.

And something right here maybe if I need an extra little band specifically there.

There we go.

And you know it's a really simple character.

So don't worry so much about how imprecise some of the stuff is.

It will really not be noticed.

It just needs to be felt.

So it's always better to make stuff a little bit thicker than it needs to be.

So you feel it especially with these smaller characters here.

Like that.

Very cool.

And then I can do another one.

I think I'm just going to duplicate this one.

And just expand it upwards like that.

I can bring this one in.

Bring this one in.

Bring that one in like that.

Cool, cool, cool.

And then we got those things connected.

And then I think this one can also maybe be used further up here.

So if I reverse this one 180.

Then I twist it.

Then we can start using it on the back side of this.

And I could use this to just connect these around here.

And we got that going on there.

And that going on there.

Nice.

And then we have this big thing that needs to sit on top.

We can create that one with a plane.

We could take the sandal actually and use that as our base.

So we can have something similar to the sandal there.

I'll just take the subdivision and turn that off.

Then we can start creating something.

And solidify also.

Actually, so it's almost starting from scratch.

And maybe something like that.

This just needs to kind of sit here on top of these bands.

And create some kind of feeling like that.

And then I think they can then connect all the way up here.

Then I need this one to then become the top one as well.

Let's see, maybe like that.

Then it goes all the way up like that.

And expands there.

Something like that-ish.

Like that, like that.

And then we have that kind of a thing.

Something like that.

That's actually, yeah, I think that's starting to work pretty well.

Then the question is if I need to subdivide this further.

It is kind of at a good resolution.

I also want to be careful with how much I add.

But I think it could do with that.

So the division surface, we could try that.

And then setting it to keep corners.

That's a good question.

If that's right or if the other thing is right.

I think this level of detail matches the skin a little bit better.

Or the body a little bit better.

So I might be going in that direction.

So yeah, I'm keeping it at that.

Let's see, then we got to get more of these ones here.

I could connect these ones in, overlapping them like that.

Bring this to the front a little bit.

They could also connect.

That also works.

Then bring these ones up here.

Let's see how much we need of this.

Probably something along these lines here.

And then maybe some a little bit higher up.

Maybe just a single a little bit higher up.

Yeah, something along those lines.

Hmm.

There we go.

That's pretty good.

Now we could just adjust this a little bit.

Nice, I got those things in place.

That's great.

Check wireframe on here.

Check everything out.

Looks good, looks good.

Then let's see.

Then we can do the gear around his waist.

Or we could do the helmet first.

And the cloth.

The helmet is probably going to be the thing that I might sit with for the longest.

I just feel like helmets always end up like that.

But actually this helmet is not too complicated.

So we could keep it simple.

And then we have the gear around here.

Okay, I think I'll do the cloth and the helmet kind of stuff.

I'll start off with the helmet so we can sculpt the cloth to the helmet.

For the helmet I'm probably going to use some reference here.

I look at this and this a lot.

Like how this stuff is exactly like being wrapped and stuff.

Because that was my main reference for designing the helmet initially.

So it looks like the helmet is pretty much just another cylinder.

That's pretty good.

Maybe I'll get one that is slightly bigger.

I think I want some resolution on this one.

So I'll bring this up here.

Like that.

Something along these lines.

Then we need the cap.

Like that.

Maybe we just slightly keel it in like this.

It looks a bit more like a giant fess right now.

But that's all good.

Okay, then let's bring down a ridge like this kind of.

And then maybe a little bit of an additional ridge.

And then something like that.

Bringing this in.

Getting it to the top here.

And then sculpting in some details like this.

It is a little bit not round enough for sure.

That's not really okay.

Yeah, I think that's probably round enough.

That's round enough.

And then we got to bring in this stuff here.

And then we see what we get with this one.

Basically.

That's quite an interesting, looks like a ketchup bottle a little bit.

But I'm going to check out the concept here.

Just to see what is what.

Maybe this thing needs to just be a little bit more prominent in shape.

Like that.

And then this one.

This one can kind of just come together like that a little bit.

It might be that it's just not round.

That's not really working for me.

Or that it's too big.

But we'll see.

Then we have these kind of side panels also.

I'm just going to create a little bit of an edge here also.

Just as a detailing.

As a rim to close things off.

I think maybe this ridge is a bit too big.

It is quite a big helmet I think.

Maybe that's what I feel so wrong.

It just feels so big.

Does this one just sit higher up?

It's quite tricky this one actually.

I'll just move this and then let's bring in the other details.

So we're going to bring in this shade.

And that one I'm going to cut in half.

And then create a mirror.

Like that.

And just place that one where it needs to be roughly.

Let's see here.

We need something like this.

Okay. Let's see here.

So we have our shade here.

I think this one actually goes out a little bit.

And it comes in a little bit too.

And it really looks like the shade is far too high up.

It almost needs to be around here.

Which also means the helmet needs to be down there.

That's quite an interesting look.

Like when you're seeing it from above.

Then it definitely is quite a big one.

I think this needs to be smaller.

For sure.

Maybe it's just because it needs to be addressed to the head a little bit more.

So that the top is round.

But then this stuff here conforms to the head a little bit more.

And then probably the easiest would be to cut this one in half.

So let's press V here.

And then just delete half of it.

And then mirror this one over.

And then this stuff here can start actually coming out.

And forming to the head.

A little bit more.

Let's see, like that.

This is going to be a difficult one to get solved.

So that it looks acceptable to me at least.

Okay, let's try to get in those side panels here.

So if we got the back panel and we got the side ones.

I'm going to take the back one here and say that it starts there.

I'm going to separate it out.

And just do like this basically.

And do something along these lines here.

And then this could come down.

While the other stuff stays up a little bit.

Kind of like that.

And then this one can kind of just sit loose on it like that.

And does it need a thickness?

Probably not.

Probably not.

Okay, this might actually be helping with it a little bit.

I'm just going to join this one into that one.

And then this one will be the connection to the side piece.

But I think I'm just going to do it like that.

And bringing it out.

Then getting it down like this.

And that's going to be covering the ears.

And things like that.

And it's going to have it's own shape.

Maybe creating something like that maybe.

Yeah, because then we've got the cloth coming in also.

I think that sounds alright.

I'm going to give it a little bit of a bend.

Just to not make it completely straight.

And then these two here can also just come down a little bit.

Just rounding that off a little bit.

Then we've got that helmet there, kind of.

And the shadow. It could also be that the shadow is just a little bit too big here.

That definitely helps.

And then maybe this one.

Let's see here what is needed for this one.

So we've got that going on there.

Maybe that is a bit more useful.

It is quite distinct from above at least.

And right here I want a little cylinder on each side.

Maybe with an 8.

Like this.

And then it's just going to have a little bracket like this.

And we're going to put that over here.

Right there.

And that's going to be the little hinge for this one.

And that's stuff that you can just kind of put on and intersect it.

It just adds a little bit of life and detail.

Like that.

Then I can inject that in there.

And then it's on both sides.

And then that works.

Then we've got the shadow there.

I think the shadow should be going out more than that.

Let's see here. Reference.

Definitely.

The more forward it is the better it kind of feels.

Maybe this one should have some thickness as well as this one.

And this one.

The whole helmet doesn't actually have any thickness at all.

I could just give it some solidify across everything here.

I'll just say that's what they need.

It doesn't have to be a lot. Just a little bit.

I'm going to keep that. Nice.

Let's double check the look of everything here.

I think if I can get this one even lower onto the head then that's good.

How low can I get it there?

I can get it all the way down there.

That's pretty good because that's really protecting the eyes in that sense.

That's looking better and better.

Okay. Not too bad.

I'm looking a lot at the reference. That's why I'm a little bit unattentive.

Let's see here.

Maybe that thing there.

Maybe that thing there.

And then some kind of decoration right here is needed I think.

This one can also come down a little bit.

Then here there needs to be something.

What do we have?

What can we use here?

We can give it a cylinder is always good.

They are simple and easy to place.

This is where my concept is not detailed enough.

I have to come up with something on my own here.

I have to fill out the gaps.

Rotation scale. There.

Then get this working.

Let's see.

We got this here.

Maybe something along these lines here.

Yeah.

Then.

I can feel this is the kind of thing where we need a good idea to put on.

Typically I would do this with a lot of detail, but we actually aren't supposed to because we don't have a lot of detail that will actually be seen.

I am trying to think of something that could work nicely in that sense.

I think maybe a square-ish thing.

That kind of goes upwards.

Then maybe it sits a little bit like that.

It just kind of goes in like that.

Then that can kind of sit there.

Then I have another set of...

These ones could also just sit across the thing with their regular intervals.

Then another band.

This could kind of just sit like that.

I'm also totally okay with designing it here in 3D.

I'm quite used to designing things in 3D.

I feel somewhat confident that it can be a good result still without too much effort.

Okay, so we got that thing there.

Then maybe some kind of decoration elsewhere.

It might not have to be more than that.

We could also try with this one here.

Just to have a lip like that.

Just to give everything a bit more fidelity.

Then this one.

Maybe this is not the right shape for this.

Maybe I'm just trying to get it to fit in.

Unless we reused it somewhere.

Like there.

Something along those lines.

Could actually work.

Oh, I have a little bit peeking through here.

Gonna correct that.

Then...

I have the helmet piece like that.

What if I did like that?

Oh, I like that actually.

That feels good actually.

Cool.

It's good that I found that kind of a thing.

Yeah.

Not super amazing, but I think it works though.

I think it works for what I want.

Just a little bit of definition around that helmet there.

So that's really good.

And then I want some little crown piece up here.

And I might want something that's twisted maybe.

Let's try with 16 here.

Then go down, go down, go down.

And then I just go down here.

Go down there.

Then I might just twist this one along here.

I think if I can...

Yeah, if I can twist this one, that's kind of what I was thinking.

That could have been cool.

And then maybe...

And then select, checker select.

And then individual faces.

Kind of out like this.

Then I get some kind of interesting...

Some interesting shape at least.

I won't really see it that much on this one.

But...

It might be a little bit too detailed for the thing, but that's also okay.

Then I got that there.

Cool.

Then I can take this one and just visual geometry to mesh.

Visual geometry to mesh.

And just combine all this stuff here.

Then we got our helmet.

Awesome.

Okay, let's get started on the cloth here.

The face cloth thing.

Okay, so how do we want to approach that?

We probably want to think about the structure a little bit of the whole thing.

I'm thinking that the mirror will be our friend.

So let's create a plane.

And let's think about the structures that we have.

So the cloth itself kind of goes down in a diamond shape.

And it would probably also do that on the back.

So that's something there.

And then the question is, is this just a big piece like that?

So I'm wondering whether it should be created in two separate pieces.

And does it just come down and around here maybe?

That is a little bit interesting.

Okay, let's try this here first.

And say mirror to the other side.

Then we just try this to begin with.

Getting something.

Putting something out there.

Like that.

And then we have this going on as well.

Yeah, that's something like that.

And let's see what that can give us.

Maybe something along those lines.

And we could also have this kind of just coming in like that.

Let's see here.

Yeah.

I'm kind of saying yeah to confirm that the idea is a good idea.

I'm not entirely convinced yet, but we will be figuring it out.

Adding some subdivisions here.

And then also going to maybe add a subdivision surface modifier.

Just to bring that together.

And then I think I'm going to bring the back here together.

Also if that's possible.

So I'm going to bring that in, turn on clipping.

So that they merge up like that.

And then this is going to be the edge of it.

And we can snap stuff onto this here a little bit.

Yeah.

If needed.

Could also be that it's a bit too much there.

Okay.

Let's try that.

It's a lot about figuring out the topology of this thing.

Like what exactly is that going to look like?

And then we got this going on.

Maybe this is a grid fill scenario.

And we have nine there.

So that's not ideal.

So there's two up there.

And then, well, let's see here.

Got that there, there, there.

Okay.

Not too bad.

We have something at least that we can pull and push here.

Going to be creating this kind of hood here.

Getting a little bit of some Assassin's Creed vibes here.

With the way that the hood is shaping itself.

Or Darth Sidious vibes.

Do it, do it.

Very much so.

Let's see.

And then we got this coming down here.

And, yeah, I want to figure out if this is really the, is this the way the cloth sits?

I mean, it could be that it's the way the cloth sits.

I want the cloth to make some amount of sense, right?

And if it sits like this, that does make sense.

Then I just need that face mask to also come in and make some sense.

But I think that this can come in a little bit closer here than that there.

That can definitely also come in a little bit closer.

Let's see what that looks like with the helmet.

Right, that doesn't really work like that.

Okay, so get that underneath there.

Get that underneath there.

Get that underneath there.

And then this thing here needs a very different look at least.

So this is coming all the way down here maybe.

And then coming underneath that.

And then coming out from below that thing there.

So, and looking at the concept, it seems like this one's still quite forward in how it feels.

That's going to be quite interesting.

It does feel kind of cool when I'm seeing it like this.

So I'm thinking that this is the right way of having the cloth.

The only thing that I'm not so certain about is whether this connects with the face mask

or if it's part of the whole ensemble here.

I might just give this a little bit of a thickness.

And then set this to auto smooth.

And then I have this kind of lying on top of everything here.

But I'm not sure if that's the right way to go about it.

Let's see.

Because we could be creating like a little bit of an edge around different places.

You know, we could do stuff like this here where we just pull out a little bit.

But then you suddenly have an edge like that.

But maybe that's not really what is needed.

Let's try removing the solidify here.

And then we need to get in that mask.

And the mask.

I think maybe the mask is going to sit on the inside by itself and then be its own piece of cloth.

And maybe it's something that kind of attaches to the inside of this cloth.

And then it can be kind of attached and detached if need be.

And how would he do that?

So as long as you could put his hand in here, then there'd be some kind of latch.

I'm not going to be making the latch.

It's just so that I know functionally there's some idea at least.

Okay, let's try that.

Let's see here.

So let's say that we got this.

And then we delete that there.

And then that's the one half.

I'm going to mirror that over.

Set it to clipping.

There we go.

And then it gets to sit something like that.

A little bit over the nose here.

And maybe this mask is then creating the actual tip that I'm also seeing in the concept.

Like the pointy bit.

Okay, let's see here.

Okay, it's doing something.

I'm not hating it.

I'm not hating it for sure.

It is reminding me of the thing for sure.

Let's just see if I put on some subdivision here.

Does that defeat the purpose?

How much wireframe do we have going on here?

So if I set this to optimal display.

And this to optimal display.

That's probably more what I would want in terms of resolution.

It's kind of cool how the wireframe is creating pupils there.

Yep.

Like that.

Yeah, that's not too bad at all.

And then this piece there can definitely also...

I mean that's simple enough I think.

Might actually not need more than that at all.

I could use an edge maybe.

Like edges like that.

Just crawl around there.

But then this could remain kind of simple.

And you know, they can just get combined.

And then we'll apply the subdivision surface modifier.

Let's see here, if we keep corners.

Apply this.

All.

Try applying that then.

Like that.

Yeah, that actually looks not too bad at all.

Just got to connect these up again.

Bring in...

Bring these out.

Got some edges here.

They seem a little bit...

No, actually it's fine.

This one is flying though a little bit.

But it is getting some style.

It's for sure giving it some style here and there.

And that one is kind of floating out on the other side.

But that's totally cool.

Okay.

Maybe it's just as simple as that.

Oh, that's not what I was looking for.

The wireframe.

And I'm just going to set it to shade smooth.

And then I can get these things in under the helmet again.

And they're coming out here and there.

That actually looks kind of cool.

That looks kind of badass.

And I think it matches pretty well what we've got going on in the concept over here.

Like that's definitely pretty close in feeling.

And that's the most important thing.

Is that it feels the same, not that it's identical.

It's supposed to feel the same.

You can have stuff looking like be on model and be completely correct.

But it doesn't feel the same in 3D.

And then it's like...

Then why have the concept?

The concept is supposed to achieve some kind of feeling.

But then you are trying to recreate that in 3D somehow.

Nice.

Okay.

Then we have the bag here and the scabbard and then the sword.

That's what we're kind of missing so far.

So let's see what we can do with those things.

And we also need to simplify the cloth a little bit afterwards.

We could actually do that now.

So it's quite high in detail.

And I don't know if I need that much detail.

We could also just decimate this unsubdivide to a couple of iterations here.

And then look at wireframe.

Go once more.

Then we get this.

That's almost...

You know what?

I'm just going to do that.

No need to make it too complicated.

Yeah, like that.

That's awesome.

Then we can just move these things out a little bit if we need.

Like that.

And then if this one is also being a little bit too squeezed,

then we can just pull it out a little bit here and there.

Give it some variation.

That's absolutely fine that it gets some hand pulling here and there.

Makes it a little bit less even, which I totally don't mind.

I think it's only welcomed, actually.

Like that.

Just pulling the underpants in there a little bit.

Like that.

Awesome.

Looks great.

Then let's get the bag and the scabbard.

I'm going to start with the bag.

I think I might do the sword first and then the scabbard to fit the sword.

The bag is probably pretty simple.

I think we can just create a cube and then do something roughly in the bag size.

Like that.

Then let's see here.

We have some kind of thing sticking out there.

Then do a subdivision surface, I think.

And maybe a thing like that.

A thing like that.

I don't mind if the bag is not completely symmetrical.

That's actually just a bonus.

Something like that.

Give it a little bit of variation here.

It is a leather bag after all, so it's going to be a little bit worn and torn.

Something's going on there.

Do I need to merge by distance here?

Maybe that helped it here.

I think there was a double edge there.

Then create the lid, or what you would call it, for the bag.

Like this.

Something along these lines.

Yeah.

That feels pretty good.

Just a simple little pouch here.

Also not going to be anything extreme.

We're going to give it some color and stuff, but that's pretty much it.

We could close it up a little bit more.

Like that.

And a little lip like that.

And then a little buckle for the bag.

It kind of looks a little bit like this.

And then a subdivision surface.

Like that.

I think that's pretty close to the concept.

Just place that here.

Then we move that in as well.

Just slap that on top there.

The bag is never going to move or anything like that, so it's just that little accessory.

Cool.

I think I can just do that.

Awesome.

Then we can find the spot for the bag here.

The bag is kind of sitting on the side.

It's not quite that big, but it still has a size.

Something along those lines.

Let's see if I can actually make the bag a little bit smaller.

Just a little bit more squeezed in.

Then get that buckle to also sit there.

Yeah, that seems like a decent spot to have the bag.

Then I just need some kind of rope.

I think we're going to handle that with a curve.

I'm going to get a curve here, a bezier.

Then I'm going to just delete this.

Then the question is how we should do this.

Should we draw it on?

That could work.

Or we could get a circle.

It depends if we should do a proper rope and then wrapping it around here.

Getting it around.

Let's get a proper rope actually.

I'm going to create a bezier again.

Then I'll just model that out.

We need a few things here.

Get that around there.

Get that around there.

Like this.

The bag is going to sit somewhere around here.

That point is going to be right there.

Then this one is going to be sitting over here maybe.

It could also be sitting a little bit higher up.

That's also kind of interesting.

We can definitely try that.

Then we can give it some depth.

This bag here.

I want to see the actual wireframe.

That's a little bit too much.

I think I can go a little bit lower here.

8 there.

It can be as simple as that.

It's not supposed to be any kind of fancy wire.

Then extrude there.

Goes through here.

Then it goes up here.

Then here we can start tying a knot of sorts on it.

Which is always kind of fun to do that, I think.

It's always something a little bit rewarding in properly tying the knot.

Let's see.

We got that thing coming up there.

It could also go through here.

Maybe I take this wire here and just...

Let's see.

This one, subdivide.

Then I pull it up here.

Pull it down there and then make it somehow just rotate through here.

This is one of those little details that adds a little bit of character to the whole thing.

Like that.

Then make it come out.

Then here I want this thing to tie into some kind of a knot.

Like that.

Like that, like that.

Then it needs to come around.

Like that, like that.

Okay.

Like that.

Then let's see, we got this one as well.

Coming around here.

And then that needs to go a certain way as well.

There we are.

This one.

Not the best knot in the world, I think, this one.

Like in terms of strength.

I could probably just look up a proper knot and then do that.

But this is a chance to invent something.

And then somebody can comment and say that, you know what, that knot, that wouldn't hold anything.

It's just those little fun things of life.

Like that.

Okay, cool.

That's the knot there.

Maybe I should just delete that one.

That feels a little bit nicer with two being there.

Yeah, I think that's actually kind of cool.

That looks pretty good.

Just a little knot like that just makes everything feel a little bit more real.

Nice, and it's attaching to the back there.

That is great.

And then we can get on to doing the sword.

So for the sword, we actually could bring in an image.

So I might just copy the image and bring that in somewhere.

I could literally just drag it in.

So if I find the concept piece, I have it here.

Then I can literally drag it into the viewport as I just did.

Then it's just loading.

And then I have that there.

And then it becomes this plane.

You can always reset the rotation if you need to.

I want it to be like there.

And then I want to find kind of the right scale for the sword here.

I think it's something along these lines.

It might be a little bit short, but at least handle-wise, it looks right.

And I think that's what I want.

Yeah, I think that's pretty good.

Then I can turn it down in opacity.

If I go to opacity here and then just turn it down,

then I can use this as a reference essentially for my modeling.

A little bit there.

Then let's see.

We want to do the blade and we want to do the hilt.

I'm going to do the blade first with a plane.

Get that over there.

And we might need to put this into the middle of everything.

So if I take all this stuff here, deselect that,

I just say this stuff here should be in a new collection called character.

And I just take that also into character.

Then this stuff here can now be over there,

just so I can potentially mirror the sword.

Okay.

I could also move this one in front.

I can actually see what.

Then I make this one.

If I go up here and turn this one on, then I can make it unselectable.

So now I can only select the stuff in between.

This one just stays in front.

So that's good.

Like that.

You could also do this for the character.

If you have a character concept where you have the entire model sheet,

then you could do something like this as well.

If you don't want to sculpt it accordingly,

that's also a method that some people use for sure.

But I definitely would much rather sculpt it by hand.

Okay.

Let's see here.

Getting that stuff in there.

And then slowly.

Maybe this stuff is getting here, getting wider, getting wider.

Getting wider.

Getting that curve on the blade there.

Then we have probably some edge is going to come along there.

And I'm going to have an edge on the other side also.

Not necessarily a cutting edge, but some kind of detailed edge.

I could change the design a little bit now that I'm in here in 3D.

Then we can mess with that a little bit.

Okay.

Cool.

So that is the blade like that.

And then I need to bring it out onto both sides.

So I might add a solidify modifier and set the offset to zero.

And then I bring it out a little bit, make it a little bit thicker.

Like so.

And then I could say subdivision surface.

And that's going to give me some sharper edges here and there.

And then where I don't want them, for example, here,

I could say shift E, I think.

If I say shift E, it activates creases and then you just drag along.

And then you get a sharper edge.

So do that here.

But I might just undo that for a moment and just apply the solidify modifier.

Because I kind of want an edge here.

Then this stuff and this stuff, I want to pull that back a little bit.

Maybe even without that one.

And this one, I can just add an edge like that.

And add an edge to these ones as well.

Yeah, exactly.

That's what I want.

And then I get that blade shape.

That's exactly what I wanted.

And this one here.

Maybe this one actually.

If I can get just an edge in here and then this right there,

I can maybe get that to come in.

And I get a little bit of an inset there.

It doesn't make that sharp.

Maybe I just don't want the...

You know what, I'm going to disable the subdivision surface I think.

That doesn't actually do me any favors.

Yeah, that's exactly what I wanted for the blade shape itself.

Okay, cool.

Then we just need to create this hilt area and this stuff here.

So I think I'm going to get a tube for that.

I think that's a good enough thing there.

What to do for the skull, I'm not quite sure yet.

Because we won't be able to see it in a lot of detail.

Right, so maybe it will be a thing where...

Just a very simple sculpt maybe.

Let's try this.

Let's try this.

Let's try this here.

And then like that.

Like that.

Like that.

Yeah, that actually doesn't look too bad.

I'm just going to bring this in a little bit.

Just make it a little bit thinner.

So it's a little bit more of a... Yeah, exactly.

Cool.

And then the whole thing can kind of just come up here.

And that becomes the place where the mouth starts wrapping around everything.

Like that.

Yep.

And then we have the transition here.

And I think what I want is maybe something that goes from round to edge.

So how do I do that here?

So maybe something like this and then bringing this in.

And then create a plane on each side here somehow.

So if I just take this and do that.

Maybe even all of these.

Yeah, I think so actually.

And it's the same here.

Then that becomes that transition.

Just bring that in a little bit.

And yeah, that feels not too bad.

And then I also get that kind of edged look right there.

So that's quite neat.

And then I can bring that in.

And maybe I can bring these two out.

Hmm, interesting.

Maybe just these two out then.

These two can also just come in then.

You know, I'm just sculpting out this piece so that it looks good kind of.

That's the only goal.

And then...

See, that's a little bit annoying that it's like that now.

Because it's stretching the polygons quite a lot.

So maybe if we extrude it, it will be a little bit nicer.

Hmm.

Okay, okay, yeah, that could be.

Something along these lines here.

Yeah.

Right, so I want to have some detailing there.

And that's supposed to come down there.

What do I like?

Okay, maybe it's because the whole thing needs to come down a little bit.

Like that.

And then like this here.

So like that.

And this one can just pop up a little bit.

Yeah, that feels pretty good.

I mean, you're never going to see this tiny detail, but it felt necessary.

Okay, and creating the next bit here.

So I'm thinking that this bit right here has a little bit more of a different structure.

Maybe I can borrow this one here.

No, maybe.

Maybe this one.

Let me just make these two flat here.

And then this one flat here also.

And then I can get that out there.

That's going to be out here-ish.

And this one is going to be...

Oh, it depends.

Maybe I should just do this one.

Like that.

And I might split this one up so I can do symmetry.

A P, then symmetry, and then I have to do it across the Y-axis here.

Like that.

Oh, that might have a face on the inside there.

Yep.

Okay, the bottom is a little bit uneven.

That's what was going on.

And the top also.

Oh, it's because this one is.

I'm just going to correct that as well.

There we go.

And then this one can have kind of this structure here.

I think I want it to go out like that.

Yeah, exactly.

And then we're going to have that thing on top kind of connecting it all.

That sounds pretty good.

So let's just get all of this here.

Then make that slide in there.

And do a little loop cut there.

Then bring that in.

Then we do some faces in here we don't need.

Like that.

Let's see how that looks.

Okay, looks okay.

Looks not too bad.

That could probably come out a little bit more.

Then maybe this one could also come in a little bit.

Just to flow with the sword a little bit more.

Yeah, like that.

Something like that.

Not the most essential thing here.

Maybe that's kind of interesting.

Then I think we get a cylinder.

That's a little bit too...

Let's get a cylinder with eight, actually.

And two gone.

Then bring that in up here.

And then that can live somewhere around here.

And then like that, like that, like that.

Just going to close that one.

I'm freestyling a little bit with the design here.

Just to get some variation.

I think maybe...

Yeah, maybe something like that.

And then here.

There.

Then I want a similar transition to what we did on the top,

where some of the stuff becomes flat all of a sudden.

And how do we actually do that?

So we're going to do that.

Then I'm going to say that this one is going to be flat there.

This one is going to be flat there.

And then this one, and maybe also this one.

And then that one as well.

That one as well becomes a square in that sense.

And then...

Oh, like that.

Then I get...

We can have a pretty big version of that.

That kind of thing going on.

Yeah.

This could also be handled with a little bit of mirroring.

That would make it a little bit easier, but...

I think this can also work.

I'm not sure if I like the way that I've handled it.

That's funny, because it's a handle that I'm working on.

Like that and that.

Yeah, I think that's not too bad actually.

I kind of want to bring this thing here out there.

And I can have a little thing like that as well.

Maybe I should just cut it in half here.

I'll grab all the vertices underneath here, like that.

And then mirror this one below like that.

Okay, that works.

Then I can be a little bit more creative with this.

So it's there, it's there.

Let's look if it's all smooth.

It looks a little bit strange, but I think it's okay.

Yeah, I think that's fine.

Maybe I can take the same structure and just rotate it.

And then take this part here and say nope.

And take all of this, smack it in.

And do something like that for the sides.

Then we say I actually want this one here.

Put this bit here, kind of in the middle there.

And then we just put that on both sides.

Oh, so that was wrong, wasn't it?

Okay, so that one and then a new mirror modifier on top here.

That just crosses that one on the Y.

This one, I need this one to place it.

So right there, nice.

We technically have a little bit of gold going down here as well underneath.

Could integrate that into this one.

Sort of like that, like that.

And maybe even like that.

Just like that actually.

Yeah, that works.

That actually kind of works.

Don't know if it's enough though.

Could be that it should be a little bit bigger.

Like that.

And then having that kind of backing there.

And flatten those things out.

Then go all the way in like that.

Yeah, that feels pretty good.

Cool.

Can also just set that one to auto smooth.

Then we have the sword more or less in the shape there.

Then I just need the little skull.

What's the easiest?

I think the best way is to kind of just grab a cube, subdivide it a whole bunch.

And try to sculpt it real fast here.

So I'm going to go sculpt mode and then I think probably need to sculpt this across the Y axis.

I guess.

So let's see here what we got.

Let's remesh this.

Yeah, there we go.

Now we have a little bit more resolution.

And then we could just try to kind of follow this thing to begin with.

All right, just going to get into the kind of silhouette that it is.

We have the under jaw thing there.

Then it could be like that.

Then we say like this.

I'm just sculpting in the brow here.

And then just a little bit of stuff like that.

And getting in the jaw as much as possible.

And let's see here.

So technically because the jaw there would be a hole here, right?

And then.

So the jaw goes up there.

Give it a little bit more res.

So 0.5, just give it twice the res here.

And then we are going to give some teeth.

How many teeth does it have?

I guess that's what it depends.

Like that.

Then we have our cheekbone coming in like that.

It's a very crude skull here, but that's also sort of the point.

And then we got that there, that there, that there.

Then we just need the teeth as well here.

Let's see if we can get the skull drawing thing like that.

Like that, like that, like that.

That looks quite extreme.

It doesn't really fit the theme that much.

It's a little bit too crude almost.

But maybe that's the point that it comes from some slightly different culture.

But then again the rest of the saber kind of says that it comes from this one.

So maybe if I tone it down a little bit.

Maybe if the skull is a bit closer to a normal skull.

In terms of like this.

Like that.

Then definitely the mouth is very grotesque in its size.

It's also quite a strange way that the mouth surrounds this thing.

Let's see what we can get here.

Something like that.

That's pretty good.

Cool.

Then I have the skull here.

And then what to do with this resolution because it's quite high.

But we could handle it in a similar way that we did when we did the other things.

But I want to retopologize it.

So I think I'm going to take this skull, duplicate it.

And then I'm going to go down to the mesh properties here.

And then I go to actually object.

Where is that feature?

Mesh.

And then say remesh.

Here we go.

Then I set it to quad.

And then I can do a quad reflow remesh.

And I'm going to say around 500.

And use mesh symmetry.

Reserve sharp.

Yeah.

And then I've kind of remeshed it to this one.

So it's a bit more simple.

The only thing is that apparently this one is like that.

I'm going to say merge by distance here.

We got that merged.

So that's good.

And the nose could use a little bit of merge again.

There we go.

And now this one could actually get the subdivision or the multi-resolution modifier.

There we could say subdivided.

And then it could shrink wrap to the other skull, which was here.

To that one.

So we could say skull sculpt.

Like that.

Just hide that one.

And then now we get this one.

So if we subdivide this one, then we start getting a lot of good detail on this one.

I'm just going to say project instead.

And then we essentially have that.

But with a topology that makes a little bit more sense, at least.

So we can always get the detail in if we need the detail.

Cool.

So it's essentially just lying there now.

And we could, I guess we could just apply this.

And then we have that detail on that one.

We can always go down if we need to.

To the simpler one.

Like that.

Basically.

And we have the higher one.

Very good.

Super simple.

Once you know how to do it, then you can really do a lot.

I think I can just keep that skull somewhere else.

Okay.

Well, I think that's pretty much the sword here then.

I'm going to merge all these things here.

We should go into the mesh and just merge it.

And say.

Like that.

Just check the face orientation here.

And then I'll shift the calculator outside.

And then this one, I'm just going to keep by itself.

But I'm going to parent it underneath the sword.

So when I move the sword, then it all comes with it.

And we will integrate the skull into this thing.

But I'd rather do that when I start baking everything.

Cool.

Then I need to do the scabbard.

I think I don't really need the reference anymore.

I'm going to hide that.

And then now I can do the scabbard for the sword here.

The scabbard is going to be quite simple.

I just want to follow the sword's flow somewhat.

So we need to make sure that it's wide enough at the top for it to sink into.

And then that's kind of how it goes.

Like that.

And then we can get that coming in like so.

Yeah, that might actually be kind of nice.

Then I don't want the scabbard to be too long.

I'm only going to be covering some of the sword.

So it's like a half scabbard thing.

Because he's going to be carrying the scabbard kind of on his back-ish.

Something along those lines.

Yeah, cool.

That's pretty simple.

And then I could be doing like a solidify.

And then maybe a bill.

Anything. I think this one can actually have a bill.

Yeah.

And then this one can maybe just have a little...

It could be raised a little bit.

Like this.

And then same can this bottom piece here.

Can also be raised a little bit.

Like that.

Maybe...

Maybe it's a bit too small with the detailing there.

Yeah, it can be a little bit bigger.

Same with this one. Can also be quite a bit bigger.

Nice.

So I'm kind of imagining that these can be metal pieces that stick out a little bit.

And I also want to do one here.

Get it there. Get it there. Get it there.

Let's just raise this one outwards a little bit.

This is a simple way of giving it a little bit of character.

Like that.

And this one can also come out a little bit.

And then I want to do some straps for it to hang on to.

We could reuse the one we already created for the belt plug, for the bag.

Just to create some kind of relation to that.

I'm just going to unhide the character here.

And then this strap here.

So I'm going to take that out.

B, selection.

And then put that one into the blockout right now.

That's where the sword is.

And then this one can go up there.

Like that.

Something geometry.

And this one can kind of just live somewhere.

Like here.

Maybe one down here.

And then that can sit on the back in a certain way.

Then I just need a strap to lay over here.

So I'm going to get a plane.

Rotate this by 90.

And then I guess this can be in the middle here.

Like that.

Let's see.

This one could be out here a little bit.

This one could be there.

I guess this one could also be out here a little bit.

Like that.

I'll just give it some solidify here.

That has a little bit of thickness.

Like that.

Oh, that's a bit too much.

And then we could give it some bolts.

Just to tie it all together.

You know, you would never really see this detail, right?

And a lot of the detail is like that.

But then we have the option in case.

Nice.

Yeah, that seems pretty good.

Then I can take all this here and just geometry to mesh.

Visual geometry to mesh.

Put it in.

And then the scabbard is going to hold.

And then I can attach that to the character.

So I only need to attach the scabbard right now.

The sword will be attached in different means.

Because the character actually needs to be able to wield the sword.

So let's see here.

So let's remove that one again.

Get the character in place.

And then get this and this.

And that's the stuff here.

Then we can get the scabbard.

And place it how we need to.

And we want it to be actually that way.

I think.

So this character will be left-handed, I think.

Which is...

Okay.

So we got to find some kind of position for this here.

I think that kind of works.

It's not that big.

I'm wondering if it's too small.

If the sword is too small now.

I just need to see how it feels when it's in the hand of the character.

Well, that doesn't feel too bad.

It actually feels kind of good.

Okay, I think that's right. That's good.

Then the scabbard will stay this way.

I think that probably feels pretty good.

Yeah, that's probably pretty good.

Cool.

I want to grab another rope, like this one.

And do exactly the same thing to that one.

So I'm going to duplicate this here.

And get this to work.

Let's see here.

So I'm just going to take all this stuff here and delete it.

Delete it.

Then bring this in a little bit.

And start manipulating some of these wires here.

I think starting out simple with these ones was really the trick.

So that one goes there.

This one can go up here.

This one can go through there.

Right, so that's the trick.

So that one sits there.

Then this one can come over.

Oh, that's the question actually.

Should it run along this one and then sit like that?

Maybe that's cool.

And this one can go underneath it instead.

This one can be there.

Alongside this one.

That is kind of cool.

Okay.

Like so.

Like so.

Right, right, right, right.

Like that.

Let's try one.

This one.

Like this, like that.

Like that, like that.

And...

I've got a lot of ropes kind of entangled there.

That's actually kind of nice.

I get this one and I can just put it there.

There could be some issues with these ropes kind of the way that they are here.

And the way that it's tied.

So tied and maybe the rigging will be a little bit annoying.

But hopefully...

Oh, that's the wrong one.

Set it right there.

See here, like that.

And then this one can come around there.

There, there, there, up to there.

Yeah.

That actually kind of works.

That looks pretty good.

Nice.

That actually feels pretty solid all the way around.

Hmm.

And looking at our concept, I think that was pretty much the final piece for all the assets.

And that's it for this chapter.

And then we'll move on to the next one.