Happy new year Marcus. Wishing u a great 2025 too. A lot of lessons scheduled for this year and some more filmmaking stuff coming too.

@DUSMIC only 3d in the above thumbnail is the screen right top bun. but by the end of course, the entire asset should start looking as realistic as the screen right photograph.

@ thanks god AI will never be as good as you

Thanks Fan and you’re welcome.

Hey Marcus, thanks for the feedback. Happy the channel is beiing helpful.that is a a very good approach with the transform contraint instead of the passive colliders. Initially, I was worried the approach would generate too much overhang, but with a nice reasonable resolution and a heavy material preset, the constraint for the sleeves is def a good approach. 👍. After all, that is how I got the torso done with less hassle😅.i think the animated passive collide worked best when I needed a shape to simulate the sneaker, (when I was doing his pants). And yes it would eliminate the need for all the cleanup I'm doing at the edges. Great tip

@@KoteyAnnan very welcome, back to watch the rest of the playlist after work. Really enjoyed watching you sketch the characters out in PS, your thinking, blockout in zbrush etc...its just brilliant. Like im in some AAA studio watching an expert work over his shoulder. Thanks again. Have an excellent day

@marcusk9483 thanks for the support Marcus. There is so much more coming for this particular series. I hope o have all the modeling done soon so we can move to the rigging, grooming and animating. Let me know if u need any clarification on anything after watching them. Best

@@KoteyAnnan So far everything is perfect! Everything

Thanks Pedro

Spencer, both of those results rely on zbrush booleans. For the front it's a boolean subtraction. For the bumps on the side, its a boolean addition. I'm going to be doing it again in this course kzbin.info/www/bejne/enPCqnaQo7uboZIsi=rlsNxwrzUZDbt4UZ&t=1311. For the Anthro Hare's Jordan sneakers, but this time around, I will be explaining everything.

Hey Spencer, good to know this workflow will be helpful to you. The week after next (Nov 18) I'm going to upload the next video of this series(Part 14). it will be testing the current painted result, assembling/painting a roughness map for the bun and then going back into zbrush to use some of the substance paintwork to generate lumps in the areas painted for flakes. After that, the next video in this series will focus on painting the cucumbers (Part 15). Hopefully in that lesson i can paint transmission and roughness for the cucumbers also. After that, this is the next sequence of tutorials that will come out to conclude this course Part 16: Painting top sauce Part 17: Finalizing materials for cucumbers and top sauce Part 18: Painting burger patties and onions Part 19: Painting cheese Part 20: Finalizing materials for patties, cheese and onions Part 21: Painting bottom bun and its sauce Part 22: Finalizing bottom bun material Part 23: Painting fluid mesh Part 24: Finalizing fluid mesh material Part 25: Bonus: Assembling final render in Blender 4 Part 26: Bonus: Assembling final render in Unreal Engine 5 Part 27: Bonus: simulating fluids with Bifrost in Maya Right now on my Patreon (depending on your membership tier) you get access to all the props and characters I am working on in my KZbin tutorials when they are done. You also get news updates about stuff that I am working on, and more access to ask and discuss stuff with me. I'm going to be updating my Patreon with more benefits for members before the end of the year. I'm also considering making more exclusive tutorial content for my Patreon members as my members increase. I'll update you on this as soon as I have the plan fleshed out. One thing to also look out for sometime next year is a BTS course on creating a 3d animated short film from scratch. Patreon members will also have more exclusive access to this project's content. I will update you on the specifics when it starts.

@@KoteyAnnan Dang super cool - sounds great. I'm working in Zbrush / blender / substance so excited to try this all out. Keep up the amazing work man - very inspiring. If I can get even close I'll be happy lol.

A while ago I did a search from a different youtube account and most of my stuff with less than 200 views does not return in the search. Only my videos with several hundreds to 1000s of views get listed. I really thought it had something to do with the account not being big enough yet. I was hoping for better search listings when i get to over 5k subscribers. Thanks for sharing this and giving me some good keywords to search. “Optimize youtube titles with SEO” This is definitely something I have to research.

Thanks inkman, Yes, I figured out the move rotate and scale at 37:09. I used it to separate a few of them at the end of the video. Im going to try that id again. Because that would be a much simpler fix than moving the duplicate away.

Many thanks 🙏🏿🙏🏿

Hey Spencer, all my tutorial are going to be on KZbin. On Patreon I give away all the content I create in my youtube courses to patreon members. I'm also starting a short film tutorial project soon and I will announce the benefits that patreon members will also receive from that project.

@@KoteyAnnan awesome thanks so much for the incredible content!

@@spencerbigum1309 Many thanks Spencer. Hard at work getting stuff ready for next and the upcoming weeks.

Hey Gabriel, I 've started shading this burger in this project kzbin.info/www/bejne/rKq9emiifbyMoKcsi=7_kbAvr5xRhmcxBA so far I'm on the top bun. If you subscribe and stay tuned. you can keep up with the entire shading process

@@KoteyAnnan Thank you very much

@@KoteyAnnan Is the program used for painting Substance Painter?

@gabrielpinto3918 uea but you can also do the same with zbrush, 3d coat, photoshop and even blender i think.

@@KoteyAnnan Ah, very good. I found your process very interesting, but at the moment I only work with Blender.

You’re Welcome Mario 🙏🏿

Yes, the results were very good for the what i needed. I was able to animate some good overlapping action in this animation project. kzbin.info/www/bejne/nKGmpWahf6-hfqcsi=m2Uul07C0qrx9aUz But as far as performance was concerned, i had a fairly slow rig. Not entirely but partly because of these fancy clothing rigs. This is why i discarded it for ncloth. But if your rig is not too heavy, this is a sound solution.

My mistake, back then I thought it was more important to hide my cluttered interface. All my new voice over tutorials on my channel show the interface.

A wafer pastry? With the diagonal grid surface detail?

@@KoteyAnnan wafer KitKat without chocolate

@@KoteyAnnan yes wafer paster or cake it's hard to understand me weather to use displacement or bum to get the crunchy and dry effects 😔😕

Vishwas, check out how I did the wafer look on this waffle in the first few minutes of the video. kzbin.info/www/bejne/mqqWaXqoiNmBbaM&ab_channel=KoteyAnnan I used zbrush's boolean feature to subtract. But there is also the Make 3d feature, which you can use to turn a grayscale image in to 3d immedately. something like that can get you started and then you use the mallet brush to chip away so it doesnt look so machine made. here is an example use of the make 3d feature in zbrush kzbin.info/www/bejne/nmibY6d9hsaGeZIsi=2pwsvSYQIx2i2nFn&t=13916 timestamp included in link (3:51:56)

@@KoteyAnnan thank you dear friend 💯👍🏻

Many thanks. 🙏🙏

Hey Kiiaro, you're welcome. This one had a lot of info. glad it was useful.

Actually it didn't worked for you because you set shell prescaling to preserve 3D ratios before switching scale model to off. You need to keep prescaling option to preserve UV ratio. So Shell pre-scaling: preserve UV ratio, Scale model: Off

Povilas I am definitely going to try this. It has been a problem for me for so long. I knew there had to be a way to preserve texel density with the layout commamd. When I do big models with tons of pieces, I definitely use display layers to isolate what is done vs what is not. Thanks for all the feedback.

@@KoteyAnnan glad I could help in any way. I've done modelling/UVing for too long in my early/mid career, but now I'm kinda missing it in my daily routine :D

@@povilaslondon I know the feeling. I don't like going too many months without a modeling project. Thankfully this year I've gotten to do a lot more organic modeling than I usually do. Nothing hard surface for over a year though. I'm lacking in that area

Hey Johancc. Here is a short timelapse i assembled for you from that project. I uploaded it to a different youtube page. kzbin.info/www/bejne/qXW8dYmJbbh-nsk it was a fairly tedious process - I started with the top of a cylinder - then used the transpose cloth brush to scale it down to get the first ripples - then I alternated between the cloth move brush, the topological move brush and some of the cloth brushes to design the edges some more. The objective was to add some more randomized rippling. Just so the outer edge didn't look unnatural, (like a perfect sine wave.) - I did all this with dynamic subdivision, this allowed to to simulate fake thickness and thus avoid inner penetration of the mesh with itself (from all those moves at the edge) for as long as I could. - when i was sure i was completely done with the designing then i converted the dynamic subdivision to a real mesh so that the item could have thickness in preparation for the surface detail. - to finish the surface detail i think i used some crack alphas with drag rect to simulate the surface detail of the lettuce. If you still have more questions after the video, I think I have some more documentation on exactly what i did somewhere. I will try to find it and upload it to my Patreon page. Best

@KoteyAnnan hey, this helps a lot. I'll try to find some shortcuts if possible. But I guess there's nothing that beats manual art direct the mesh. Thank you so much. I always look forward to your videos. Cheers 🍻

@@johancc22 for sure. it's just one of those things where you will have to labor a bit if you are sculpting by hand. Thanks for the support. much appreciated. let me know how it turns out.

@@KoteyAnnan I sent you my WIP by email, mine is really boring :P

@@johancc22 not boring at all. Great work. just replied

Thanks for the support and subscription. More coming soon

Hello Dinu. any inquiries?

Yes you are right. For this scene one maya unit is 1cm so i should have changed it to 0.01. Always have to remember that. Thankfully i was not going for a hyperrealistic simulation with a lot of small scale articulation so the default value of 1 meet my needs

Next week I’m going to start the texturing prep work for this cheeseburger 🍔 kzbin.info/www/bejne/o3bHmIyXn8qho9Esi=be-KTLYuX_TNX2H .its going to be all substance painter techniques. I have a few more food projects coming up. I’ll add a stacked waffle 🧇 course project in there.

Hey, here is a link to the finished product www.turbosquid.com/3d-models/3d-double-cheese-burger-with-bacon-lettuce-tomato-onions-pickles-and-spicy-mayo-1976380 you can see all preview renders and turntables there. All the maps for this one, were painted in zbrush, The cheeseburger I am working on now, will have an updated workflow and will be a significant improvement

Hey One peace, glad to hear. Looking forward to showing the settled upon workflow and settings for the final simulatable polished version.

I do use Marvelous designer. I have an upcoming short film project where Marvelous designer will be used for most of the clothing, but it's good to learn how to use all the features of your preferred DCC. Especially if you are paying a software subscription. Marvelous is 280 USD/year for Personal, 1900 USD/year for Enterprise standalone and 2,000 USD/year for Enterprise Network. Luckily for me, I am a 1 person company so my subscription is 280 USD/year, but if I grow my studio to even 1 additional person, then I am looking at 1900/2000 USD per year. In a situation like that, it would be great to be able to rely on nCloth workflows for all clothing and cloth simulations. Another good reason to learn nCloth, is because it can be used for so much more than just cloth. I will be doing some soft body simulations with it in the upcoming lessons. I also use XGEN IGS in Maya a lot for my fur and hair simulation. the n/nucleus system in maya is what powers XGEN IGS animation. So it's important for Maya users to get very familiar with it.

Marvelous is amazing. it's mostly because I want to show an alternative way to simulate cloth effectively in Maya. For Maya users who don't want to spend a monthly subscription on Marvelous. In the future I will be getting a Marvelous license and doing some work in there. The focus there would be on ensuring that the panels are being altered correctly to produce the desired silhouette instead of tying down the clothing design in Zbrush.

Im a blender user lol. My aim is to try translating all this into blender. ​@KoteyAnnan

@@splitspecs That is very possible. Even the sculpting can be done in Blender and I'm sure Blender has a very good cloth simulation system.

​@@KoteyAnnan yep, it's good enough to follow along. Again, thank you.

Hey Sebabatso, It's good to hear the videos are helpful. thank you for your viewership. A lot more helpful content is under development and on the way.

This entire model was created from scratch. I used reference content from google and other 3d artists who have accomplished the same task. I also used resources for vet students. I recall a site called IMAIOS that helped me tumble bone and muscle data for dogs. www.imaios.com/en/vet-anatomy you should scrub the video, I show how some of the preliminary blocking was done with primitives. I've uploaded a short video of some additional sped up BTS footage on my secondary youtube page to showcase how most of the pieces were sculpted from assembled primitives in zbrush. kzbin.info/www/bejne/Y3PKn5yggbeIhbMsi=83x6p0nyNZBF8LB0 The primitives were welded together with dynamesh to produce a base mesh for sculpting

@@KoteyAnnan Okay, it just looks odd because the model rests the pivot points on diaphothesis. The pre/postzygapophysis is front and behind the dorsal. This model connects the diapophysis in the spine together. Those parts are to connect the ribs to the centrum. Ah, looking closer the model is simplified by moving those connect points out. And the Diapophysis is added in.

@@phlipclip5097 😂 I beg of you to not analyze this for pin point accuracy. This was not intended to be medically accurate. The objective at the time was to create a bone and muscle system that CFX artists could use in a Ziva VFX simulation. I welded together anything that would simplify the asset for the end user. it just needed to be accurate enough for the muscle meshes to slide across and collide with it. This is an example ziva simulation kzbin.info/www/bejne/rKS3gWmCmdJqj9Esi=7-KYdeSoL9_swGR6 This is the final asset www.turbosquid.com/3d-models/iberian-lynx-bone-and-muscle-system-for-dynamic-simulation-model-1923983 Turns out I may have put in too much detail with what I have. The end user will more than likely weld the entire spine and pelvis into one mesh. Also, I only created 3 unique vertebrae models and duplicated them to create their neighbors. A lot of altering of the duplicates was then done to make them look correct as a collective. Example: the Spinous process of the duplicates were made longer or shorter to allow for the stair stepping effect that the spinous process produces as a collective. And since I found more reference of a human spine, I relied on that heavily to inform the modeling/sculpting process. I can imagine I've made a lot of mistakes that make this closer to a human spine than a quadrupeds.

Hey Thommy. thanks for this question. I'll pin it. You are right, face rigging is quite possibly the most complex part of the 3d character creation process. Even still, this stylized head rig is fairly less complex compared to a full facial rig. As far as topology, I have a video timlapses that show me resurfacing a head for rigging. Here is a timelapse for a project I did for Shutterstock that shows what you can expect from the retopology stage. kzbin.info/www/bejne/fZK6oXqogcZ0jdE There is no explanation however. it's only a timelapse. What I recommend however is that you keep up with this Anthro leopard and Hare course. kzbin.info/www/bejne/nmibY6d9hsaGeZI So far I am at the clothing sculpting stage. but both of the characters in this course are going to be, resurfaced, UVed, textured, rigged and groomed for animation. My objective in that course is to show every step and every resource I use to produce an animator friendly rig that works well with the XGEN groom system. When that course is at the resurfacing stage, I will show all the edge loop routing for the eyelids, mouth, eye mask, brows, nose region and more that allow for proper deformation in those regions.

also here is a glimpse of this models head topology. it was a wip that i uploaded prior kzbin.infoo6sYS-Nwv-k

​@@KoteyAnnan Thank you for your reply. I will check out your course! I want to learn how to make 3D Vtuber models that uses body tracking (not always the whole body). I don't know if that will incluence how I need to rig the model compared to a model that will be animated by hand. So, how do you know how many loops you need around the mouth and eyes? How do I know when I need to add more? Do you use reference when sculpting your anthro characters?

@@teamtomii that sounds cool. I learned a new thing today 3D Vtuber. Concerning edge loops, it depends on what the model is going to be used for. you don't want to add too many edge loops that it's too dense to manage. consider how far the mouth or eyes will deform if they have to and add enough edge loops to accommodate the deformation. Yes, I use a lot of reference. in the first video of that series i show how I assembled ref footage from real animals and favorite art styles.

Great to hear this series is helpful Miner Design. Looking forward to sharing some great map baking, pbr and painting techniques for the texturing phase.

Hey Erdenebileg. Glad it’s helpful. Jackets are so problematic. Right now i count on ncloth so that i can delegate more resources to the main character rig, but a lightweight ribbon or curve driven system, will always be my go to for clothing articles like this.

@@KoteyAnnan Does Ribbon setup work for Game engine? or have to use other setup? if so can u please suggest me game engine compatible setup? oh and also Do you have Discord or something to connect with you?

​@@eegii0554 I think you have to use another setup. if the engine supports having floating joints that are not connected in ha hierarchy then you can just use non parented joints with some good weight painting. I won't be surprised if unreal engine supports using curves as influence objects. if that is the case you can produce a ribbon like effect with curve used as an influence object for skinning. I'm on Telegram as @koteyannan

🙏🏿🙏🏿🙏🏿

Welcome aboard. Looking forward to sharing a lot of useful 3d art and anim info with you.🙏🏿

Thanks for all your support Pedro. Glad to have you as my first member. A lot of great things are on the way.

Hey Xetler. thanks for the feedback and support. 🙏🙏🙏 I'm going to be executing that technique in this course kzbin.info/aero/PLXyeoUl5fzB-ddNU3WQd7t1st6iqblUt1 soon. There are a lot of loose clothing in the performance and I know I'm going to need to yank some penetrated cloth that is stuck somewhere.

Hey @ironwood, I'm still working towards monetization on youtube and I will be utilizing the members feature to give channel members access to all the 3d models I'm working on and other useful exclusive content based on request by the future members. I do have a Patreon that I'm setting up until I have access to the membership feature www.patreon.com/koteyannan/about Thanks for the support and feedback.

@@KoteyAnnan thank you very much, you do an amazing work and you are sharing it, and that deserves a lot of support

@@ironwood1153 🙏🙏🙏 many thanks. looking forward to making this page a useful resource for 3d artists. A lot of good things coming this year

Arena, for this project, i did not record the rigging process. I just showed the results. This is a link to a course where I'm going to be rigging both characters with a similar but improved full body and head rig. bit.ly/47JHKkg . I'm at the clothing modeling stage, after that I texture them and then I start with the rigging.

@@KoteyAnnan I think I have never seen a tutorial of the creation of a character so extensive and complete as yours, thank you very much for sharing.

looking forward to going over the whole process in the Leopard and Hare course. Those rigs will be a big improvement from this.

😂Been looking at it for so many hours I'm desensitized. Many thanks for the feedback. 1 or two more lessons and we jump into texturing and shading.

Is there a particular part of the process after the sculpting stage that you are waiting to see?

Many thanks @Sleezy.Design 🙏🏿🙏🏿. I hope the shading works well with all the detail. Thanks for the feedback.

Thank you Level

😂, wait till the coloring gets done.

@@KoteyAnnan stop it, I'm on a diet! 😄 You can take requests from comments here and render the food people ask for

😂 i was going to do a tomahwk steak next, but you can for sure add suggestions to the poll. I must warn you though, even if it is a healthy dish, I am still going to try to make it look very appealing.

@@KoteyAnnan probably very difficult to make, what about a bowl of cheesy nachos? Maybe it'll go viral and make you famous 😀

@TaskSwitcherify i like that. I can attempt the cheese with sculpting first and then with a Bifrost simulation. For the next round of courses, I’m going to add it to a poll and let the community vote.

Thanks Moses