Welcome back, guys.
So let's finish the blocking of this guy.
So in this with you and then go into the race apology.
First I look at my last class save when we mirrored this Schiller here real links.
The modifier of this path but this part doesn't have any solidified modifiers so these these paths over
here lost their solidified whatever.
So we're just going to do the mirroring one by one.
So let's merge this one.
And the choices also doesn't have any solidified modifier.
So you can just select them and, and so l to link modifiers.
Copy modifiers.
This pass also doesn't have any solidify let's copy modifiers.
And then I think although the pass does have sort of defined modifier.
Yeah.
So let's select them.
Let's either solidify, modify or fall off this path like these part as a mere modifier actually for
these parts.
So let's go here, go to modifiers, add the modifier and click on the party, or now it is mirrors
to the other side.
So now we can copy the modifier easily.
So like the one we added the mirror motherfucker as last and then control.
Oh, and copy on the first.
And now we have a mirror.
It's sure to check if everything is correct.
We can select each pass and then move it.
As you can see, this part is not mirrored.
So it's just.
Select one that doesn't have a solidify and copy my first.
So these are all mirrors.
That's good.
This means if you want to make changes, for example, if you go to here, go to a scope both here and
then change here, this or here or change as well.
So you just have to modify 1/1 and all the sun will be changed.
One of the thing is that if you want to if you go to shoes over here, the shoe has all the bits.
It goes a little bit upward like this.
So we don't have those right now.
It's it's a straight A thing we will fix that later is better.
But if you want to fix it's right now you can go to object mode, select all the shoe parts, don't
select the body, just the shoe parts like this.
All right, then go to edit mode and then enable or push editing.
Select these parts.
We'd actually alter the to select the extreme world to go out of the and then we can bring this up like
this.
We can rotate it too with our like this.
Well, we can also do that later when we have when we have the joint all these parts together.
So I'm just going to undo that.
So and later, we don't get into any problems.
So that's a for the shoes.
They can also go ahead and remove the toe, the toes part, the first part over here.
But you can also keep it if you want to bring it into the shoes.
Go to Scopes mode and select pause brush and then just grab this area and bring it in like that.
All right.
Doesn't have to be accurate, but it does show us where the food is going to sit, too.
So, for example, I can go to the tongs over here and then with the grab brush I can just grab it to
bring it on top of the foot's area.
Just.
He's.
All right, that's good enough.
Let's just bring this part of the bidding war.
And I think that is good enough for now for the.
And let's go ahead and add the things that we already don't have don't have it right now.
So one of the things I want to add is ice over here.
So.
Eyes over here.
If we go to references over here, the iron ore here is you can see this is the custom for the eye is
very big.
So let's go ahead.
I used the matter of masking.
So this mosque, this area, it's I go to press one to go to front of you.
To go exactly to the front you.
So it's should be this is the nose, the middle part, and I should be something around here
and just try it out.
It's.
So let's see how big it's going to be.
So I'm just drawing out what area, the red area.
We are going to do that later.
So
let's fill it with the mask brush.
Zoom out to see if it's enough for the white area.
Think it's enough for now?
Later, when we have extracted it, we can always go ahead and it to grab brush, move it around and
all that.
So let's extract the first.
I'm going to press a sharper chop in this area, then go to mass mask extract and click on, okay,
the set off, set to one and then disable the solidify.
And then we can go and smooth the edges.
She?
Although there is a lot of smoke, we can enable solidifies.
We can see what we get.
And then we can go and.
Increase the solidify like that.
All right.
Now we have the voice aerial.
We can we can adjust that.
So let's go to.
This area right here.
With crap brush we can.
Selected and adjusted based on our reference.
Shh, shh, shh, shh, shh, shh, shh, shh, shh, shh, shh, shh, shh, shh, shh, shh, shh,
shh.
He.
All right.
Want to add the material for this?
So I'll see better how it looks.
So this other material to I and we can add the whites material dust.
That's good enough.
So it's whites now.
We can now see it better how it looks.
So first of all, the thickness is too much of things.
So it's shift and clicking to decrease this amount of thickness.
And then now that we have the.
The shape quite.
There.
We can go ahead and make the right area.
But let's do let's spend all this a bit more time shaping this area as it's a very big area in the face.
It's quite important that we get it as much accurate as possible.
She?
All right, so now let's go and make the red area.
We can go and mask this area over here around.
This area and then solidify what's the best way I think is then we don't need to it's and all that is
to model these areas this is a simple area that we can easily model and get the shape so out of a plane
let's rotate it's and the x axis 90 degrees in the x axis spring is for now.
I need this face to be the front face.
So let's enable a face orientation and make sure that this is the front face and that's the case.
So now I want to add modifier cold's
change up modifier.
I think we discussed about this one before, but what it does, it wraps the shape we have around the
shape that we're going to we are going to select.
Then I'm going to enable this knob to lower here with face option over here and then with project individual
elements.
And all these options on this will make sure that the object is going to is not on the surface of another
object.
Now I got to shift up.
I changed to project enable negative where he has a negative and positive need to be enabled both importance
and then on target.
I click the face all here.
Now this plane has been wraps around this the face over here.
But to see it we need to go to object properties over here and then go to viewport display, go all
the way down and enable interrupts.
Now we have a plane that is wrapped around the face.
As you can see, I move moving.
It is just moving.
Move around the face mesh and that's what we want.
So in I think art is a mirror modifier, so I'm going to add a mirror modifier and the mirror object
to the face.
So now these are two different objects.
Two, until we have two objects over here for the two I.
And now I want to make the shaper now.
So let's model.
Model.
Let's get this edge over here and extrude.
Let's bring the Miramonte fir up so we don't get any problems.
So now the movement for it applies first and then the shooting settlements for.
She is disabled.
I think it's it's making some problems for us right now for rotating this edge so now we can easily
rotated.
Now this just extrude and rotate.
And as you can see, the edge is over here.
But the mesh is there is because of shrink wrap modifier.
The edge position is here, but the face has been wrapped around that.
It's just a visual thing and you apply the change of modifier.
It's going to move the edge or the to the face area.
But if you want to see it better, you can select on this cage button to just make it visually better
for you.
And now was continue with extruding.
All right, let's hide the Spurs over here so we see better where we are putting geometry.
So right now, let's bring these a a bit down.
You can also add justice later, but it's always better to have good starts when doing these things.
I remember you have many methods.
You can also do this with curves.
You can do this with all the other options you have.
You can even add maybe a Torres already on that.
Adjusted many options or births.
Choose whatever you're happy with.
And if one option doesn't give you a good result, like with this model technique, it doesn't give
me a good result.
I'm just going to do it again.
All right.
Don't.
Just be happy that if you didn't, the result wasn't what you expected.
Just don't worry and do it with another method.
So now that we have added this area over here, Alexis, it may be bigger than what we want, but after
we add do subdivision modifier, it kind of shrinks it.
So let's have it like this and then let's add a solidify, modify it to add some thickness, then change
the offset to one and then some thickness and it should be very thin like that is enough.
Then let's go and add a subdivision surface one for.
And a make it to two seats with like full glory.
So I know I want to add another material.
I call it I.
I read.
Then we can go to the color and change the color.
You can also, if you want to steal it from some of the references we have, like for example here,
which is the poster of the movie itself.
And it has the kind of the right color.
All right.
This is just the white area as well.
So I think it's it's not just whites.
It's probably would settle this.
Well, you see, this opens its value but if you click here.
As you can see, the pure here has changed a little bit and it's 8.6, 8.86.
You need to copy paste this to the base color.
All right.
Now we can go and shade this once these areas, and I think that's good enough.
Uh, let's disable the inference.
And this area needs to be adjusted.
So it's just it's.
You could also do this area after we suppose it is going to be much easier because after this apology,
you have a good chance right now for the eye for the white area because we mask this.
If you enable wireframe, we don't have a good geometry.
As you can see, the edges are not good enough for us.
So we have to is apologies this area later but you can for this area after it's apology at this area
to have a better mesh.
All right.
Now we can.
Apply the shrink wrap modifier first.
This means some problems are here.
So it's applied to me and my father first.
And then that boy, this modifier.
Let's first applied the escape control.
A skill that did a lot of problems for us.
Is the skill not?
All right.
This girl is nuts.
Universal's doubts she may make some problems at the strange of mother for now.
That doesn't make any problem for us.
But with other skill, it's going to make this because of the solidified modifier we have over here.
Let's disable solidify modifier.
And now this.
We've got scale.
Now this skill is universal.
And now let's add to solidify one for and then the substitution for little to answer to one.
And then can change.
The thickness.
As you can see with this method, we don't need to apologise this area later now because if I enable
wireframe, we have the best wireframe we can have for this area like we associate with the plane and
solidified.
This has the best for friend but it gets.
All right let's bring that other areas.
And now what I want to do in the shorts or here.
If you go to the this area over here.
It has some pockets of back pockets.
So let's make those pockets.
Let's first go to supplement and then, you know, will you will symmetry like symmetry and bring out
this area.
It's a bit so I'm working from the sun side.
You should have like this the shorts the pants because of the.
But area of the coast was maximum some.
The muscles over here, which is bulging.
The pounds also goes a bit like this.
All right.
And though it draws sharp, I want to draw this in this area.
I don't know if I'm going to do something like this maybe later on.
After which apology will add details like this.
I still don't know.
So you will find out later as well when you're making characters.
Which parts you want to implement and which ones you don't want to.
If it's if it's a freelance job, if it's something that is you've been assigned to do, then you have
to do every thing.
But if it's an artwork, if it's with a character you want to make, and then you you can make your
work how you want.
So it's not like you need to add things necessarily because it's there.
You can add things, remove things like like here.
I think the thing over here, this is an artwork by someone else and he added some other stuff or if
you think and yeah, there's some more details or here and all that.
So you decide which details you want to have, which the details you don't want to have, but for unless
make care, make a dent over here.
And then I want to make some some fold some simple fold these some nuts final.
All these are just for visual.
So after this apology, you're going to add the folds.
Now, make the back pockets.
Make sure to the symmetry is enabled and doesn't just draw this area.
The positive proof was of just grizzle positive.
So let's go ahead and make the back pocket of this in this area or here and just try it out.
And Phil, it's.
Six.
We've all smooth later on, but we need something sharp in this area and in this area.
So with control and removing some of the masks.
Just like that.
Or in this area, we don't have a good mask.
I don't know why.
Because of the geometry, maybe.
But we'll probably remove them over that area later on.
So a and sharpen the mask and the mask extracts.
Then as you can see, we have we forgot to remove the last mask so we can just go to edit mode press
L and this X to do it.
This person that originally was in the geometry to bring the origin geometry to the middle and then
we have this.
So if I modify it, bring the offset to one, and then we can play around with the solution modifier.
But first let's disable modifier could hurt it more, go to the scopes more and then smooth the edges,
this swath brush or holding them shift onto and just make the shape over here based on your references.
She?
All right.
That's good enough for now.
So this will remove this one.
This is a good shot, but not as good as far as the mouse claws don't work in their eyes and the way
they can always move in the later less enabled.
So if I grow out of the solid mold and just that based on the whole shorts, I'm going to bring it up
like this.
Don't worry about these edges over here.
This is because of the geometry.
We are using the Remus geometry, which is not good for production or rendering and all that.
But later we are going to treat apologize this and service apology.
These edges will be fixed.
So we are not going to put a lot of time on this.
Just the shape is enough.
Remember, this is only the Boy Scouts.
The shape, just the making.
The shapes is enough.
And don't try to add details.
Any details will be unnecessary.
And it's just going to make sure they make all those items to make and bring in.
Maybe you realize you have to delete those details later on.
It's going to make problems.
Details will be gathered after his apology.
She?
To keep.
I'm going to call it good for now.
So let's add the also at the
button or here this button.
I'm going to add a Q rotator rotate of those skills that control a scale substitution surface modifier.
It's a little to go to the cube, go to edit mode s Y to scale in the y axis.
So it's why.
Let's select this face over here and bring it.
Bring it toward the other face.
So the skeleton works was giving me weird results.
So let's just do that.
All right?
I see the problem light right now.
The snapping still is on, so just make sure to disable it.
And then we come to scale it based on how it looks.
With their own skill at sea for far.
Let's disable the oil.
And then.
Skeletal on the skull at like this.
I'm moving around and I think that's good that's smooth.
It enabled only a gain to see very select thing and then add a mirror modifier.
So that's good enough.
We can also go on.
Oh, that's good enough.
I wanted to parents as well.
It's just good for now.
So now we have all the all the things we needed right now.
So we have the jacket, we have the two jackets, we have the eyes, the face shorts and the shoes.
And the other thing this character has a.
Sucks, but no, it doesn't hurt us.
So that's good enough for now.
So what want to do now?
Let's.
It's good to stop want for our checks over here are now as you can see it's not fitting with how the
clothes are and that's I'm going to bring the biliary bits forward.
So it's subtle.
Not so much.
To not break any of those proportions or anything.
That's good enough.
Let's go to the close over here and bring it forward as well.
All right.
Now I think it's time to add the hands to.
The body in.
Let's apply the moon metaphor so that the hands select the body and then control G.
All right, let's go to solar monitor now.
I want to remeasured, but to remedy that, first, I need to remove the first.
Well, let's have it for now.
Let's go to Ramesh, rumored to have the first of all, if you have faces that you want to get and now
I want to check this eyedropper and check on the body to see what's the geometry over here.
Now, because of the hands over here, we need the much lower geometry.
Let's let's say first.
So I just save that before remission to a lower value and then let's go to the lower.
So it was two points or seven, I think.
So I just got two points or five and then console R to see what I get now it's not good enough.
So let's go to something like.
Oh points three and then control are.
So this is this.
This works.
But this is a very high geometry, so make sure your computer can handle it.
So very nice.
Very high.
As you can see, this is all black because it's very high geometry.
So my computer can handle it, but make sure that you can.
How?
Do not see.
So if it doesn't just go with the amount that you can, I just want the the hand area to be arranged
correctly.
So now that we have the hand and we have the body connected, we have to have some water to to join
these areas.
This is smart first.
So just small areas that are connected with this heat, watch these
shoes.
And then we, based on the character, we saw how much detail we add in this stage.
The character is building the customer here.
So not very much money or very details, but the details like the knuckles
are kind of important to define.
The shape of the hand, though.
Let's sort these muscle or here.
And then a small third.
And now I think we need to adjust.
It's in this area over here.
So it's spring.
It's a little bit.
To sign SOS Goods option and enable face states.
This make sure that only the that that we are hovering on is going to be changed.
So right now this is going to be changed or not is going to be changed.
So I want to move this or the bit inverted without changing the other area like the lake area that I'm
seeing.
That's the good thing about face.
It's.
And I just.
It's just the look of the fingers and the hand itself.
It's.
She was supposed to go to class reps.
Let's go to a scrape and scrape the side of the.
For Tom over here.
It's.
Because it's kind of flat in the site.
It's also flat for the fingers.
So to have a much more defined fingers, you might want to do this.
Not too much, though.
But if your character is.
Cartoonish.
Stylized makes the character we're going to do is okay.
If things go well, it's a bit more exaggerated because whenever the fingers are round like this.
It just doesn't make sense.
It's just something goes off with the fingers and it's two rounds.
So this area, we made some mistakes.
So it seems let's go back and just undo this and let's go to this area.
We probably made some mistakes.
Add in the other scrapes over here is the into the other finger.
She?
Just connecting the fingers like this.
Just.
And then this area it needs to be Mr. to is a bit dense, but right now it's too dense, I think.
So let's add a little bit of volume in this area.
This area, it's a bit down.
And this area.
Let's make the shape of the.
Of the hand in this we.
Six months.
Maybe
I just sit here.
Draw a sharp one and this area between the thumb and the first finger.
I think that's enough for now.
If you go to observe more to see what we get as a whole object.
Of course, this area is is not smooth enough.
It's not shaped enough.
But as I said in the last videos, we're not going to see this area.
So it doesn't matter.
Don't puts a lot of times in the areas that doesn't matter.
That doesn't isn't going to be seen if, for example, you actually are making an animation and in some
point you have thinking that your character is going to take off the clothes.
Then you have to pay attention to all those details.
All right, let's go outside to Solomon to see how it looks now.
The whole object is going to be the hand.
We can always go and change stuff.
Really simple here.
I think it needs to be able to push it forward.
And it's a bit upwards.
It's like this.
This is.
She lets out some scrapes between the fingers.
Here, for example.
To make it out of his flats between the fingers because it is flat.
It is not round.
It is more like if you look from the.
From this area, for example, it is more like this.
All right.
It is not round like this area, for example, which is looking very round.
It's.
He.
All right.
It's good enough for now.
That's all right.
Now, this is for the stadium.
Well, I think.
Yeah, I think that's for now.
Maybe some changes for the face.
Just don't want to exclude anything as this is a mass.
This is always a is hard to define.
Like which part I want it to be to be seen and which I don't want to be seen.
It was like, this is a real life version.
As you can see, it's just a round faced face.
But maybe just to add a little bit more soil into it, we can disable the cemetery.
And as you can see, this is the nose area and it goes over here like this area.
We can always a bit rural in this area or as it is going to be very subtle, but it makes a shape like
here that is going to be the nose.
And after we are to redo the the texturing is going to be more, more visible.
So right now we don't have any texture after and textures looking more visible are also less of the
bit of volume over here because it just doesn't make sense that these is all the way forward like that.
So it is more smoothly going right now.
So this right here with the grab brush, we can change it like this.
So it is like this and therefore the chin area for the area we can just just that's all.
It's a bit more.
And I think the NEC let's hope this part
NEC area I think needs to be able to put forward.
Yeah.
The Nigerian needs to be a bit much more adjusted.
Let's bring up the face here.
Let's say first.
All right.
And if we do changes it.
If we don't like we just closed down, then.
Bring up the safe.
So this area, it shouldn't be like this.
All right.
If you look, some of the Army officers, the between the face, the area and the neck, it should be
something like this.
All right.
It shouldn't be around like this.
So let's make adjustments.
Let's make over here.
And then it should go over here.
I think so.
So do that.
Something like this.
And then grab the front of the neck and bring it forward.
All right.
All right, that's better.
As you can see, something as simple as this makes a lot of difference when you're looking at the character.
I like that.
She's.
Okay.
I don't need the faces right now because I want to see it as a whole.
So it's just disabled.
The face sits.
So now we see it's like this.
Let's make sure it's face smooth.
And then.
I want to call it a bit.
Write this down.
Not so much.
Well, it's a bit.
Like that.
So let's see it from every angle.
All right.
So after smoothing it, I think we got the real good results.
Right now, this is really good.
I like it.
And after you like the shapes.
And now it's time to go and do the apology.
So what is this apology?
So as you can see, if I enable the water frame, the body is too dense and the clause is not optimized
and not good for animation.
Like these areas are not good for animation for like like rotating the arm and all that.
All right.
So we are going to make the topology of our mesh again based on the things that we have made and then
multi resolution and our details on that.
So.
So that's the whole thing about this policy.
This area looks fine for now.
So, yeah, that's it for this video.
Let's go to Random Moment to see how it looks.
Are the topology was because of his equations.
It took always a bit time, like 5 seconds to go to the roundabout, but before those I figured we should
add all the little bits.
Look at the the clothes area.
So we have, it's more like the reference we have.
So let's go ahead and the material over here.
And at the shoe we have the shoe material over here.
Okay.
We can change it based on this.
All right, let's.
Make this bigger, like this one bigger as well.
All right.
Then we can quickly.
Still these materials some added as the viewport display material and whole materials.
This is not good and I think it's because of the quality of this picture.
Let's get it from this one.
And copy and paste.
The tango is.
Is red.
So at the root the area.
And the other areas are all the same as it's Hungary.
We can go ahead and change it actually to red.
So not just be just the tank.
And this is red.
So change it to red.
The France purse is red.
Change it to red.
Later on, we are going to just join these parts together.
So we may have to do this again.
But I wanted to see how looks that is.
See a reference over here.
This part is white, so we can just add it to the shoe material with other parts.
It looks to be blue, but in the references it's actually red and this one is white, but in the poster
reference it's red.
So I'm going to stick to the poster reference to red.
Then the nice logo is going to be black.
So let's just add the black material we have.
And then the shoelaces are going to be.
Black.
So let's just add the black material and then select these shoelaces.
And so this show, this is as the last one and then we'll link the material with Control L.
Then we have this area also as ripped.
All right.
Now.
We have to find out.
Look, this.
This should be red.
So it's it's just to read
this.
The civil the material of the show and the written material are here.
Now, we have defined how the show is going to be looked at.
I think material is really important.
I think it helps you achieve like how the character is going to look.
So let's go to the service first and let's go to.
Threatened not.
And see the results over here.
So as you can see, we're getting there right now.
So the rendering also helps to get how the character looks like.
This is looking better right now.
I mean, cycle or not, the cycle the better.
Like, okay, as you can see, the shadow doesn't even isn't even here over here because of the issue
or eyes of evil is not good as cycles to theorize.
So because we have an issue where if our war cycle is catching the light of the issue, I have much
better.
But if we are our own lights, it's not gonna make a lot of difference.
So that's something to remember.
The shoes right now are quite good for now.
They don't have a detail.
So that's why they don't look.
They look so soft tissues shouldn't be so soft.
We should have some of these materials over here.
We're going to do that later.
Let me add some detail.
Some of these these dots over here, we are going to add them to the shoe in this area.
But yeah, go ahead and go to render mode and see your character from all the views and see how it looks
before going to the was apology.
And you know, that's all.
So that's it for now.
So in this video, the next video, as it starts, it's apologizing.
It's apologizing.
The body over here.
So until next time, goodbye.