 Actually, just for the sake of getting a nice preview running already of the character, I'm going to add some material colors. So yeah, we're using right now material colors for the viewport. So I'm just going to add a couple. So this one would be metal. I'm just going to go into viewport display. I like this to be at the top. And I'm going to turn this, okay, let's do this slightly bluish. Like that. It's going to be the metal. And then we have that one over here that's here. It's just going to be this very orange saturated, red-orange, a bit like that, a bit darker. That's good. The bolts are going to share that, not the modifiers, nope. Yes, the materials. Then we're going to have backpack, which is again going to be this like baby blue, but way brighter. The belts and the inner backpack will share that material. This one also shares the material of the mask. If you hear the plastic bag in the background, that's the cat playing with it. I wish I had a camera right now to show it. To continue with the materials, we have the rubber... Purple. Yeah, she's having fun. We essentially have three different colors, four, actually four different colors for the rubber. So we have this kind of purple-ish, blue, pretty dark. We have another one over here, which is orange. I'm just going to copy over the material over here, actually. I might actually change this material just to orange, because they are going to be in the same color anyway. So this is going to be purple, this is going to be gray. And there's going to be black, assign height, okay, assign all of these guys. There we go. I'm also going to make the black a little bit blue-ish. This one also gets the black one, and there's going to be another one, which is blue. She's going at it aggressively. All right, the cat has been removed, confined to her own quarters. So, assign the blue material. The same material can just be applied to the, not black, to the lips. And sadly, these are going to be submerged in the mask. So I am thinking, yes, got them all selected, if I can just toggle them in front. Of course now we're going to see them here as well, but that's fine for now. Yeah, I wish there would be a better visibility hierarchy, I guess. Anyway, this is definitely helping a lot with pre-visualization. There we go. And now there's definitely this area at the belt, which requires a bit of extra detail. So I'm just going to apply the mirror modifier at this point. And I might just not sure if I should apply, yeah, let's just apply that modifier as well. Get rid of these edges just a bit too much. Now, over here, what's the best way to do this? I guess I'm just going to bevel this. Yeah, bevel this area over here, and this area over here. Actually, let's just isolate this so I can get this entire thing beveling. Actually, let me just going to move this over so we get that slanted edge. Here we go. Now beveling just a little bit. And I'm just going to extrude along normals and extrude it in. I think this is the easiest way we get these little insets over here. But if I add the subdivision surface modifier back, then we definitely get issues over here. So what I might just do is keep this sharp. We could, again, add the shift E, the creases. I think that's a fine way of doing it right now. Yes, I'm just going to do that. This way, we don't add any unnecessary geometry in all of this. And we can just keep all of this as it is. Yes, we're never going to see the side, but still, let's just add it here as well. Something went wrong over here. Another edge mist. Nice. Is this one missing, of course? OK, now we can assign the materials here as well. So we're going to need a completely new one, actually. Orange, definitely. And then you can just pick, not blue, but which one was it? Backpack. Interesting. This can be blue light. It's already there, of course. And then we get another one. Let's actually just base this on blue light. So we can just make another one from here and call this blue gray. And let's just already change the color a little bit. So what I'm going to do is I'm going to isolate this entire area by just hiding these loops over here and that triangle right there. Hide. Select this entire thing and assign it the blue gray material. This can be a bit more saturated. There we go. And then I'm going to select this loop over here. Hide it. Select these faces with L and assign them the orange material. There we go. And we can already see the shape doesn't quite match. Proportions are a bit off, or at least it seems that way. They're not fully consistent in the concept art. But that's fine. We can also just expand this over here a little bit. OK, let's just continue from here. So we have all the materials basically set up. The next thing, just like we added some detail to the belt, would be nice to add the same to the mask over here. So in the concept, I could show it right now actually, we have this nice little crease over here. So this is sort of engraving. This would be nice to add as well in the model. So I can actually really quickly just modify the curves on this guy. It's because it doesn't quite match the expression that's in the concept. Yeah, that's good enough. So back to this. So we have this curve over here. And if we look at the turntable, we can see it's right at this point. And then in the middle, we have this little offshoot over here, right there. Sort of the same size. It's a bit misplaced in the turnaround, but that's fine. Yes, and then it's essentially the same thing over here. Select these edges over here, bevel them, really make sure that the scale is set to 1 on the object. Otherwise, you're going to have problems. Actually, I'm going to undo just to get the size right. Let's just get the adjust last operation. Yeah, in the concept, this little engraving is definitely thicker than this one, noticeably thicker. I wonder if this can be adjusted, so there's always a consistent minimal thickness to it. But it's not necessary. It's not super important. But yes, let's select this again, and then Alt-E extrude along normals, and extrude it inwards. And again, because we have the subdivision surface modifier, it's going to have all of these issues. So we can just select these edges and Shift-E 1. Of course, that's not all of them. We can also have the modifier enabled for edit mode. This one should be 1 as well. And over here, this one as well. As well as these guys. Not the entire thing, but let's see if we can only select these. Still some missing, but if these ones are also set to 1. Oh, it's on the back where it really goes crazy. Because, oh yes, because of course, it's a solidify modifier. We can avoid this by just using rim-only, only rim over here. And it will not duplicate the, it will not try to solidify these little tiny elements over here, which of course are going to go off in all kinds of directions. They're all going to be getting thickness based on their own normals. Oh yes, that is essentially it for that little detail. We have this guy over here. This can actually be lowered a little bit. And yeah, let's just remove that face. It's going to cause big issues over here. Oops, merged by distance. These are going to be merged. And now, should be somewhat okay. I'm actually going to apply the solidify modifier now. I don't really want these issues. Let's just use the tool rip edge. I can rip this edge in, scale it down. Actually, not scale it down. Just watch, look at it from the back. Alt V, X. And we get that little edge back. Yes, sort of, almost. We still need to merge by distance, split an edge over here from there to there, and then merge these two faces. And then we can just select these edges, shift E1. There we go. Fill this in. Perfect. Not vertex painting, oops. Now there's this issue over here. So since I applied the solidify modifier, there's definitely some extra thickness that landed right here. This should just be removed. We don't want these faces. Same thing over here, even more thickness. Let's just view it orthographically from the front. Box select just the middle region over here and delete all faces. That should do it. And now just to make sure, select all of this. Move around a bit on the X-axis and you can see it's all snapped to the mirror plane. Perfect. Of course, would be nice to add a bit of thickness over here. Just snap it right to these vertices over here. Fill in this region. And we're not supposed to see anything else. So this is all nice and capped off. Perfect. Let's actually add another material. This can be based on gray. And we can just duplicate it and call it gray dark. I hope we didn't have another gray dark before. Nope. Just move this down and make it these ones. Except for that one. That's good. With the bolts, yeah, I might just replace them. Add new cylinders. And these ones will be eight-sided. Rotating at 90 degrees from the front. Scaling it down over here. And then rotating it 22.5 degrees so that they nicely align. We can sync them up. Yeah, I could sync them a bit into the object. And then, of course, add the mirror modifier. There we go. Oops. Select all of these objects and actually make them flat-shaded. Just for now. Let's compare it, actually, with a turn around. I'm actually going to merge these two pieces of the backpack. From the side view, they perfectly align. From the front view, not perfectly. But there's always going to be a bit of imperfection. That line doesn't really match. So that's a bit weird. Yeah, it might also be because the backpack is not perfectly centered. We can actually just scale it up along the x-axis just a little bit so that it matches a bit more with the concept. And then the mask is all pretty much there. Shouldn't be any noticeable problems with the overall proportions. Yeah, just double-checking. The backpack still needs some love. That's definitely it to do. And the mask has some weird curvature going on over here that we should try to fix. I wonder if I can just use the smooth tool. Just smooth it out a little bit. Might just make it worse. Let's just undo that. Let's save. I at least want to try it. What if I just sculpt it? Ah, shake it smooth. I'm also going to copy and apply this modifier and enable bisect. It's just going to work better in sculpt mode. This way we can sculpt on either side. And it's just going to apply it. It might actually change to single color and use a different matte cap. It's way better to detect surface imperfections. This is pretty much my favorite. I kept it from 2.79. It's really hard to look at for a long period of time because it's so high contrast. But it is incredibly helpful. Let's actually hide all of these extra facial elements for now. Actually, I might put them in a different collection. So let's just change over here. We have a bit bigger outline. Let's just call this face. This is probably not the best way to do it. But I saw it like multiple people by doing it the hard way. Where when you really want to have something spherical or rounded, you need to do a lot of little tweaking on top of it, especially if poles are involved. Once you have these little poles, it just becomes difficult. There's no way around it. Or at least if you know one, let me know. Yeah, I love this matte cap with a gradient from white to black. And then just around the edges, back to white and then back to black. It really gives you this nice look at the surface curvature. First, when you're looking at it straight from the front, from white to black. And then if you're just looking at the edges, again, white to black. So useful. Incredibly ugly, and it hurts my eyes, but it's very useful. Also good to note, I added a couple of other custom matte caps. Some of them really close to the default ones, but still. OK, add this back to shade flat. I actually want to look at the original one. It's hard to tell. Well, the backpack. Actually, a thing I would like to add right now just to the mask to already try it is a bevel modifier. This is not a bevel modifier, bevel. And then based on angle, actually based on weight. Because then I can add edge bevel weight with Ctrl E. And then I can define the width. And this is just to add that nice little bevel to catch the light at the edges. We can kind of add it. Yeah, I am going to add it as just about as thick as the detail on the belt. Just to have a little bit of consistency. So that would be 0.008. So 8 millimeters. Oh, shit, this thing is huge. That's also something that needs to be done at the end. Just changing the overall scale of the character. Making that, changing it to something that makes sense. It's really important to do just before the rigging starts at the very latest. OK, same thing over here. OK, adding bevel modifier based on, let's actually try just based on angle. Even though that might not work that well. Turn off clamp 008. Apply the scale, definitely. Otherwise, the distance over here, the offset doesn't mean anything because it's based on the object scale. Yes, that's not going to work. So it needs to be based on weight. And bevel weight, 1. There we go. Yeah, and now we see it's always that nice edge to catch the light. The similar thing is also in the concept if we look at that again. If we zoom in, you see there's a slight beveled edge. It's going to help a lot. It's going to turn all of these back to shade smooth. Also with the torus and the turtleneck. Oh yes, and this one can have the same modifier stack as this one, but not with the smooth. Should have that beveled edge. But this I'm just going to set it based on angle. Something strange is going on with this one. Maybe it's because of the n-gon. Yes, it's because of the n-gon. I'm also going to get rid of this side. Slide this, actually get this further in here outside. It's not beveling all edges. With control, shift, alt, and select, you can select rings. It's sometimes becomes handy. But I get why it's the most complicated shortcut. Ah, it's the mirror modifier, of course. Could have seen that coming. Yeah, I think I'm going to not add these guys. Let's change that back to minus 1. Yes. I think the feet can still be a bit adjusted. Just watch them from below because right now they have this really straight edge over here. And if I just pull it a bit further to the front, that's actually options used deform only. Oh, of course. I keep referring to V as if this is not a full-on tutorial. I left a little n-gon over here. It's not good. Let's just split these little faces over here. And it doesn't quite match. Actually, let's just delete these faces. Control-F, grid fill, add one span. Yeah, this is enough. Oh, and then, of course, assign it the right material. Black. This needs to be scaled up. Yeah, with a topology brush, just a bit smoothed. Again, I love this brush. Just slide this a little bit. Yeah, I want to crease this area. It might just go in with what's going on over there. I think I actually need to disable auto-smooth, yes. And now, crease this area a little bit. Same thing over here. Yes, it's looking well, at least well enough. I can crease this a bit more. And then the thumb. Yeah, the thumb is OK. Could be better. But we can. Yeah, I'm going to model it a bit cleaner later on.