Our guys will come back.
Let's start the process of apologizing, our character.
So this released apology and why we needed.
Well, in the last part of this course, we model the character.
And while we are modeling, it's more of a technical thing.
We with a cube or with anything, any other mesh, we can just go ahead and extrude things and make
things like this because it's a very technical thing.
We always take care of the geometry of the topology and make sure that the topology is as best as it
can be.
But when we are sculpting, as you can see, the only thing that we care about is how it looks.
So we start with a low geometry, but we may end up with a geometry like this.
This is a very high poly mesh or no, and this is not appropriate for production, for games, for animations,
for movies, anything, and even for just a single rendering.
It might take a lot of time.
So if I go to E.B. over here, this is the first one I'm changing to the rendering mode.
The first time always takes time.
If I change it, as you can see, it takes more time to render the scene because of how much geometry
how.
Over here we have over 500 thousandths, whereas this is.
So to fix that, to make sure that our character is ready for production, is ready for rendering,
for animation, anything you want to do with it, we need to is apologize.
That's all right.
So that's the whole thing.
Bow is apology and then after is apologizing.
Then we have a mesh, a very optimized mesh that we can just add a subdivision or motor is a multi race
or here.
And then continue the sculpting and adding more details.
While we have a good judge.
All right.
Let's start with this.
There is a policy with the body over here.
So I'm just going to click the body and then hold shift and click on edge to hide everything else.
So everything else is now hidden.
All right.
So now I want to start there was apologies, so there are some steps to do it.
First, we need a play.
All right, now we have a point.
Then let's bring it up.
So I usually start there.
It's apologizing from the head.
All right, so let's start from the head.
And first, let's rotate that the X axis or X and 90 degree.
And this is now rotated.
So the whole idea of our apologies is that we add a plane over here and then we just
extrude this plane around and the mesh we have and gets a new mesh to the new objects.
But right now, a plane goes inside of the case and that's not what we want.
We only want the surface to sit on top of the surface to get accurate results.
To do that, first we need to enable stop.
Stopping and you have these options to be enabled.
First, make sure that the face option is enabled and then go over here and enable portrait projects
in the visual elements and also enable all these options over here.
Move, rotate on a skill these options over here, and make sure that the mesh that we have, if now,
as you can see, we don't have stopping to enable, but if we now enable this snappy tool and if I change
and if I move my plane over here, this makes sure that the plane is going to stick to the surface of
my object.
So as you can see now, the plane is sticking to the object.
Now if a rotates rotated as I have affected the rotate and the skill area over here as well the rotated,
it also rotates based on the objects that it's sitting on.
All right.
So I can move it around and stuff like that.
And then to make things even better, we can add modify over here shrink wrap modifier.
I usually set it projects on negative and then on target you have to choose the target or here.
Now it makes sure that the plane is wrapping around the object that they have selected, but now let's
send it off.
For now the object gets deformed because of how it is rotated.
So let's just scale it down and don't forget to hit scale.
And then this enabled, as you can see, the shrink wrap modifier is doing its thing to wrapping this
plane around the object they have.
So I don't want this right now.
This is making problems right now.
As you can see, if I move it around, it fixes it, though.
So if it makes some kind of that problem, if I move it all the bit down, this vertices is going to
stick to this part of the mesh.
What if I'm with up?
It's going to fix the problem.
But that's the problem we have with shrink wrap.
So whenever we are extruding the edges, we might get some of these problems.
So what I do, I usually just only use snapping and I turn off the screenshot from the viewport with
this click with this icon over here.
So if I click over here, the shrink wrap is disabled.
All right.
And then after extruding, for example, after going over here and extruding this right here, okay
then and enable screenshot to see how it's going to look on top.
My object.
All right.
To make things more clear, because when we use shrink pro in a snapping, it's just it's on the surface.
But it's bit it's not visible right now because this is more this is hiding the plane for us to seeing
the plane.
We go to object properties over here and then in April in France.
So now we have our plane in front and then we can start extruding like that.
All right.
And then if you want to work with shrink wrap and if you see right here, the plane the plane is right
here, but the shrink wrap is wrapping the plane on the object.
So if you don't want to see the vertices over here, in other words, these over here, you can just
go over here and enable cage.
Enable cage is going to just snap it to the surface.
All right.
Or what we can do or what I do is I disable shrinks off while I do, though topology.
I know you just work with snapping, all right?
And then I go out of the edit mode and then I enable shrink wrap to see what I get and if I'm happy
with it.
All right, let me just minimize.
And if I'm happy with this, I go over here on this arrow and I duplicate this and I apply the duplicate
to the shrink wrap and then again, disable this.
You grab over here.
Now, as you can see, the shrink wrap is applied.
But as for now, everything we do, we don't have shrink wrap on and we get the much more nicer version
of geometry over here.
Right?
And then again, enable shrink wrap.
And if I see any changes like duplicate on a fly, that's the whole thing about about the process over
its apology and the tools that.
There are some other tools are here to wrap this up.
Poorly built.
I explained about this in the fundamentals, but if I click on Thunderbolt, I can select the edge and
then drag it to make an extrusion.
So the edge and I get to make an exclusion.
All right.
And this makes things easy.
For example, I can hover a woman mouse over the vertices and then just move around the vertices.
But this tool is very precise.
So right now, my my plane is very big, so I can easily select the edges.
But many times the plane is actually like in this slice.
All right.
And then it gets hard to select the edges.
I have to be precise and go over the edge.
Selected, right?
Yes.
So just experiment for yourself to see if it fits how you're going to do.
Sometimes I want to go and select this manually.
I have to go over here and select box or I can just be to select it like that.
But like selecting box is much more like it better to select because if I select B and I let go, then
it's just going to switch back to.
It might mess things up.
And then another tool that I showed you before is if you go to edit preference and then go to Adam and
then search for loop, you have a tool as look to enable it and this tool is only available in edit
month now that we are in edit mode.
If I select an edge over here,
there's some edges over here and go to go to edit and then look to all have see some of these options.
I can select them space to make this space between the edges similar.
All right.
I can go over to this and select space to get the more similar shape of these of these rectangles.
And then I have like, for example, flatten the flattened earth I have circled to make a circle of
the edge.
And I have lost the example I have.
Relax.
Relax the words.
This is on the edges.
Very, very good tool.
And also, there is this option, only inverted solution.
If I select all the vertices with a and rightly I have this option over here, smooth vertices is going
to source the roses somehow, like the smooth brush in the sculpting mode.
It's going to just smooth the vertices like this and give me a very much more, better geometry.
So let me delete this.
Yeah.
Now, the next thing is, is that you can also add a solution surface modifier.
All right.
To see to how it's going to look after you subdivide.
For example, if I do it over here, I may see that I have some problems over here.
Obviously, I need that geometry over here, but you might even see some problems after enable it.
So the workflow would be that you just disable the subdivision after a while, after walking and apologizing,
you just enable it to see how it's going to look after there is a policy.
All right.
And so the lesson is your modifier, because the things that we usually do
we support, those are usually symmetries.
As you can see, we even we made the class symmetries and we can use that to just less than our work.
So we can just use a mirror modifier and just do one side of the body.
All right.
So we just do one side of the body and the mirror modifier.
We just move it onto other side and we're done.
So on makes things much faster.
That's the whole and that's the whole thing that I wanted to share with you about this apology.
So now let's get right into it.
And we say apologies to head.
So let me delete these faces.
And.
All right.
We have or modify a set.
We have a slot to set with these with these on dancing the wheel position at the certain important individual
elements and we are set so it's.
So will this.
Then we go here.
One last thing we have many times in the.
In extruding it all, we need to mesh things.
So for example, over here.
If I extrude this or here, these two are separated, these two edges.
Right.
So these are separate that we need to manage them and we manage them by clicking on the words you see,
clicking on the other words, he hits em on keyboard and the selection of these as center is going to
make them in the centre point where here alas is going to as first is going to miss them with the first
selection unless is going to merge them with the last.
So just press on last and it's going to manage them like that.
But sometimes this might take a while for when we are going very fast.
So there's an option optional here.
So on the upper right corner option and auto merge and this is going to auto merge the words that are
close together based on this result.
All right.
So if I press G and make this closes, as you can see, nothing happens because and now they don't match,
nothing happened.
And we are likely to really close because this trestle is very low.
But now they are managed.
Right now let's image them and then now let's increase this to a very high value 0.1.
All right.
And now if I move this around like this and I click, and as you can see, this is easily gets mesh
right now.
But as you can see, this is this is very long distance for merging.
If I click here, they don't match in this position.
Right.
So they are managed at this distance and this is a long distance.
So we can just half make it this distance half.
0.5, for example.
And for ripping words, this is also so you don't want these to be matched.
You can use V on your keyboard to rip vertices pressing V and or rips this far from the source.
So let's try this match option over here and then let's just go over here and they're going to match
very fine.
So now that you're set, you're good to go.
With these faces, I want to stories apologizing the face to face.
I want the face to be mirrored or to do that.
Let's.
Bring the first plane to the middle of the head like this.
And it won't be magic then, but there's a lot more option here.
In the mere modifier we need to enable clipping because now if I move.
These faces are mirrored.
They're going to just go into each other to prevent that, which is enable clipping.
And now when they go into each other, they're just going to clip into each other and mirror into it
and merge into each other.
All right.
You can also play around with this mesh boxing match option over here.
If if there are, for example, too far away from each other, they're going to now they're mesh.
These two what is are mesh because of this option or here if you want it to be like merged from a longer
distance, you can play around with that.
But I think this is fine.
We always need to go back and check these lines over here to see if they are merged before applying
them.
You for.
Well, that's the last, last operation that we were going to do.
So let's go to.
Over here and let's define how it is going to be.
So we have a plane like this.
All right.
Now, we are going to start with this apology.
This is the front of the face.
So one thing I want to mention, our face right here, our head right here.
It doesn't have face features.
All right.
So this is a mask.
We're going to make this by the minds of the masses and have this face features.
This is going to make this easier.
So we're just going to wrap it around the head with the geometry easily.
But if it did have faces or if you are going to make this for animation, you need to make things like
more different.
And what I'm going to do it now.
All right.
So around the mouse, if you're going to animate your character and the character is going to talk around,
the mouse needs to be if I duplicate, it needs to be like this, like a loop around the mouse.
All right.
So this is very quick, not very accurate, but you need a loop around the mouse to.
I admit things.
Why the change?
I went to the results.
Let's just say we'll shrink over here.
You need a loop around the mouse.
Okay.
So something like this.
All right.
Because you want to use this loops.
To animate the mouse of the character, make it go up and down.
Okay, so that's one thing you need to remember.
Let's let's face it.
And it's a start apology.
I'm just going to click on the selection.
I'm just going to extrude it.
So first, I want to make a loop around the head like this.
Then I'm going to make a loop around the jawline over here.
Then a loop around the neck.
So neck and head are need to be done with each other.
And then we're going to do the rest of the head
before making the neck line.
I want to make the line that goes down to the body to set things as we go.
So let's just extrude it with E.
Extrude with E.
I have shrink wrap off, as you can see, extrude with a extra and just extrude and go down.
I make similar
extrusion, but I know we don't have a similar excision.
That's okay.
I'm just going to try and bring it down to this area.
All right.
And then I can press control.
Ah, and then with the mouse mill mouse will, I can increase the edges over here.
All right, then.
Let's go and extrude over here on top of the head.
And then this is extrude to the back of the body.
We see the back face of the faces or here, if it makes problems for you, go over here at this hour
or here and then enable back face.
Colon is going to hide the back face of the faces that are over here.
This is extrude this.
So this area and then control our and make some loops.
For now we are not semi accurate, but you should have the same loops we have over here.
So that's one thing to remember.
We can also yeah, let's undo that.
And always it's good to have an even number so we can see that.
The thing we can see that's over here, as you can see, the number of cuts.
So it's an even number like eight, for example, and confirm.
So as you can see or here, we could see the number of the cuts.
All right.
Now, if base or the body or now, as they pointed out to connect is because these parts of the human
might delete these or transform these, or we go, well, now we have the body.
Right now we can enable Chicxulub to see how its shrink wraps around the body and we can go to object
mode duplicate apply this and don't disabled shrink wrap again.
Then after enabling this shrink wrap, we have these edges over here that are separate from each other
and we need to just select them and make them closer to each other.
But I'm not going to do that now because we might get these results again.
When we are doing the topology near the end, we are going to make them more closer to each other.
But you can do that like a press of click to click and then go inside to make them into each other.
But we get things like this, so be careful when you are doing that.
All right?
Maybe just selecting them one by one is the better option.
So g x bring them to our shutter.
So now let's make the area over here on the JO line.
So it wants to connect this JO line to this area over here, right?
So let's do that.
Just watch seeing how many witnesses we have over here was connect this to better see how it's going
to work out later on.
By pressing s you can scale down or up your.
It's.
Just extruding, and now I can
manage these two together by bringing them closer to each other.
So let's bring these conditions.
Now they are mesh, but as you can see, this plane over here is too big right now.
But we don't know.
We need to first see if.
This loop over here is right for us.
So
now we have to connect these loops together.
But now I want to show you an option over here.
So there's an option over here.
Face, greet feel is kind of feel the loop after look at this is the loop is going to select it's going
to make geometry based on this loop, but it needs even number of edges.
So if you have a number of edges over here, we should have the same number of edges over there.
So let's count this number over here.
So as you can see, we can see the edges over here, five right now.
This is the vertices actually.
So the edges are here, edges four.
So you have four selected.
And now we have nine selected in this area.
Now let's see how much we have or here.
If it doesn't work, we should just go it manually.
You have 14 over here.
All right.
Let's bring down this area and just make a loop over here.
Now we have 15 over here.
All right.
I think the best thing is just go manually right now.
Yeah.
The best thing is right now, I think it's just go manually.
Let's select the.
Let's go to the upper view and select the middle face over here.
And I want to extrude it and see where I can connect it.
All right, let's connect these two together now.
Now these two are connected.
All right.
Now we have a look in this area, as you can see.
One, two, three.
Or here.
One, two, three, four.
One, two, three, four, five.
Or here.
So we need another edge in this area.
We can bring down this area over here and add another edge in this area, and then this select these
edges and go to face, crease, feel.
And now we don't have the necessary things.
So, like two edges.
So I think.
One, two, three, four, five.
And over here we have three.
So that's that might be the problem here.
So just do it manually, then.
All right.
This is manually.
We just have to go and press E on this edge.
First each.
But accidents this busy slick and the merge these to be merged this to the register and then this guns
merged these two as well.
All right, now let's go over here.
We can go ahead and mash them as well.
First, this mess from the upside match.
These these.
These two
and these ones.
All right.
Let's go here and mesh these from over here.
And then we're going to see which witnesses we need to delete and which vertices and faces we need to
have.
So now we have this.
We have all this all right, here.
But as you can see, we have
one over here.
One, two, three or.
But over here we have only two or three.
So if we extrude over here, we are going to need one edge or here, and therefore it is here.
One is going to be here, but they're going to attach to each other.
So we're just going to press control R and add one edge here and just add these together.
And then this is going to be made just by itself to fill this face.
Press F And that's so that's now the back of the head.
Now let's see if we can create feel like this.
So Silver can get useful with the school again the manual way.
But I want to show you another way to do this.
This extrusion I showed you how to extrude manually or here with E we can extrude, and then it's going
to merit.
All right.
But there is an Adam in parentheses called F two, and it comes with Blender.
All right, so enable this, Alan.
I mean, this, as you can see, as I see or hear or see or hear, if I do things all right.
If I do things or hear a press.
Hmm.
Sorry,
I press these two edges and press F on keyboard to it.
All right.
But this F to Adam enables or enables us if I click and vertices that has two edges.
All right.
So this word to see has to adjust.
Or here, if I click this as a C and prison F, it's going to make playing itself.
And that's very helpful.
So now we can just kind of vertices and press f f quickly.
We can add the edges.
Renee Then over here we can connect these two together.
Then just go and press F.
Press f or here f.
Facing Earth.
And good.
And this connecting these two together now is filling this part.
All right.
Now, as you can see, we need an age group in this area.
Let's do a little this fill this area first to see what we can.
I guess
so you can go very.
You can go very, let's say, accurate and just count the numbers and just go with it.
But I prefer the I just go with the flow and then decide which is just not and which is I'm not going
to.
All right.
So now this is almost certainly I need an edge over here and over here.
So just I'm just going to press control R and then add a loop in this area.
And now this is connected and this bring down this area and now let us continue its efforts to fill
this area.
So we just efforts I'm just going to fill this area.
So this is how it's here.
So I have this press f to fill this area and then let's see if we need another loop.
She?
All right, now I have this to be filled so I'm going to then I'm press f between these two and then
I have these two to fill.
So just press F to feel.
And then now I have these ones that I need to make.
I need to make.
All right, so let's go over here and see.
Yeah, I think we're here.
One, two, three, four.
We have a court order here, but we need to feel it.
And that just doesn't work.
That's just go the easier way to look at.
So it's just I look out in this area.
Let's, let's roll our now that we have a lifeguards, we can just go and press F over here and then
add another look.
But in this area, join those two together and then joint joint these two edges together by press clicking
on the press f.
And now we have.
Ramesh, as you can see, every part of Ramesh is now consists of what's not.
Here we have a problem that we might we need to be careful.
This was made by us on the right because we have all of the imagination over.
When we made the loop and the looks were close to each other, it just merged these two witnesses together.
Let's just rip this over here or listen to that and.
Let's disable automation so we think get problems.
Let's rip these vertices and let's see how we can fix this.
So these two need to be merged, I think merged together with M.
And then these two need to be merged.
We're not, actually.
We need to.
Please make a.
Make this
less.
We need to make this as a rectangle, the street, the edge over here and now I think it's going to
be fixed.
Straight edge select is F, so it is F and now the problem is fixed.
Now we have all codes.
So be careful when you are adding edge loops that are very.
Close to each other.
So they don't get they don't get matched by disruption, not so much.
Now, I'm just going to select all of the vertices and I'm just going to go right click and this one
source is to smooth them out of the thing you want to do.
I want to select this as a maybe press on a space or it might make problems now.
Yeah, it made some problems.
But this never shakes out to see what we get.
All right.
That's good.
Shh, shh, shh, shh, shh, shh, shh, shh, shh, shh.
Okay, let's press on.
Relax.
A couple of times too much.
She's.
It's very relaxing.
Just this is going to be much more smooth.
She?
Well, that's just small sort.
This is a couple of times.
At this point, you just need to adjust because we have.
So we don't we have we need to have similar quotes right here.
All right.
That's good for Nana's.
You can see we made the head, and now we have a good geometry that we can work with.
Now let's go to the next.
I'm just going to press F to fill this.
Not like that.
Let's do that.
I need to press on this side less.
Press f.
Press on the wrong courtesy.
Be careful which courtesy you are pressing.
It's.
Then I can join these two together.
Can I enable auto match and maybe bring down the distance like 0.4?
All right, let's make these two edges a little bit.
Far from each other.
Look at its topology like a game.
Okay, kind of a game, mini game that you need to fill in
where the geometry is needed and all the.
All right.
Now, I'm going to do the second edge much more quickly.
I'm just going to press E and extrude this and bring it in this area.
And then I'm just gonna connect these with these edges.
Let's connect this man.
And we connect these two together and connect.
These two.
She's.
And another by making, as you can see, it is going inside.
Because we don't have any.
Lucas.
Let's make some lookouts.
And we need the number to be correct.
So, one, two, three.
Let's just do over here.
Select these edges to see how many edges, how many lookouts we need.
So I have ten writers over here, so I need ten lookouts over here so I can go over here and make it.
And look, as you can see over here, we can see the number of cuts I need.
Ten cuts and now I have ten cuts.
And all I need to do, I need to connect this together.
Let's disable shrink wrap or actually let's go over here to look at the shrink wrap and apply it and
disable it again.
After applying the shrink wrap, go around and see if you see any artifacts, any errors.
This connect is just now I have my automation on with our help other match I quickly connect this I
just I'm not learning a lot about like how it's going to look later I'm going to solve them and relax
them
all.
It seems I have I've made one edge, unnecessary edge over here.
Go ahead and dissolve edge to dissolve the edge to do it because it's going to delete the whole face.
Dissolve this.
All right.
Here I can click on this as this person is space.
All right, let's disable that, you know, so we can make this a very smooth.
The space between versus is similar with we can relax them.
All right.
Now we have a much more relaxed.
Oh, man.
Some problems over here.
So what I'm thinking is that just select these edges and relax, and so they select a loop.
Well, I don't need that loop, so let's just select these bits on a space to make this space similar
and press on, relax through an axis edges.
And I can do the same thing over here.
Space in space is not relax.
And as you can see, we have a much better loop around the neck.
All right.
Now let's.
All right.
Now, I think it's cause for analysis.
Connect these together.
I'm not selecting the look because it might make problems while we have this stuff to on.
She?
She's.
And so we can just manually go ahead and change the position of the search assist.
All right.
Now, as you can see, we have a very much lower geometry had.
We can enable the subdivision, see what we can.
And as we can see, we get the quite good results with this challenge sheet that we have made by now.
And all right.
That's it for this video.
We made the its policies ahead.
Next, we are going to its policies, the policy.
So the next time.
Goodbye.