Welcome back.
So this is thought to be like an unsolved body.
So let's bring up this the face over here, because we want to look at the body over here and let's
make a plane.
So we have a ground over here.
All right.
So I want to introduce you a way to how to do the proportions of the body.
So the proportions are very important, because if you don't get the proportions right, then the it
doesn't matter how many how many details you add to your character and the accessories and all that.
Because even if you have lots of details and you're looking in any direction from zooming out, zooming
it, if the proportions are not right, like if this is the head, you're going to call it the head
and the proportions are right.
This is not going to be called a head by another person.
And this is proportionally rock.
All right.
So.
Andrew Loomis has this propulsion like he made for humans that you can use for your project and all
that and for this for a starting.
I think this is great.
Like using angel wings proportions for your project.
For example, you're going to do Miles Morales, which is a teenager and you can use the proportion
of at 15 years old or here, how it works is that you just going to duplicate your head and define the
areas of your body with the heads.
So for an adults, we have eight heads for 15 years old, you have seven and a half heads for ten years
we have seven.
So let's start that going to front for you and what I want to want to go to first, like sloths, make
this out of the way.
Well, it's a bit.
All right.
I mean, short for you.
And I want to go to a lot of Z to.
Go to x ray mode and select the face.
All right, so maybe do something like this.
All right.
And I think I can shift.
And bring it all to bits.
And the x axis and the press p two separate selection.
Now have a head over here and Loomis proportion is telling me I need similar and a half head.
So this is one head.
I'm just going to write this over here.
So this is one head, this area.
This is the head area.
And this is to head.
This is three heads and saw.
All right.
One, two, three, four, five, six, seven, seven and a half.
And we're going to do the same thing.
We can just start duplicating it like this.
Or we can use a simple way, like select the herd and go to the properties over here, select array
properties and we want it to be in the z-axis and you want to go down.
So I'm going to just bring the X Factor to zero and bring does that factor to minus one?
All right.
And then I want eight hits.
Right.
So I wanted to be on the ground over here.
That's what I want to do.
Like this is showing me that the head is not in the right way.
It's location, maturity, report as click them and press G's to bring them up.
So this is the eight F head and this is the midline.
So right now I have one, two, three, four, five, six, seven and seven and a half because the last
head only to half is going to counts.
Okay.
So I'm going to do that.
So let's go and let's make the look out of the body first.
Let's press control scale always.
And I want to start.
So I'm going to just shift right click on this area to bring the my 3D cursor to this area, shift eight
and let's make a UAV sphere or you can make it cube, make a subdivision little, maybe two, and then
go to edit mode, select the face.
And then as you can see, we don't have to be too accurate.
We are not going to make a realistic character.
So we may even not stick to these values, these things, or hit these proportions.
But for the sake of this question, for you to understand the proportions, because you can do this
by first, it's not possible.
Believe me.
You may see even the bodies should be over here because this doesn't make sense.
And then when you make the list, you see the difference.
The little eggs are too short.
That part is too long, the head is years and the proportions drop.
So are six this for now.
But then we can go and like mess around with the proportions because our character is kind of cartoonish
like this.
I like these two concepts over here.
I don't know who made them what.
I like them.
This is like this.
My surprise here is very slim and very tall, but in the animation I think is actually short.
I like it here, right?
Is short.
But in these two concepts the legs are longer and he's tall in sleep.
So I'm going to like stick to these two more than the actual like the short miles Morales palsy.
So this is start the body so as you can see the or here.
The second hat and the third hat.
Make the body over here.
Right.
So let's do that.
I'm just going to press all this.
That.
To make.
To make the.
The proportions are the heights.
So this is the second one.
This is the third months of this area.
Four players press on this face first G's that this area should be the billy area.
Right?
This area should be the belt area.
Like this.
Something like this.
Right.
And then I can press all s x to bring it out.
Oh, it's a bit to make, but the form of the party that made me go to the side view because as y to
make it a little bit bigger.
Okay.
So right now I see some issues where the hell this angle is not correct.
I can go right now and fix the car.
Go and maybe.
Fix it later.
I can always go and fix it like this.
So now we have the party or here, right?
And then we must have delay.
Now I can just play this over here and I'll go right into this cup.
S'mores.
I'm going to press on next cemetery and then just bring up this area.
All right.
This is going to be the hip area.
I'm just going to bring it up.
And I think this is not enough.
Just Jason, just going to add a subdivision surface modifier.
Let's go here and.
Make the hip area like this and then bring out the shoulder area like this.
All right.
So this is going to be kind of straight for now.
And this is going to be the auxiliary area.
And this is going to be the shoulder and here is going to be the deltoid.
And now we are doing good right to three head.
And this is the body.
And now we go to the leg.
So now let's make the whole leg.
We only have to make one leg.
So let's go and make a U this year for this one.
All right, let's slow it down.
Bring it over here.
Control a scale.
Go to Scopes.
Once we have all these brushes, this press control are remeasured, and then we can go and maybe bring
this down.
So let's go over and see the proportions.
So the forehead over here and the fifth head are going to be above the knee.
So I'm just going to go for fifth head like this.
And if you look in the front for you, it is not is not straight like this, the upper left or here.
It's not the straights like this.
Okay?
It has an angle like this.
All the two legs are going to be like this.
So for I usually do this for the this is in the ends.
But for you to be see better when are the mirror modifier your object?
Choose the body over here so we can see better.
And then without the symmetry option on over here because we have the minimal.
So we can go edit my Uncle Dick and as I said, it has an angle like this.
So look at your references.
I'm looking at my references.
I always look at the references.
Never trust that you know how this works and all.
I can never always look at references.
And then the 50th we have and this is above the knee.
So that's good.
We can go ahead and make the knee area over here with a UV sphere.
So this is the knee area.
Right.
This is an area we can at a minimum, farai, you can click on this console and copy modify is coupled
with the first order here.
I now want to make the lower leg over here, but as I'm seeing my references over here, we're making
the work out of the character.
I'll see that the sheen to this part of the leg aid for this character is because it's cartoonish.
It is too skinny.
Right.
So I'm just going to use something like.
A cylinder like this.
I'm going to scale it down.
It's going to sit down more.
And this is my sixth head, so I should have a bump around the knee area.
Around the knee area.
So this is proportionally correct now.
And then I can click on this control cup in my first and me over this as well.
And then I can just maybe go to edit mode, select this face, select the selected face, go to France
view and press g z down.
And as I can see, the lower leg and in this area in the seven head and then this seven and a half head
is going to be the foot's area.
So I'm just going to end it over here in the seven foot and seven head area.
And I'm looking at my references and the from the France view.
It is kind of stretched as you can see over here is kinda straight.
A very short angle like this may help a bit sir, but from the side view.
From the side view.
If you go to the side view and if you look at here or here, it has an angle like this.
All right.
So this is when I go like this.
So let's go to SA view and fix the proportion of the leg from the side view.
So we have should have an angle like this.
This bring.
Back.
And then I'm thinking that I'm looking at the proportion of over here and as you can see.
So let me focus on this image.
As you can see, as Andrew Loomis explains, it's showing a very well the chest area is going to be
the center, the middle line.
All right.
So this is going to be the middle line.
It's going to go down and then it's going to end on the foot right here.
Right.
So I'm looking at the proportion of this character over here, and I'm seeing that this is the middle
line over here.
So maybe I should.
Bringing all these.
Oh, it's a bit.
Backcourt like this might be.
So this is the middle line.
It's just, gee, why bring it back like this?
Right.
And this is really helpful because now we can see better that this over here has an angle.
Also, I've pulled it so it could sit here and you choose all these over here and give them some angle
like this.
It's just about adjusting to get the correct and get the correct.
Proportions.
Yet.
Now I'm seeing that this is now too much.
It has too much angle here.
So it can reduce angle like this, bring the knee a bit forward like this.
And I have.
This kind of --.
Let's make the Lexx to make portions much easier.
Let's duplicate this.
Bring them down.
Why access.
And this is going to be the lick area.
So it's good to scrub somewhat and let's press em to bring the mask brush.
And this mask, this area control I inverted.
And this just press G for grab rush over here and then let's go to this window to say side view.
Grab the fronts of the visible mesh or here and bring it forward to the midline like that.
Then as I can see, it should be always a bit.
More to what ground so we can adjust it like this.
Then it's just a game of adjusting and adjusting and I just I'm just going to press control are.
They just make a general shape of the foot over here, sir.
Which.
A very quick and not very accurate because I'm not looking at references, but I'm just making this
shape to look a little bit better.
All right.
So now, now, as you can see, the proportions are looking real good.
So I can go ahead.
And in this area is the area I can go and maybe bring out this area to more look like a human and then
cover this area a bit more.
And they can also go to draw sharp and draw this area with the cemetery.
The midline area over here, I make a little bit of like more defined that this section over here is
just about section or here to look more like a human.
And then over here, we have a high force.
So it is.
Like toward the outside.
And over here we have a lower.
So the back the back is like this.
So the neck has a lotus.
So it has a curve like this.
And we have a kid like this.
Then we have a kid like this.
And then this is the bottom area.
So this is how the back looks from the sides with adults.
Q It can go to other objects in a scope more than we can change.
It's like this to get the shape as we wants.
So, I mean, object more right now I want to compare.
It's.
To my references.
So now I think the head is too much forward light, right?
Because the chest is right here in the midline and the head.
And I look at in the side view, it's too much forward.
So I'm just going to select it and bring it back like this.
Maybe then maybe select them all.
See what's with Jet?
With this now and then go to support over here is X Cemetery.
Bring the chips a little bit forward.
We are going to adjust.
That's all later.
But for now, to get the proportions correct.
Let's stick to the to our reference, our Andrew or Mr. Reference.
All right.
I think now it's better.
This.
Now.
Are things better?
Yeah, definitely better.
Okay.
So now let's go to the hands, because now it doesn't have any hands.
So let's just look at the hands over here.
So to do that, let's first make a US sphere.
In this area.
All right.
Now let's go ahead and wants to make the upper arm.
So let's go to front view.
And the general thing about the proportions of the hand is that when you.
When the hands are on the side like this.
Maybe.
All right, we should be in this, like with.
With the hand.
The whole hand.
Hold on a hand.
It should rest in this area when it's.
When it's in this position, like like the character we have you like we have the best reference lawyer
jurists in this position.
So that's how long the has should be.
Another way to like I was I was reading about this and and and then I think for Scott the other thing
was that when the hand is arm, a hand is straight like this from the midline or here the tip of the
of the hand of the hands or here it should have the same range as you have from the hip area over here
to the tip of the foot.
All right.
So that's out of the way to define the lens of the hand.
But for now, we can just do this.
Hey.
Eyeballing me for the hands.
Because I want it to be in the.
You can choose if you want it to be in the temples, but AP or the sculpting papers I think it's much
more easier.
So let's make.
I'm over here at this hour.
Go to Scott Mall and grab this out and form the shapes like this.
So in a sense, the form is of in the middle of the body.
Not too precise, but it's kinda inside the upper arm in the middle of the body over here.
So I'm just going to end it here.
And then for.
The album going to add a UBS sphere, a small one.
The care.
All right.
And then for the
for the forearm.
I'm looking at the references over here and he has a jacket on.
But I think because he's very slimy, the forms are going to be slimy, too.
In the end, you have to understand, you have to know your character.
You make it right.
So this character, if you're making just one post and if you know that he never is going to like if
you're making for animation, you have to fully sculpt.
It's all right.
But if you know that he's not going to like.
He's not going to be seen without his jacket and his arm is not going to be seen to.
Right.
You just have to block out are more than just sculpted fully and all that.
But let's continue with the forearm.
As I was saying, it is also slimming.
Some of them do what I did here.
And so and so let's go down rotated.
If this.
Spit it down.
Can I just add later we can select this face and print it out.
So from the front for you into the eight posts.
Oh let's give it a little bit of angular here.
So this is the airport and we have this angle, this kind of angle that we can.
At just later.
So it's just eyeball.
It's.
So it should be in this area, right?
But we are making the forum.
So we have to.
Also.
Know that there is going to be a handover here.
So I'm just going to leave it over there.
I'm just going to go straight to make the hand over here.
So I'm going to do it with a cube.
It's got it down.
Rotated.
Over here.
And then maybe scale it in the x axis of look.
Also I double clicked on x to make it excluding the local add subdivision.
Two of our subdivision.
Let's go to mode and bring out this or hear this one.
Like this or just in adjusting and adjusting.
This is going to be.
The front of the hand.
The look.
Oh, yeah.
This is the front of the hand.
And there's going to be the back of the answer, as we know, the back of the hand.
It is like a dance.
The back of the hand and some kind of press eye.
It's going down.
And to move it inside, to make a shape like this.
No, actually, I'm just going to sculpt this area.
I don't like how the shape was.
Sculpting is easier.
Let's just make the hand over here.
But for this area, because this is going to be the knuckle.
Yes, this is the back of sand and there is going to be a fingers.
So it is going to be the natural arrest.
I'm just going to press eye and then this and then at controlled speed to add some level.
This is very temporary, but to just make it more flat in this area.
So this is going to be the hand area.
And you know what the hangover is.
When you look in from the front of you, it is more angular like this.
All right.
It is not like this is not.
So the best thing is just look at your hand when you are like stretching your hand.
If you just do that and if you imagine you are looking from the France, many people suggest that if
you're sculpting characters to put a mirror in front of you, so you always have the real life reference
of what you are sculpting.
But you can see that it is not like this.
It has an angle like this.
It is kind of hard to get, but you have to play around with the Russians with that just as much as
you can to get the rights that this is going to be certain these are going to be the other four fingers.
So let's make that let's make the fingers.
So I'm just going to make it keep over here for the time.
As you can see, we haven't done a lot of sculpting now because we can just I can just just go to like
making UVs for our earth and make the head like this thing like this.
I can just bring up the neck, okay?
Then I can just control our.
This is what I showed you about sketching in 3D, setting the head to this, and then.
Bring out the shoulders easily.
Like this until our control our just this is going to be.
It's like that and then start the arms like that.
But of course with masking and all the tools I have with brushes, right.
So I'm not going to do that because it's really going to be hard for you.
I think when you are making your first character and you're just doing it sculpt.
And so you need to do some of these simple modelling techniques to get the base mesh right, because
if you don't get the base mesh right, it's going to look bad, right?
It's going to really look passive over here.
Let's just bring out.
All right.
So we were making the tone.
So there's just a sub, there's a surface, and let's make the fingers over here.
But control the.
For fingers over here.
And now we can go.
Actually, this makes to subdivision.
Now we can go and make the finger with this.
With this method, with cube and subdivision, we can.
It's really good for fingers.
I did it with curves, with sculpting, extracting all those mechanics.
But this method is the best, I think, because with this you can just extrude and then you can just
this is the tip of the top, right?
You can just scale it down because the tip of the thumb is like this scale is, you know, that that
this part, right.
If you look at your thumb, this part or here is more like bulkier, right?
And then you can click on it.
It's also click and then make it bulk like this.
And then you click on the here maybe and then make it skinnier.
That's enough for now.
I'm going to do that later.
So I'm just going to make this base of the fingers.
The fingers have the thumb has one joint over there, but the fingers have two other fingers have two
joints.
So look at your finger.
The index finger is going to be like, come over here.
And then there's the joints over here and then there's the joints over here.
And then this is going to be the.
Area that is for the the nails.
So we're just going to press on I.
And I'm just going to make the nails area like this, right?
Actually, I don't like that.
I don't like that, sir.
As to that.
And now that I look at this, I can just duplicate it, right?
You can just do it.
This not that one.
So these and the figure that.
Let me save my file right now.
Let's just duplicate it like this.
One, two and three.
And then we can easily adjust them like the middle finger or here is the longer one, these two fingers.
If you look at your hand are kind of the same size.
The last finger is the little finger, which is size is.
Not is the the.
Littlefinger So it's less ice.
Then if we are done with size.
We have to bring it up like this, that this is going to be the knuckles area.
So we have to bring it up.
This is going to be the tendon, the back of the hand.
All right.
Now, the beauty of this method is that now we can go ahead with it.
So if you look at your hand, let's go to the index finger.
You look at your hand.
There it is not straight, but now our fingers are straight.
So let's just go and select the slope.
So this is our first joint.
And then we can just bring it up like this.
And then we can select the slope and bring it up like this.
So we.
We are making.
I care.
Right here.
This is for other ones as well.
So the select them all go to earth mode.
Select these loops with shift and alt, bring them up, select these loops, shift and alt up.
Now we have this kind of,
this kind of shape now.
Now it is not too straight.
Now let's look at it like look at the in the front view.
Let's shape.
The the team were here.
So let's get to it.
And this is the.
The joint, I'm going to just sort of make it move it to the middle and then it's going to have.
Well, it's a bit of this kind of shape.
So I'm looking at the fronts and I'm seeing that these fingers and knots, really.
It's really straight like this and it should be actually like this.
Right.
So I'm just gonna do that with the annotation to, to we can just.
Help us to better understand how much rotation we need.
All right.
So now we can go ahead and do more rotations
to look at my hand.
When you're looking from the front for you, the little finger is like more to the back side of the
hand.
So I'm just going to do that.
Rotate it more like this.
And we're just going to throw it at this one.
So here, go to front for you to see what is happening in front of you.
Rotate it this way.
Let's do it.
This.
Maybe it needs to be more to decide.
Yeah.
Good.
Then the fingers.
Right.
Is very important.
And maybe the hardest part of the sculpting.
Hopefully because our character is Virunga.
Mask and all this costume is going to have to suck up too much detail in the hand and just have to get
the right shape.
And that is why I am just going to put it as long as it takes to make the proportions and how the rotations
are right.
We can also later with the help of.
The brushes set the proportions right as well.
So I'm looking at all angles to see if this is right or wrong.
It can also go on.
I think it's too big.
The fingers are too big.
I go to.
As most of us to.
Make them a bit less big like the.
Now.
I think now that I'm saying it, we're getting close.
I just have to be sure that.
It's as best as it could be.
Maybe.
Make this more.
Exaggerated like this.
Well, so this one, maybe we need more angle.
Now this one could use.
Or I can go like this.
And I'm keeping them separated like this because then we are going to join these together and remind
them if they are close together like this, these are going to join together and this is going to be
a mess.
So keep them keep enough this distance between them.
Then when we are going to them, when we go to the Scots north, you can always.
Make make muscles over here, make the tendons that work here and make it look good, but make them
separated for now.
And I think it is it is getting good right now.
I think this needs more rotation.
Yet.
All right, let's see if I'm tough.
You with seven?
We need to check from every angle that they are.
Correct.
I.
Spend as much as I can on the finger and hand area for blocking outs and the whole sculpting.
It is one of the hardest and it is going to be hell for you probably if it's for your first time.
But don't worry if it didn't come out right.
But for now, recommend that you spend as much as you can on this.
And as you can see, I don't even try to go to the sculpts mods because if you if I look in the front
of you like just what's happened right now or everything is good, then I'll get the top view and I
see that OC they are so in France and then I just bring them all down.
So for the hand, look at your fingers, look at how they sit and your when they're in the rest position
and that's best reference.
So I think the proportions are kind of correct over here.
This is in this area.
So it's going to correct and we can start.
I think we can start now.
So let's go to side view.
And maybe what they did was a bit.
Tom.
They wrote it down this.
Right now.
This is good.
So front view, let's check it from front view to the fingers should be in this rotation and this is
kind of correct now.
And from top view the fingers should be like to what downside if they're too much to the this side correct
them from side view the thumb should have a downwards rotation like this.
Okay.
All right, now we can remove the head or he can hide it.
Let's change the name to proportions
the person's head.
Then we can hide it.
Then we can delete these.
Delete these because now you're kind of done with the proportion of the body.
With the help of these two photos from the amazing Andrew Loomis, really great for starting the proportions
right
now.
Think of the bit rotation over here and then let's check out the hands.
So now I see that the hand is not the arm and the hand is not correct proportionally.
So let's select them all and bring them out a little bit.
This shouldn't be too much for.
Should be more.
In this area, the pit.
APPLAUSE, But.
And then to arm.
Is going to have is is going to have to work this.
All right, so this is.
This is how the honor should be when it's on the side.
So now it's in the front view.
Bring it closer to the body.
View again on the angle of the arm looks.
Better now.
I'm looking at my references.
So look at your reference ID.
Look at your awesome reference to search google for like.
Another reference from science and see how the hand looks.
Never, ever trust your eyes.
When it comes to this.
The forum should have an angel like this.
So I'm just going to do that.
And there's going to be the votes going to be for the UN goes too much now.
Oh, no, it's buzzer.
Now it's better.
But now I see the fingers.
Maybe to lock it, bring this up.
Then the forum will be short.
So I think.
Think bring up.
This.
To bring, you know, this side of the arm, the from the front of you.
It's just more of the body over here.
So this is going to be the deltoid muscle of the most prominent muscles of the whole body.
The whole arm is going to sit here.
This is going to be the biceps, triceps and all that.
There's going to be an angle like this.
If you look at the front there.
And from France for you.
This should be more like this.
This was side view.
Things should be rotated a little bit to this side.
All right.
Now, I think that's good.
Now, I think the arm, at least proportionally, looks good.
So we can go ahead and control our mission and shape it a little bit so it doesn't look too bulky.
So disperse of the arm is more pocket is going to be ten in this area.
So the muscle is going to be like this because we have here.
Because our character again is a skinny.
We don't need all the muscles and because our character is very injected, we even don't need to sculpt
too much in this area.
So just need to have the proportions right.
Okay.
So now we can add a mere modifier.
Main object, the body that we can select these select this one as active object control and copy modifier
thing because we have a subdivision over here, it doesn't accept that.
So we just apply.
The subdivision was first and to like I need we need to apply these to so we are done with the.
Base.
The base proportions of the fingers are here.
So he's just going to select and control a region and it's mesh to apply all the qualifiers.
Now we can go ahead, active object console, copy money for us to mirror it.
There's other sites.
I'll just check how looks.
Until our story mesh the bacteria.
And now I think the head needs to be adjusted more.
Yes.
Let's go to Sophia.
Let's get to the body.
And this area, should it be should be like this.
This is the area that we can define it right now.
So this should be the clavicle area.
So if you look from the front, the clavicle area.
Comes from here.
And that goes right here.
I character is probably not going to see it.
Maybe a little bit of the clavicle because it's prominence, but because it's you're in a castle.
And when I got to say but for our for ourselves to see how this works, we should define the area that
this is going to be the clavicle, which as you references and this is going to be.
The chest area over here.
This chest area is going to connect to the arm area with this.
And then we can make something like this, the muscle of the chest of something like this to decide
if you look at that, that this side.
So we're just going to do the same with the clear strips.
If this.
So that is better to find that we can go ahead and bring this area inside.
She was the clear strips.
Maybe.
In the middle.
Make this area over here define.
Then this area is going to be bigger because it's going to be the hip area.
It's going to be the hip areas of the hip are going to be out of bit.
These are the cuts certain, miss.
I'm sorry.
Uh, the what was.
I don't remember the name because signaling is muscle.
Is the muscle over here.
Uh, what was the name?
I don't know it, but.
One of the biggest.
The muscles in the body is over here.
All right.
So we're just going to just the body.
No detail, remember?
No detail.
Nothing.
Just the primary shapes.
So when we look from this side, we can say, yeah, this looks like a human body.
Right.
No details at all, because then we're going to just press control R and then remeasured.
And then if you have a lot of details, it's just going to disappear.
I'm smoothing it now.
Like this.
Scott is a foot soldier.
Well, it's Q.
Let's adjust the food.
And we have our crown arc the foot in this area.
So it's the middle arc.
Something like this, but for the lateral side of the foot, like this side of it.
So this is the medial part of the foot and this is the latter part of this foot.
Remember that you're going to see that a lot in the anatomy books like your middle part.
And that's what is going to be the part that is toward the outside and medial play is going to be a
part toward the middle line of the body so that we have a middle one in body that goes over here to
the hip, to the front thing.
It's.
Oh yeah.
From the front of the hip, then to the back of the knee and then to the middle of the of the pillars
of the canals and all those bones in the foot.
So we have a middle line also like gravity with the line over here and everything that is closer to
this middle line, a gap that always occults.
I think it was.
Other emotion doesn't matter.
But when everything is closer to this middle, one is going to call the middle to the middle, the middle
parts, I'm sorry, the middle part, everything that is far are further away from this many, the lines
called the lateral.
So that is why we have in our books, if you look at these wasn't going to be last report.
This was going to be middle.
This is going to be the middle part of the NIE.
This is going to be the last report to me and so on.
So let's get back to the foot.
This is going to be the lateral, the medial arc of the foot.
And the latter part of the food is more flats.
So this is more flat.
And then if you look at the foot itself, the foot itself is gonna sit on the floor.
All right, these are the.
The toes if you don't need to sculpt the toes because that character is not going to have a foot to
show.
We are going to model and sculpt actually, because we modeled a shoe.
The last parts really show you how to sculpt shoe in this one.
Well, they can always go ahead and make it proper foot.
Like this is the big tool and all the tools that we have.
This tendon over here, they have three tendons over here of the foot like that.
This always helps us to better define the forms of foot.
The foot is one of the hardest.
If you if your character doesn't know why it's got the character that doesn't how shoe they think it
is going to take long it's like the foot is one of the hardest part for me actually because for for
example, the hand, you always see the hand for the face, you always see the fist of what the hole
for your whole life.
You always look at the face of few people.
See you always have something.
You look for the foot.
Like like, yeah, just do it with references.
Let's put some references in Peoria for people in there and do the hat like we have middle.
Like if you look at the anatomy books, we have middle dinosaur here, no middle.
And the letter comes comes over here.
So they make them they make the.
Ankles like or here the lateral and go parts will.
Whoa.
I don't remember.
It was a cult, but.
Yeah.
So it has an angle like this.
I was always sorry for my bad English.
I really try to explain everything as best I can.
Sometimes I don't remember what it is called in English saying this part.
This is the lateral calcaneus in anatomy is called up, I believe.
And this is a midship medial kitchener's.
The prominent part of the foot that you can see in every person.
I'm putting too much time to this.
I'm just going to submit right here because this is not even going to be seen.
But it's always good to have a proper base and we're going to join these two together.
And then this gulps it together, or maybe not even join it.
I'm not going to join it.
This is going to even they're not going to be seen because we have a shoot.
So we're just going to go ahead and sculpt this area over here.
So speaking of, let's just go here and console our two, Ramesh.
Let me have as I said before, we have an area here, cialis and gastrocnemius.
Okay.
So as we can see here in the reference we have here, we have an area that is like this and then it's
going to be certainly amino acid.
So those then they're going to attach.
To the phones over here.
Right.
So you can do that.
Like this or the best way.
Is to use.
Schizophrenia.
The best way is to use masks so its control shifts and clicking create this area.
A and a smooth to smooth that control I inverted.
And so act and strike it.
That's.
So once like this is part of primary forms, right?
So just want to have a little bit more.
Of.
Forms where he is.
It looks more like a human
on the front for you and me to look at.
They should be seeking out.
So maybe add to the mystic.
I am sick by removing the mask so I can do that later.
Let's.
Let's not get ahead of herself on the the main thing of this with you was to make you more familiar
with the proportions, how the proportions worked, how to make the base mesh of your character.
So this is now the base of a character.
And then we are going to join these together, join these together, and then start sculpting and using
this brushes and the sculptures.
So I hope this video is helpful for you.
This is one of the main most important parts because as I said so many times, if you don't get this
correct, like I didn't do it, this guy, like I check this a lot and I still didn't get this correct
because this should be in the midline.
The length, length of the foot should be like this.
But you try to focus more like you talking and about this and the doing.
It is really hard to try to focus more on your sculpting your character and get the proportions right.
When you get the proportions right, when you get to sculpting, it gets so much easier because if you
get don't get the proposal right, like it's like this.
And then you get the hard part this time just masking this out and not like correct proportions.
So.
All right.
So that's it for this video and next video.
Goodbye.