Hello guys welcome back in this with your school and during these areas together and make the primary
forms and second forms of the body of our character as we see in the references much more as this character
we discuss them it doesn't like you has a jacket and it has a short like this.
So what we're going to do is we're not going to put a lot of time on the arms and or on the upper arm
and too fast things to make things faster.
So let's just go and join these areas together.
I want to join these and this.
Just join all of the food like this with control j and let's go to sculpting stuff and start the sculpting.
So just press W and face it from visible to delete the face because I don't need them and then I'm just
going to press control R to see what I got.
So that's good.
Good for this.
The source for a starting point.
So let's just smooth them with smooth brush.
I think the stretch is too long, so let's just.
Crank it up.
For now.
It's just a small two areas that are connected together.
So now let's do some cleanup.
Let's just remove some volume over here.
Let's do that with clear strips, with all the in control.
I'm removing.
Some volume from this part.
And you need to know that the knee is not round, it's more squarish.
So making a squarish shape over here in the area and then just swing through that again.
That's and trying to put all the time into it.
But making some of these muscles will be helpful for me to define the muscles and all that.
So then this is the gastrocnemius, soleus.
Obviously, I'm just going to with the clear brush.
As you can see, we did find some arrow here.
So you can just go to brush and select from face only to not fade this area.
But think before I ask this area from the front view from this area which this soleus muscles are and
then a smooth mask.
And so I to read the mask and then go to inflate and maybe inflate this area a little bit.
That would be better.
If you look at references when you're looking at the front view, this post is more prominent, more
in the you see this part in the middle part more than the larger portion, but the post should stick
out when you look at the front view.
So the light goes like this and these muscles goes like this.
The the medial will be more prominence and the lateral the less prominence y should be seen.
So just inflate brush, bring out this muscle, and then we're just going to smooth here.
So go ahead and exaggerate the stuff and then you just smooth this to make it more.
Fitz.
All right, now let's remove the mask and let's just go.
And with a smooth flush the toilet and shift.
Smooth this area and make it more
believable.
I think we need a little bit of information in this area.
There's a muscle over here that connects here.
And the origin of this muscle is over here.
So it's a bit of a bulge will be helpful.
All right.
I think that's good enough for now.
Let's go to the fishery.
As you can see, the character, which should show the need to put a lot of time in this area.
But we can go ahead and smooth this stuff so you get a more clean
body in the end for our character.
This.
All right.
That's good enough for the leg.
For the premierships of the league.
I think that's good enough.
And again, we don't need this area because we are going to mask it and for the for the shorts.
So just go ahead to the arm and connect the arms together.
So I'm just going to select these.
And first, I think what I should do is go to my modifiers and apply the mirror modifiers so that these
all have mirror modifier.
So I can do I can just select them and then control a and visual jones sheets and mesh.
So now all of them as well, all of the modifiers has been applied.
Now let's just go ahead and connect these together.
So I'm selecting these and this one as the active object control j to join them.
And then let's just control a skill so it don't get into any trouble.
Let's go to sculpting now.
We have faces.
You can keep the faces or you can delete them.
They're just going to delete them.
And let me just press once will r to see what we get.
All right.
The.
Ramesh Well, exercise is not enough right now.
So what we can do, we can click on this to see what is the geometry, and then we can go ahead and
reduce the exercise to get a more resolution.
All right.
You know what I'm going to do?
I'm just going to press control Z, because I think two hands need to be separate for now.
So I am going to join the fingers with the hand or here with control.
J And this one together with control J.
So now I'm going to sculpt them one more one.
So now if I press control are the best result I can with this low geometry, I can better define the
shape of the hand over here.
So first I am going to let's.
Delete the grid over here.
So.
Let's first go and shake this area at the elbow area.
I'm going to click on clear strips and that is control.
I'm just going to make it dense over here and then just to smooth it, just very gently, the forms
right here, because we did a good job with the proportions.
The forms are good, so we don't need to do a lot of sculpting or in this area.
We just need to define it's more so a more look like and elbow.
Shh, shh, shh, shh, shh.
As you can see, I draw with the clear strips and then immediately I press shift and as smooth as the
draw, shift, draw, shift, draw and shift.
Let's enable it from space only.
So we think it's problems like this in this area.
This area is very, very thin.
So we got this area.
Let's just go back.
Don't panic.
Go back and do it over again.
That's the best advice.
Six.
Breast cancer are two remissions.
BLITZER What was her geometry in these areas when we were adding stuff?
So I need something here.
I need a also bit inflation over here.
So let's just add a little bit of inflation over here because this area is too thin right now.
So I think inflation a little bit to this area as well.
So now I think it's better.
Let's just clear the streets again.
Let's smooth this area better defined.
The Elbow sponsored.
Joel It's a bit silly to bring out the muscles of this area.
And this area will be hidden.
So we don't need to put a lot of time into it.
But always giving some forms helps us to better understand the character and how we should approach.
It's some keeping the the forearm very thin right now.
Those are bits of information would help, though, because it's too thin right now.
I think that's good enough.
So as you can see, I forgot to enable the x symmetry while I was a sculpting.
So don't worry, go to the cemetery and then we want to cemeteries from exposed to minus was so we're
just going to do that X plus so minus books so now it's deleted there isn't is that that the origin
is right now if I go to edit mode the origin are I don't see the origin but the origin is not in the
middle.
If you go right click and set the origin says origin.
Origin the geometry.
Now maybe the problem is fixed.
So let's see.
No, I actually didn't fix it.
So all we can do well, other thing we can do, we can just go to edit mode and select this with l delete
this.
Right click.
So the origins of geometry now the geometry is all be here I think because of the overlays are of for
this the you know origin will not be shown.
Now here as you can see, the origin is right here now are the mirror modifier.
For now, we can just keep them here modifying the sort of the image, if for God now with the mirror
motherfer, everything we do will be it will be applied to the other side as well.
So, all right, that's for the hand.
For now, let's
make it dense in this area of where the elbow is.
Not too much, though.
Just a little bit.
All right, so that's it.
So the hands are kind of the important.
The hands are going to be seen and we can texture it above this.
So let's go to the hands there.
One object right now, and that's good for us because we can keep it low on objects.
We don't need to join these areas together.
We just need the arms and the body for making the jacket.
So we are going to join these two together, but two for the hand over here, we can just keep it as
separate objects.
So let's press control R to see what we get.
As you can see, there are some problems in this area, so I'm just going to go to re MASH and select
the exercise and then I can go ahead and reduce the exercise.
So it was all point three I can go for or point to.
Let's see what we get, not the results I want.
So what's one?
No, let's go a bit to all points.
All nine and Ramesh.
That's not good.
Let's go more.
Two points or eight and rematch.
So I think we can work with this.
So if you never work for him, this is the genius that we get because workable for the hand right now,
because we got the main shape and we just need to do some sculpting on top of it.
So with the smooth brush, I'm going to smooth this areas and the two fingers of joint.
It's a hand.
All right.
Okay.
Now see some references for the hand.
Looking for some references.
This this is the knuckles area.
So I'm just going up with the clear strips.
I'm just going to join these areas to go together like this and make the shape of the hand.
But this is the knuckle area.
And this one as well.
The tone needs to be connected.
Like this.
Just.
And then the palm of the hand.
If you watch your hand, the palm of the hand is all like this.
So we're going to first do something like this, smooth thirds.
And then this area, when it joins this muscle over here, it turns the time is prominence like this.
And then the muscle in the last finger
over here is prominence as well.
We're going for a more stylized character.
So we don't need to do to do so realistic.
We don't need to sculpt everything.
But you can go ahead and withdraw.
Sharp maybe due to solve the creases, all that, I don't know.
But for this, probably we need more geometry so we can go ahead and do that if you want.
So as I'm seeing here, this area needs to be much lower like this and then go to Pierce Console R because
I got something like this, so I'm just going to press control.
R And then the will to control R again.
And then the problem here was fixed.
This area needs to be removed.
I'm looking at my hand right now and my time.
The hand is kind of one of the hardest parts to do in the sculpting, the body, the shapes.
It gets hard to get some of the shapes.
There are so many minor shifts that influence a lot.
The whole thing.
So there's a tendon over here that goes like this.
It goes like this, and it's kind of prominence.
If you look at your hands, you can throw darts.
But as I say, this area and the fingers joint needs to be more connected.
So I'm just adding some volume.
So this area between the Tom and the first anger it's more teen.
So with the grep brush, we can go ahead and bring these together or we can use another brush.
I want to show you.
And it's paintbrush.
So with paintbrush, you can go ahead and pinch these two together like this and then to smooth it to
get the better more.
As a result or as it will look so social.
So now let's go ahead and sculpt this area over here.
So it also needs more volume.
In this area, it's so thin.
If you look at it from the side, it should be like this.
Right?
With this.
So we can go ahead and volume.
So I'm just thinking about primal forms.
As I said in previous videos, don't even go into the detail like, I don't know, adding wrinkles maybe
in this area and all that.
Or only the primary forms.
Because if you if you add details and then you find out that it is the primary forms are not correct,
then you have to you have to delete all those all those forms, write all those details, and that sucks.
So that's just.
Stick with the primary forms and then we can go ahead and with the grab first maybe.
Bring this up a little bit.
So this area
will be like this.
They were built a bit down, go down compared to the four.
And now we're getting closer as lists.
Zoom out, always zoom out to see how it looks from from afar.
And I thinking what I'm thinking is that this area is still not good.
I don't like this.
The best way is to define some of the major forms.
So, as I said, there are knuckles over here.
We can just draw the knuckles right like this then to smooth them.
And then there are some tendons over here that go like this, like this, this, this and this, right?
If you see some anatomies, you see that there are some tendons.
And if you look at your hands, if you maybe extend them, for example, maybe make them make extension
into your hands, make it like a straight you will see these tendons that go right like this and then
like this, each finger then very smooth them.
And there's a something you see or hear.
This better defines hand because these are something that everyone sees on their hands especially.
But it goes hand.
I'm going to go with the grab brush for the knuckles over here and then just grab it and bring it up.
This gutless move that play strips draw with a bit in this area.
With a bit of sleuthing if we were to look at a reference.
What we can do for the knockouts.
We can go to Russia and then make it not a very too low to know a small radius, but with a radius like
this, we can go ahead and make some dents like this in this area and then with smoothen it, these
will be more visible.
Like the.
Like how they are apart from each other.
If you look from the side view, you can see that the graph with the graph brush began with a bit Bring
this down.
So it has something like this.
They should have something like this.
And then just a small.
Okay.
So our character is wearing a mask, wearing a costume.
So we don't need to add these things over here, like the joints over here.
But if you're going to make a character, you can go ahead.
And so maybe with the clear strips, go ahead and carve in this area for the nails and all that.
And maybe with the draw sharp, you can define the the joints or here like this movie and define the
joints.
And then as soon as the mouth and all the to gets the result you wants for this guy.
So I'm just going to stick with simple.
Just priming forms and can later we are going to pause it.
You can do some some adjustments with the fingers because in the a pause we may not see some of the
mistakes in the hand.
Okay.
So for now, let's just go away from there, from the hands.
We can just spend a lot of hours just on the hands.
Whether you have to be mindful and not spend time, that is not going to be seen or is not going to
matter much for for the whole picture of an income.
We're going to make it so now I'm going to do is a now I have defined the leg, all right now I have
defined the arms.
And now that I have done that, I want to join these together.
So I'm just going to do that.
I'm just going to apply the movement for this one and apply the movement for this one.
And I'm just going to join this together and let's do a safe right now and now is click on the body
and join them together.
Let's check again if we need more adjustments anywhere we want.
All right.
I think the proportions is quite good for now.
So after joining this together, then we can go and do more adjustments.
So stood at the press console.
Jay And now we have connected this together.
Now, as you can see, this one again, I forgot to in this scope to enable the symmetry.
So no worries.
We just go ahead and alter Z, click on this X delete vertices and then we have this hand over here
and we can go ahead and use them here on this far.
Okay.
Now that we have this, the body connected, we can go.
I can also join the head, but I haven't made some changes to the head yet, so I just want to complete
body and then go ahead and join the head as well.
So it's just good to sculpting each of these facets.
We can keep the faces for now, but we can keep the faces.
Let's press control r to see what we get.
All right, that's good enough.
So let's go.
And it is smooth brush, smooth areas that are joined together.
Then we are going to sculpt on top of it.
So remember to enable x symmetry and sculpt these areas.
All right.
Good to clear the streets.
Well, it's more defined this area.
It's not going to be seen.
But let's just do it.
Let's just
switch.
So I'm just drying out the deltoid muscle over here.
This is one of the most prominent muscles.
Deltoid muscles.
No.
We have here the trapezoid.
We can go ahead and smooth this area and draw trapezoid before is smooth.
And it's like this.
It's.
As you can see with some few brushes we made, we made it more believable.
We can go ahead and.
This area, this muscle over here needs to feel a bit up forward like this.
So the shoulder muscle over here, it goes like this.
So it goes like that.
It's not a it's not a straight line.
If you look at some motions, this sounds a straight line.
I missed Miles on this character.
We can even see over here.
For example, it's like this when it joins with the neck.
We haven't joined the Met yet, so we're not going to do a lot of so in this area when you join the
neck, then this is going to be much easier to adjust.
So this is just a little bit more of this and.
All right.
She?
All right.
This area, again, will not be seen.
But let's do more adjustments over here.
And we can, even if you want to, you can even.
Just six months or a year.
As you know, he's not going to be seen.
So.
It's
just defining some of the muscles over here.
So
with Joshua, I'm just going to make it dance for here.
It's easy to.
All right.
Now, I think that we brought up the shoulder over here.
The hat needs to be up like this.
All right.
So let's go and bring this area a little bit closer to the arm.
Well, this is right now.
The auxiliary right now is too big, so I don't want that.
So this should be a muscle over here and there should be auxiliary area, the armpit area or here.
So it shouldn't be too big or too like a cave or something.
You.
So I'm just going to bring this down.
To have something like this, I think is enough.
Now, let's just press control or squeamish.
So I think we don't have enough geometry or you I show this is good enough for now.
So we should.
She's.
Shh, shh, shh, shh, shh, shh, shh.
Shh, shh, shh, shh, shh, shh, shh, shh.
Or at least look from every wheel to see what we've got.
What changes we need to know we need to do.
And now that there is a connector, we can just go ahead and do change as quickly.
If you want to see better charity, you can just go to the label the money and go to Glen Shade, smooth
it.
But remember, if you go to sculpting, it's going to be shown this month as well.
So if you're in a stage that you want to see, it's with like better.
Let's see how it's going to look in the final render.
You can go ahead and share this with it because, well, it's going to be floods like this one.
We're going to render it all the.
This is the clavicle area, so I'm just drawing the club cut area to better form what I have here.
Now I think it's time to go to head so there's some adjustment for the head and then join it with the
body.
So let's go to the side to you right now, I think may be.
We can bring it up a little bit and bring it forward.
Not too much.
We can.
Well, it's a bit rotated so the face would be forward.
Like this.
Then bring it down.
All right.
Now let's go and make some adjustments over here, for example, here.
And with that, Russia, let's draw in this area below the line.
So you would have a more prominent jawline over here.
So if I draw up with Jaylon, we'll have a more prominent jawline.
In this area and then smooth it out so it wouldn't be too much.
Let's do some more adjustments to the head before we join it with the party, because right now there
are not connected and it's more easier to adjust it because it's not going to affect the party as well.
Then we can
join them.
She's.
Let's look at it from everybody else.
See what we're going to get after we join them.
All right.
I think it's time to join these two together now.
So let's just join them with control j and let's let's keep the faith.
Let's keep that.
Go to Ramesh and set the faith that's also after remission.
The first test will be kept first press console R and see if there are no major changes.
So I'm just going to console Z and then control R again.
So not there not major changes.
So we just can go ahead and smooth the area to feel between the head and the body or here.
And now we can define the main areas.
There's a massive area called Estonia.
Estonia, the must read and the name.
This is one of the most important muscles that you need to know.
It's very prominent, and if you don't apply it to your character, it's not going to look real.
So as soon as Chloe demonstrates that there is, there's a point over here in the chest area called
sternum, and there's the bone over here called the correct clavicle.
Right.
This is the clavicle bone.
So this area is the sternum born.
And then behind the ears, there's there's a form in the landmark called muscle.
It's in this area.
So it's going to connect from muscle mass straight over here.
If you look at the side, we'll sort of condense from muscle it go down the go all the way down and
connect to the clavicle over here.
So that's why it's important.
It's going to be prominence.
So I think we don't have enough geometry, so let's just bring down the geometry.
0.88 looks good.
And let's just smooth this muscle that we just draw just through.
Now, as you can see, it's kind of you see the prominence area of this muscle here.
We can just make it more if you want.
It depends on the character.
If it's a skinny, it's not going to be seen too much.
If it depends on the expression as well.
For example, if the character is the head of the character is turning to the right.
So the right cynical, the monster is going to go inside.
It's not going to be seen.
But the left, cynical or the muscly, is going to be more prominent.
It's going to be more stick out from the skin.
So it depends on those situations as well.
And on your on the pose of your character and all that's put to the normal so it draws
the normal shape should be both a bit like sticking out from the area.
She's.
All right, let's see how the body of our characters by the now looks.
I think we're getting closer.
Maybe some minor adjustments.
And also, this area since I closed my seat, it's not straight.
When you look from the front side, it should be coming from the neck over here for any rookie from
the front side.
And then it should go like this.
Okay.
So we can just grab brush a little bit, push it in or and then between the clavicles, this area is
like a dense.
Or you can make it dense or you.
As you can see, I've kept my geometry low except for the hands, because there were so many forms that
I needed to sculpt to make it look like your hand.
But ah, now we have a very low geometry, it's called and explains in previous videos.
Never go for higher resolution until you have to.
Because right now, for example, if I don't like this shape the center close almost to shape I can
just go ahead and hold shift.
And this is smooth too, though.
And then the whole shape is gone.
I just can just do the shape again.
All right.
But if you have higher resolution, that's not possible.
You have to just sculpt and and do a lot of hard work to change it from its shape.
All right.
These areas probably wind up in a scene going to seen a little bit of clavicle over here, as you can
see in this drawing.
So for now, we have this this is not final, but we have this shape to.
More define the shape of our character and how it's going to be will look in the end.
Let's define more of the chest area as well.
I think that's better.
So
let's see what we have over here.
The near real.
We're here.
Let's, uh, let's bring it out or it's a bit so it doesn't be too short.
In this area.
So let's bring out the upper and lower area a little bit outside.
So outside of the knee doesn't look too sharp.
Let's look from the side.
And as you can see, the back of the knee needs to be more inside that than this is what that.
And when we'll look at the front side, we shouldn't have something like this.
So we should have something like this in that it should be very soft, like change of direction.
So now it's just ready to shop.
We can do that if you're doing stylized.
But now, because I just want to show you how to make a base character.
You know, my character need to know this is stuff done.
When we're done with primary forms and all that, we can just go ahead and do whatever we want.
So maybe our is like how very long?
Like very big muscles and all that.
We can just mess around with the proportions.
Maybe it has a big knee.
All right?
We can just mess around the proportions after we're done.
With this part of.
Sculpting
just in this area as opposed to so it looks more natural.
So let's go ahead and hide the hands right here, because I want to see the portfolio.
We can just go and hide or here the.
The arms.
With high brush.
Let's just go to the side view and see how the path is or to make sure that it's moving in the correct
position.
Maybe bring it out a little bit because it's one of the most prominent muscles over here, gluteus maximus.
And there's many good metal media.
I think the name is because Maximus is one of the biggest muscles in the body, which is in this area,
the body area.
But it's very important to location as it's for the hipbone is as well.
The hip hipbone is one of the most important points and joints of body for movement and all that.
And the position is very important.
So it's important to.
Put this and although it's all going to be covered by clothes, but it's good to have a good primary
forms of a character, so now things better.
I think the body looks good.
You can go ahead and press control.
Also be thing controls.
Yeah.
We can go ahead and all two on how we can go ahead and attach on everything.
I mean, this viewer can go ahead and multichannel.
So, so so we only have our hands separated.
I wants to do that because the hands are sticking out from the whole costume, the whole clothes and
all that.
So I just want to have it separated so I can adjust them more easily.
All right.
That's I think that's it for now.
We can go and make some more
some more changes to the head or here I think we can.
I think we can make a face more longer because it's Spider-Man, right?
It has a very long face.
It's.
So we can go ahead and do this, but it makes you make things harder later.
All right.
So I'm just going to do that later on when I'm done with the party, I'm done with the clothes.
Then we can go ahead because it's a very simple head shape.
We don't have eyes, ears and all that.
We just have to just.
Do you scrub brush and make it longer like this?
Right.
And then adjust that with the neck and shoulder.
I'm not going to do that word now because as I said, I don't know how much changes I want to do before
making the clothes and all that.
So next we're going to do the clothes, make the clothes and make and so my recording and just started
just stopped working so well.
We're seeing in this video we're going to make the clothes to give it some more shape and then we can
just go ahead and adjust the body more as we like.
So I'm next with you.
Goodbye.