Hello, this is Chicha. This time, I created a tutorial on how to create a subculture character head without difficulty even for beginners. I created a process of creating a basic shape through sculpting and retopology so that it can be used in actual games or videos, so please try following along. When you first run Blender, you will see this screen. When you press General, a screen with a general Cube appears and Sculpting goes directly to Sculpt Mode. When you click Sculpting, a High Polygon Sphere will appear so that you can perform sculpting right away. Here, you can see the key I press at the bottom left of the screen, so you can refer to it. Turning the mouse wheel will zoom in and out, and pressing the middle Shift Mouse button will move the screen. You can rotate the view by pressing the middle mouse button and moving it. Now, let's turn it off and run it again. This time, just run it as General. There are Camera, Cube, and Light. When sculpting, I start with Sphere, so I'll delete these. You can select them one by one and delete them by pressing the del key, or you can select them all and delete them by dragging. If I press Ctrl + z, it goes back, right? You can also press the A key to select all and then press the Del key to delete them. Press Shift + A to create a Sphere in Mesh. If you look at Solid in Viewport Shading, there are several light modes. There are Studio, Matcap, and flat, but I mainly work with Matcap, which creates even shadows. When you move the cursor to the end of the screen, a cross will appear, and if you pull it, the screen will be split towards that direction. Conversely, if you pull it back, it will come back together as it was. You can zoom in and out of the screen with the wheel, which is the middle mouse button, but I zoom in and out with Numpad +(Plus) _(Minus). I also use the middle mouse button a lot, but I find it much more convenient to use +(Plus) _(Minus) when sculpting. When using a tablet, you need to make some settings. The middle mouse button (wheel) needs to be set separately. Turn on Tablet Properties and set one button on the Tablet Pen to Middle Click. I use it by middle clicking the bottom button. Let’s start Sculpt by clicking Sculpt Mode at the top. The shortcut keys to change the view are Numpad 1 for Front, 3 for Right, and 7 for Top View. Basically, in Windows, you can change the view through Numpad: 1 is the front, 3 is the side, 7 is the top, and 9 is the bottom. If you check Emulate Numpad in the keyboard options for input, you can use it on Apple products that do not have a numpad. If you turn off the check, the numeric keys do not work. You can see that only the Numpad numeric keys are applied. If you do not have Numpad, check Emulate Numpad and press the top number keys to change the view. It's convenient for me, so I just check the options and change the view with the number keys. You can check the detailed explanation by dragging the left Brush options window. You can zoom in and out of the brush window by pressing the middle mouse button and pressing Ctrl+Drag. You can drag it and set it to be convenient to view on your screen. Press the N key to Show and Hide the right option window, and press the T key to Show and Hide the left Brush option window. You can sculpt symmetrically by clicking Mirror on the x-axis on the symmetry icon in the upper right corner. If you turn off symmetry, you can do an asymmetric sculpt on one side. If you press Tab, you can see the wire. For sculpting, you need to lower the Voxel Size value to increase density. When the Grid appears by pressing R, you can select the value by dragging and remesh it to a new Voxel Size by pressing Ctrl + R. As the polygon density increases, natural sculpting becomes possible. You can also adjust the Voxel Size by directly entering an appropriate value through the Remesh option at the top right of the screen and then pressing the Remesh button. After adjusting the size, you can see that the remeshed object naturally expands without breaking the polygon even when sculpted with a brush. Now, let's create the face of an anime-style female character. Hold down Shift and apply the Smooth Brush to make it smooth. Press Numpad1 to look at the front, select the Elastic Deform Brush, and drag down and sideways in the front view to create an egg-shaped face shape. From the side view, pull the back to create the shape of the head. Determine the position of the eyes, select Draw Brush, press Ctrl, and rub the area where the eyes and nose will be. If you press Ctrl and rub the Draw Brush, it will become indented, and if you just rub it, it will come out convex. While looking at the side view, adjust the side view with the Elastic Deform Brush or GrabBrush. The face of a Japanese anime character must have a pointed nose bridge. After adjusting the side view, you can see that the front view is bulging. Press 1 or 3 from time to time to change the view and create the shape of the head. Roughly shape the eye with the Draw Brush. It makes the shape of the eyes slightly square so that it doesn't look realistic. I'll press 3 to make the shape of the face a little better in the side view. Perspective View has a bit of distortion by default, so adjusting the value in Focal Length in the right view option will reduce distortion. Adjust the shape with the Elastic Deform Brush in Perspective View. Basically, facial sculpting is best done with an understanding of the shape of the eyes, nose, mouth, and head. For subculture characters, having a pointed nose may be the key. Once the large shape has been created, use the Crease Brush to create the shape of the mouth. The Crease Brush is good for creating detailed creases because the vertices gather inside the drawing area. I'll also create a clearer shape for the eyes. You can sculpt them by repeatedly rubbing them with the SmoothBrush while making them by pressing Shift. Carefully shape the face with the Elastic Deform Brush. I will create the overall shape of the side of the face with the Grab Brush. The difference between the Grab Brush and the Elastic Deform Brush is that the Grab moves only as much as the size of the Brush. Press 1 to return to the front view and use the Draw Brush to further shape the eyes. Adjust the shape of the mouth with the Grab Brush. Use the Elastic Deform Brush or GrabBrush to create the detailed shape of the face by pushing it little by little. Draw Brush Creates a chin in the side view. I'll go into the front view and continue making adjustments with the Elastic Deform Brush. Rotate the screen around and when you see a face silhouette that is somewhat satisfactory, press r to adjust the voxel adjustment to close to 0.01 and press Ctrl+r to apply the modified voxel value to increase the density. I will continue to make adjustments with the Elastic Deform Brush as I rotate the screen. Since there are many parts that are different from the real-style face, it is best to study the shape of the anime face before making it. I make the mouth, being careful not to make it too thick, like a realistic face. It is recommended to clearly define the area around the entrance using the Crease Brush and Draw Brush. Sculpt carefully to prevent the mouth from becoming too large. Go to the side view with GrabBrush and Elastic Deform Brush and refine the overall side silhouette in more detail. The side lines of the mouth and nose and the depth of the eyes are created by looking at reference images. I will continue to make adjustments with the Elastic Deform Brush as I rotate the screen. After creating the face shape, go to Object mode to create the ears. Press Shift+A to create a Uv Sphere in Mesh. Press s to adjust the size to the size of the ear, then press g to move the position. Select the ear and press tab to enter Edit mode. With all vertices selected, press the Transform icon in the upper left corner. If you hold the Transform axis and adjust the scale according to the direction, the Brush will not stretch later in Sculpting mode and you can work right away. Enter Sculpt Mode again. Press r to adjust the voxel size to about 0.01 and apply by pressing Ctrl+r. Create the shape of the ears with GrabBrush and Elastic Deform Brush. I need to make the anime style a bit simpler, so I'll dig in the inside of the ear just a bit to make it flat. Finish the shape of the ears with GrabBrush. Adjust the position and size of the ears to match the beginning of the jaw line. In Modifier Properties, click Generate in Add Modifier, select Mirror, and take a picture of the face with the Mirror Object dropper. Now is the time to enter Sculpt Mode again and finish by looking at the balance of the overall face. Rotate the screen with the Elastic Deform Brush to neatly outline the outlines of the face. For more dense work, I will lower the voxel size to about 0.009. Using the Draw Sharp Brush and Draw Brush, create precise eye lines and hollow out the inside. I create the face in more detail using GrabBrush and Elastic Deform Brush in between. Now, to create the eyeball, press the Ctrl tab to go to Object mode. Press Shift+A to create a Cylinder in Mesh. Go to Add Cylinder at the bottom left and set the Vertices to 16 so that you can use the eyes immediately even after retopology later. Rotate it 90 degrees to the x-axis to make it face the front, and use Transform to adjust the size and position. Press 3 to flatten the pupil to the size of a coin from the side, and then from the front view, create an oval-shaped pupil of an anime character that fits the concept. Rotate it using Transform to match the shape of the eye and move its position by pressing the g key. Click Generate in Modifier, select Mirror, and use the Mirror Object dropper to capture the face and create eyes on the other side. Press Alt+q on the face to select the face, then use the Draw Brush to draw the eye area to match the pupil. As I rotate the screen, I will use GrabBrush and Draw Brush to make the blurry shape of the eyes more clear. Sculpting is now almost complete. Sculpting is done by adjusting the size and angle of the pupil to adjust its position and rotating the screen to check for any abnormal areas. It can be modified even after retopology, but it is best to make it look as pretty as possible during sculpting work. Press Tab to enter Edit mode and select the outer vertex of the eye while holding down Alt to select the connected vertices together. Press the shortcut key I to create another edge inward, then press the shortcut key m to select At center to merge the vertices into one. Slightly push the merged vertices inward to make the pupils concave. I'll select the back of the pupil and delete the face. From now on, we will continue sculpting the face by rotating the screen to increase the quality of the face. There are many people who do polygon modeling for animation characters without sculpting, but they prefer to create more elaborate heads through sculpting. I will rub the area of the nose well to make it soft so that it does not become too sharp. I will hide the pupil for a moment by clicking on the pupil shape in the upper right layer, and then dig into the inside of the eye to make it softer. I will continue to use it to improve the mood of the face and the overall quality of the face. In order to use it as a pretty girl character in a game or video, you need to optimize the facial polygons through retopology. First, in order to use the F key before performing retopology, go to add on and check mesh f2 to activate it. Press shift A to create a plane in the mesh. Press Tab to go to Edit mode, then press A to select all vertices. Then, press shortcut M to select At Center to merge the vertices into one. After turning on the magnetic snap, activate the Face Project next to it and check the checkbox at the bottom. Now the vertices are attached to the face. I'll grab the vertex and press the e key to create an edge. While holding shift, select the vertex and press e to create a face. Since the vertex is buried and hard to see, go to Object Properties and activate In Front in Viewport Display. In Modifier, click Generate, select Mirror, take a picture of the face with the Mirror Object's eyedropper, and create a face on the other side. Also check Clipping to ensure that the vertices do not deviate from the center when touching. While holding shift, select the vertex and press e to create a face. Select one vertex and use the e key to extract an edge along the eye line. For the last vertex you meet, press the M key to merge the vertices to At Center. You can quickly create a face by selecting the opposite vertex and creating it according to the number of previous lines, then selecting the edge and pressing the F key continuously. Select one vertex in the center and press the F key to create a face. You can also create a face by selecting two vertices and pressing the f key. In this way, while creating a face using the F key, grab the vertices and move them with the G key to clean them up. If the edge seems a bit lacking, press Ctrl+R to loop cut to add an edge. Select one vertex once again and use the E key to extract an edge along the eye line. Add a face along the nose. To make a pointed nose, add a vertex to the center of the nose and create another face like this. It is not difficult if you follow along slowly. It is better to work on the face as if you are creating a quad face consisting of 4 vertices, which will help with the flow of edges later. If you feel like the flow is wrong while composing the face, I'll quickly rewind it with ctrl z and work again. After extracting the face up to the lip line, select an even number of vertices and use the E key to extract the edge along the lip line. I'll repeat the same method two more times to create the lips. Create the outer lip line in the same way as if drawing a circle. In this way, the face is created naturally, as if the eyes and mouth are drawing circles. If you go into Sculpt mode once in a while and rub while holding down Shift with the Slide Relax brush, the wire will straighten out nicely. While creating a surface between the eye and the entrance using the F key, hold the vertex and move it with the G key to organize it. Since we will be applying cartoon shading, we will create the flow of edges while thinking about how to make the shadows on the face look pretty later. For the cheek part of the face, hold the vertices and move them with the G key to organize them, then fill in the face with the F key. For the side of the face, I will fill in the face up to the ears while keeping the lines somewhat aligned. I will also draw out the edges of the chin along the lines. For the forehead, simply create a face upward using the F key. If you think an edge will be created out of sync with the flow, delete the vertex with the del key and create it again. Create a line based on the ear and create a face. If possible, set the number of vertices to an even number so that you can easily use Quad to block the inside of the ear later. For large areas such as the forehead, you can increase the face by pressing Shift and selecting multiple vertices at once with the e key. Since we need to reduce the face of the head later, we can reduce the face one by one by pushing two vertices inward like that. If you look at the back of the head, there are not many faces, so I will reduce the faces in advance to make the number of faces more appropriate. Since the back of the head is almost completely covered by the hair anyway, it is best not to use too many polygons. On the back of the head, the surface is gradually reduced to fill in the face. If the number of connected vertices does not match, it is better to press Ctrl+R to loop cut and add an edge to match rather than filling the face with triangles. I'll fill in the face with the rest of the hair in the same way. As you add faces like this, there are times when you feel that the face is strange. To confirm, click the viewport overlay at the top right and check face orientation. Then, the part where the face is flipped will appear in red like this. Press shift and select all the faces, then select normal for the mesh at the top and press flip to flip the faces. If everything is blue, it was created normally. I'll turn off the face orientation check. I'll go into Sculpt mode and use the Slide Relax brush to straighten the wire by rubbing while holding down Shift. I wanted to add an edge to the middle of the face, so I pressed Ctrl+R to make a loop cut, but the reason it looks like that is because snap is turned on. Turn off snap and press Ctrl+R to loop cut. Now you're all left with ears that are having a hard time, right? Still, the ears I'm making this time are simple, so it might be a little easier. Let's create another face behind the ear and make it feel like it meets the vertex at the top. It may be a bit difficult to explain in words, so please practice a few times. If you created a face in front of the ear, apply grid fill from the face menu to fill the face at once. If you change the numbers at the bottom, you can see the shape change. I'll fill in the rest of the pages quickly. Since the bottom of the face is the side that meets the body, it is better to leave it empty without having to fill the entire side. To create the inside of the eye, hide the high polygon model, select the edge while holding down Alt, select the eye line, and press the e key on the y-axis to pull the edge inward. After pulling it out twice more, press the shortcut key M and select At Center to combine the vertices into one. Select the edge of the mouth and then draw the edge along the y-axis to create the inside of the mouth. To make a tooth, I'll make a cylinder, create a surface with the desired number of polygons, and make it simple to an appropriate size. For the tongue, create a box and give it a subdivide to shape it and place it in an appropriate position. Since it is an anime character, you can make it a little simple. Now, to create eyelashes, select a face near the eye, press Shift D to copy one, and press Esc. I'll press P to select Selection and separate it. Turn on Snap and create eyelashes along the eye line. I'll create base eyelashes of an appropriate thickness, turn off Snap, and then pluck 4 or 5 eyelashes upwards from the desired location using the e key. To give it a sense of thickness, press Ctrl+R to make a loop cut in the center and then pull it forward a little. Rotate the screen to tidy up the shape a bit, then pluck each eyelash in the front separately to create a prong. To give the eyelashes extending upwards a sense of thickness, press Ctrl+R to make a loop cut in the center, then remove some of the strings to create a three-dimensional effect. After pulling out the edge once more, press the shortcut key M and select At Center to combine the vertices into one, and then rotate the screen to shape the eyelashes. The shape of the eyelashes of subculture characters is very important, so I took some time to create them with care. give. After selecting one face of the face, copy one face with Shift D and press P to select Selection to separate it. Turn on Snap for a moment and use the E key to pull the edge to the side to create double eyelids. I'll copy it with Shift D and create the eyebrows as well. Once you create the position and shape you want, you're done creating the face. Now, in order to expand and map the UV map on the face, select the existing mirrored objects one by one and select Apply to combine them all. Now, to create a uv map, we will select an edge and mark seam it. In Edit mode, press Ctrl to select the edge on the chin and press mark seam in UV. For edges, Alt left-clicking selects all edges, and Ctrl+left-clicking selects edges up to the selected area. For the back head, press Ctrl and select the front head to mark seam. Select the edge around both ears and press mark seam in UV. Select the edge inside the eye and press mark seam in UV. Select the edges of the lips and press mark seam in UV. Make the edges inside the mouth translucent by pressing Alt Z, then select the edge and click mark seam in the uv. The criterion for selecting a mark seam is to anticipate when the surface will unfold, and you will get a feel for this after doing it a few times. For the pupil, I will select the front edge and mark seam it. Objects that are completely open on all sides, such as eyelashes or eyebrows, do not need to be done separately. When the mark seam is finished, select uv editor on the left split screen, select the face object, and then unwrap the uv in edit mode. Select all expanded UVs in the uv editor, then press Ctrl R to turn them straight, select them one by one, and organize them in an appropriate location. Select the remaining objects except the face in the right view layer and unwrap them in uv. The eyebrow area is stretched out too small, so select it and press S to increase the size and put it to one side. For the remaining part, reduce the size a little and put it to one side. Select the remaining UV maps one by one in the same way, adjust their size, and organize them. It may look a little complicated, but I will enlarge the parts that require detailed mapping, such as the eyes and face, and reduce the remaining parts to place them appropriately. To create a UV map, press new, change the map size to the desired size, name it UV, change the Generated Type to Color Grid (or UV grid), and then press ok. Go to the material tab and click New to create a new material, name it UV, click the yellow dot in the Base color, select Image Texture, and apply it. The UV image map has not been saved, so the applied image does not appear yet. Save the created UV image in an appropriate folder. Click open in the material tab to load the saved UV image to apply it. Now select the remaining objects one by one and apply the created UV material one by one. By selecting all in Edit mode and looking at the uv, you can see whether the map is correctly entered and the size is appropriate. I will select the uvs one by one and organize the size and location. This may be a bit tedious, but it is recommended to do it because it will be easier to organize the location and map size when mapping later. Ah... I don't need that and I'm not going to use Photoshop or anything like that and I'm going to paint directly on the mesh anyway, so for those of you who say you don't need this, it's actually not a big deal if you don't do it. Anyway, after organizing the map nicely like this, I will now create a real head map. To create a texture map, click new, change it to the desired size, give it a name, change the Generated Type to Blank, and then click ok. To save the map, click save as on image and save it in the desired folder. Go to the material tab, click New to create a new material, give it a name, click the yellow dot in Base color, select Image Texture, and apply it. Click open in the material tab to load the saved head image to apply it. If you click the Shader editor tab on the left view, you can see that the shader has been applied. Now select the objects one by one and apply the head material you created one by one. Now you are ready to map. Just go to Texture paint mode and color. After selecting a color you like, you can save the color by pressing the + button in the color palette on the right, so if there is a color you like, be sure to save it. Select the face color, press Alt Q to select the face object, then select fill and click to color the entire map. The left split screen can be colored by selecting paint in image editor mode and painting with a brush. Let's select the eye object by pressing Alt Q and then select the Draw brush to paint the eyes. Select the desired color and add a dark gradient from bottom to top to match the subculture character. Paint the inner part of the eye white. If there are any hidden parts, I will paint them in the image editor mode on the left. You can view the hidden menu by holding down the middle mouse and dragging the menu at the top. In order to mirror and color the face, I will turn on the mirror on the x-axis and apply some cheek touches to the face. I'll do it just a little bit. Really, just a little bit... and just a little bit on the lips. Now, I'll choose a slightly darker color and add some shading to the skin. Rotate the screen to paint the colors in detail. Instead of leaving the eyelashes black, I will color them a slightly darker color. I will also color the inside of the eye with a color similar to the eyelashes. Please note that the map source may be lost, so be sure to save the texture frequently by pressing Alt + S while coloring. The coloring around the eyes is an important factor in determining the character, so I will carefully paint it according to the concept. I'll also paint a shade of gray inside the eyes. Hide the pupil for a moment and carefully paint the inside of the eye. Now select the eye and then paint the eye shape according to the desired concept. Since the eyes of subculture characters are not uniform, it is best to color them as you wish, but keep the gradation between the top and bottom. If there is a reference you want to draw, it is a good idea to look at it and draw it as a reference. Just paint the eye light part in white. Now that we have created this, shall we apply the cartoon shader? I will delete principled bsdf from the Shader editor tab on the left view. And for compositing, I will search for a mix and create it. Attach the color of the image texture to a, connect the result of the mix to the surface of the material output, and then change the Mix part to Multiply. Now, to create a shadow, search for bsdf in the search bar and create diffuse bsdf. And to change it to RGB value, create Shader to RGB and connect it. Please note that Shader to RGB is only activated in eevee render mode. To create the boundary of the shadow, create a color lamp, connect the color to the color lamp, and connect the color value of the color lamp to b in mix. Now, let's adjust the slide bar to adjust the intensity and position of the shadow to make it look better. The closer black and white are, the clearer the border appears. If you change the color a little and go to render mode, you cannot check it because there are no lights installed. I'll go into object mode and install a sun light. I'll adjust the angle of the light to finish the shadow. By playing around with various numbers, I create a satisfactory shadow. Now, shall we try making the outline, the flower of cartoons? Go to material properties, create a new material, and change the shader to emission on the surface. Change the color to a dark color that will be the outline, then check backface culling in the settings. Then click Generate in Modifier and select solidify to create the thickness of the outline. After checking flip and high quality in normal, set the material offset value to 1 in the material. You can set the thickness of the outline by adjusting the Tickness value. There may be some parts that you find difficult, and since you haven't done much modeling work yet, there may be many parts you are unfamiliar with. However, if you follow the lectures diligently and repeat them, I think you will be able to model a wonderful subculture someday. Thank you for watching the long video so far. I hope you have a happy day and be filled with only good things. See you in the next video. good bye.
