Keep these two things in mind while modeling the oblique face: cheekbones and fullness. Face Modeling : Character Modeling Starting from a Plane hi my name is Natsumori Katsu In this videos, we will explain how to model the face. We start modeling from a flat surface. Make the front, back of the head, eyelashes, eyebrows, ears, and eyes Then UV Mapping and paint on the face. We'll even go so far as to make you blink with the shape key. We'll go over modeling methods and tips, what UV mapping is, texture painting, and shape keys, with some pointers on how to do it And this video is modeling without a rough sketch Please note that I do my modeling by looking at various documents. Table of Contents
1, Modeling a face from a plane
2, UV mapping
3, Texture painting
4, Shape key
5, Summary Now let's start modeling the face When you first start Blender, you will see cubes, lights, etc. here. Select them with the B key and delete them with the Delete key Then press 1 on the numeric keypad to point the camera in front of you. Press Shift+A to select a plane from the mesh The plane is horizontal, so let's rotate it. Press R, then X, then hit the number 90 to rotate 90 degrees on the X-axis Next, let's try to make this plane move symmetrically. Put in Edit mode, CtrL+R to halve vertically, right click to adapt Then select the two vertices in the left half and delete them with the Delete key. From Add Modifier, select Mirror Modifier When the right side is moved with the G key, the left side now moves the same way Incidentally, the mirror modifier is inverted with respect to the origin If the mirror does not work well, the position of the origin may be the cause The origin is this orange point, which is the reference position for rotation, size, and mirror modifier flipping. When the mesh is moved in object mode, the origin also follows, but when moved in edit mode, the origin does not move at all. If you want to move the origin back, select the object from object mode and choose "Move Origin to Geometry" from Set Origin. The origin will then return to the middle of the object, and the mirror should now work. Back to facial modeling. This is the eye area of the face, so select the right vertex and stretch it to the right. You can adjust the size as much as you like later, so as long as it is large enough to be recognized as a face to some extent, it should be fine. Next, use Ctrl+R to add more edges Ctrl+R, which was mentioned earlier, is a shortcut key for the "loop cut" Loop cut is simply defined as
"to add edges around a square surface". For example, if you press Ctrl+R on a cube
You can add a edge around an cube like this This loop cut is a very common function, so please learn it However, one caveat to this feature is that
Loop cut only works on square surfaces. For example, if you try to Ctrl+R on a face with a triangular face like this The triangular face is ignored, and only the square face can be used to make a loop cut. This is also an important point to remember You can add more than one by pressing Ctrl+R on the plane and moving the wheel. Let's add three here. Next, we will make the part that will become the jaw. Turn on clipping from the mirror modifier This is a feature that keeps the apexes from going to the other side of the mirror and sticking together Push the bottom edge vertex down with the E key and move it to the middle The E-key is the key to extrude vertices, edges, and faces.It is one of the essential functions for modeling work. Now that we have an edge, select two vertices and press Ctrl+R to add three more vertices From here, we will adjust the shape of the jaw when viewed from directly across. Press the 3 key to turn the camera right side out. Turn on proportional editing and change the attenuation to sharp By turning this on, the area around the vertices you want to deform will also be affected. Select a vertex at the tip of the chin and press Y and G to move it to the left. You can change the range by moving the wheel. Adjust the range so that the jaw is shaped to a certain extent. This can also be adjusted later, so let's take it easy. Once done, the next step is to select the middle vertex of the plane This is the area that will later become the brow and nose. Use the 3-key to move the camera straight across and to the left. Deselect the vertex that will become the nose and move it and move it further to the left. If it is slightly forward of the tip of the chin, it should be fine. Select the vertices of the nose and chin and connect them with the F key. We will make a few adjustments here and there to get the silhouette of the face It's roughly like this. When finished, add three vertical sides to the plane using Ctrl+R We want to make the forehead somewhat rounded. move the vertex by pressing G→Y and adjusting it. Once it is reasonably round, we will create the eyes. Delete the middle vertex of a plane There will be 8 vertices, so select them with Shift+Alt, then press E key to push them out and S key to make them smaller. From here, we will modify it so that it will have some eye shape. The modeling is done in such a way that the mesh around the eyes is sucked into the eye holes. It's roughly like this. Move the jaw of the face slightly toward the x-axis to correct it. It's over. Now we will add three vertices to the nose and jaw line using Ctrl+R Add another one at the nose line using Ctrl+R, and slightly inward. The G key is used to adjust the shape of the nose. Now bring the vertex of the bottom line up and
Using this vertex, we will use the F key to fill the nose with squares The remaining two vertices are moved slightly above the chin. Select these two vertices and the two cheek vertices and fill them in with the F key Next, add two edges using Ctrl+R and adjust with the G key Use the F key to fill in the surface around the chin as well. Use the M key to merge the excess vertices. Merging means "to attach vertices together. Select the vertex you want to join and press the M key. In this case, we want to join the vertex to the chin, so we choose "to the last selected vertex". It went like this. Fill the surface with the F key. Next, let's make the part that will be the mouth. The top of the mouth is in the form of 10 pieces, including the mirror side. Delete the middle edge, push out the vertex around the mouth with the E key, and with the S key to make it smaller. Use the 3-key to set the camera right side up and make adjustments. Add one more edge around the mouth with Ctrl+R This is the area that will later become the lips. To adjust the lip to some extent, move it with the G key. When you are done, add another edge to the inside using Ctrl+R. Let's roughly shape here as well. The mouth is the part of the body that moves a lot when speaking, it is recommended to take as many vertices as possible. It went like this. The shape is not right, so we will adjust it roughly with the G key. If you only look at it from one direction and make adjustments When you look at it from a different angle, it often looks strange. Modeling is based on adjusting the model by looking at it from various angles. So, it is important to work while checking from different angles from time to time. This completes the frontal view. Still a masked face, but it will do. From here, we will model the whites of the eyes and mouth. Press the 3 key to turn the camera right side out. Let's switch to transparent view from the menu above so that we can see the mesh easily. Select 8 vertices in the eye, push them out slightly with the E key in the Y-axis direction and Click to complete. Now press the E key once more, then use the S key to zoom in and move to the Y axis After pressing the click, press the E key to push it out further. Once there, press the 7 key to bring the camera straight up. You can make it parallel by pressing the S key, selecting Y, and then typing 0 and a number Now let's fill in the whites of the eyes with grid fill. You can fill it by selecting a surface and choosing Grid Fill You can also change the shape by selecting the offset numbers As you can see, grid fill is a very useful feature when filling in surfaces.Let's use it well However, if you try to fill odd-numbered vertices, an error will occur and you will not be able to do it. Be sure to choose grid fill from even-numbered vertices Next, we will also make the mouth. The process is much the same as for the whites of the eyes. 3 key to make it straight across, select a vertex around the mouth, and move it in the Y-axis direction with the E key. Press the E key again, then use the S key to zoom in on the Z axis and move to the Y axis 7 keys to set the camera straight up and S→Y→0 to set it parallel I'd like to say "grid fill" here too... but grid fill is not compatible with mirrors. Let's use the F key to fill in the surface here. Now that the white eyes and mouth are done. Next, we will model the back of the head and neck area. Select 4 vertices around the corner of the eye Use the 7 key to turn the camera up and the E key to push it out. Make sure the back edge is three Then use the 3 key to make the camera go straight across and Shift+A to add a circle Then a menu appears at the bottom.
Here, the number of vertices is 32.
Enter 8 to create an octagonal circle. This circle will be the neck, so place it at the base of the neck. Press the 1 key to select the left half of the vertex and delete it to create a mirrored circle like this Press R to X in sequence to slightly tilt the neck Then press the E key to push it out, click, and Press the E key once more and then use the S key to zoom in It went like this. Next, select the back vertex and paste two faces using the F key When finished, the next step is to apply the surface under the chin as well. There are not enough edges, so use Ctrl+R to increase the chin. Now that we can fill the face with a square surface, we can use Grid fill, or use the E key to extrude a vertex and then press F key to fill it in, etc. The next step is to fill in the top of the head. Select the head vertex with Shift+Alt and push it up with the E key Select four front vertices and press E to extrude them. We're going to fill in this area with a square surface, so we'll We will add the E key so that we can make four sides, and we will fill in the back side with the F key Let's fill in the sides as well. Now let's adjust it by moving it with the G key to make it round If you have trouble moving them one by one, turn on proportional Smooth and adjust The face is now roughly finished. Next, let's add a subdivision surface to the face and make some adjustments Add a subdivision surface from the modifier This is a modifier that increases the number of vertices in the mesh and smoothes it out. Mirrors and subdivision surfaces are
In character modeling, they are almost indispensable. However, this makes it a little difficult to work with because the edit cage is not in the form of a modifier. By selecting the leftmost of the four buttons here, The edit cage will take the form of a modifier, making it easier to adjust Move it with the G key just a little bit to fine-tune it. At this stage, there is still no need for a full-scale correction If you can make some faces, you're good to go. The surface is bumpy, so let's make it smooth. Select the entire mesh with A, choose Faces from the menu above, and select Smooth Shade. You can smooth the surface like this I found a place where the surface display was not correct. The reason for the surface being incorrect is that the vertices overlap or the orientation of the faces are opposite. Duplicate vertices means that two or more vertices overlap in the same place Select all meshes with A Choose Clean up from the menu Mesh, then select Merge by Distance to merge duplicate vertices. merging duplicate vertices by distance. Next, the orientation of the faces. When I edit the mesh, sometimes the faces are not oriented in the same way. Check the face orientation from the overlay to confirm Then it is divided into blue and red like this Blue is outside and red is inside. Here we want to unify the faces on the outside, so we select all the faces with A, then type Next, press Alt+N to open a menu where you can select how to align the faces. Select "Align faces to the outside". Then everything turned blue like this, so it was a success The orientation of these surfaces is very important. If the orientation of the surfaces is not consistent, the textures will be displayed incorrectly. From this point on, we will work on the face modification. I do my modeling while looking at the documents. I work with a variety of 3D model materials, illustrations, and photos for reference. When modeling faces, it is recommended to change the focal length of the camera Click on the view, and you will see that the focal length is set to 50. Set this to 100 The camera then becomes telephoto like this, so it is easier to adjust the face. Basically, it is said that facial adjustment should be done at a focal length of about 100-80 If you do it with a perspective on the face. I can't transform the face in any way to make it prettier, and and the work will not progress. Just don't do it at 100 all the way through. I recommend rechecking at 50 or so every once in a while. Let's stop here for now. It is still far from a beautiful face. However, if we get too particular here, we will not be able to move on. This is because if you insist too much on making the face perfect from the start , you will not be able to complete the modeling. If the quality is extremely high in one area, it will take time to achieve the same quality in other areas. And then they don't complete it and throw it away, saying, "That's enough. The important thing in modeling is
"Rough modeling at first, then more careful modeling." This is an important trick to complete the modeling process. Please learn it Now that the face is done, let's model the eyelashes Once created, remove the face from the object selection Shift+A to create a cube So, here we have something called "Transform to Edge Data," and under that, we have "Average Crease" This "average crease" is When using a subdivision surface, this "mean-crease" feature allows you to leave the When using a subdivision surface, you can leave the edges that you do not want to be smoothed as they are. For example, enter a crease of 1 on the face of this cube Next, add subdivision surfaces Then only the creased area will be clear. This means that the edge with the crease is The edge with the crease is not affected by the subdivision surface. This crease is also often used in modeling Let's learn it select all of these cubes with A and set Set the average crease to 1 Then use Ctrl+R to add 5 more edges vertically Shift-select the end faces of the lashes and press M key to select "to center" and merge Do the same for the other side. Select the cube with the A key, hit R→X, and type 45 to rotate it Add subdivision surfaces here Then select the cube again with the A key and press S→X to stretch it in the x-axis direction. It went like this. It's pretty big, so I'll make it smaller with an S. Shall we hide the face for a moment You can hide the face by selecting the eyes in the outliner Now back to the lashes. Select the second edge from the right and crease This is the corner of the eye in terms of eyelashes, so So, let's move this cube with the G key with proportional turned on, and adjust it so that it takes the shape of an eyelash. It went like this. We also want the lashes to be smooth on the face, so we select the A key, and choose the smooth shade from the face When you're done, let's stick it to your face. Show the face and match the lashes Now all that's left is to add the mirror. The base of the lash line is now complete. Increase lash volume from here Select a face and press Shift+D to duplicate a face like this Use this surface to make your lashes more attractive To make it thinner, select the apex ahead and press S to enter 0 If you do it proportionally, it will move to the point where you don't want it to move. Check the "connection only" checkbox from the attenuation. Once one is made, I want to make another one, so I duplicate it by pressing Shift+D as well. Then, use the G key to make steady adjustments. Around the corner of the eye, it looks like this Add a few thin lashes around the eye area as well. It went like this. I'll fix the face a little. I see that the number for the subdivision surface is set to 1. I'd like to make it a little smoother, so let's make it 2. Next, let's model the eyebrows. Select the top of the lash as a plane and use Shift+D to duplicate it Bring this surface up and model it to form an eyebrow Now the eyebrows are complete. And while we're at it, let's add a line above the lashes. Next, let's model the ears. Select two surfaces of this width and push them out to the side with the E key Once you have pushed out about the size of an ear, use Ctrl+R to add two more edges and move one of them to the root side. The other will be adjusted to fit the shape of the ear Let's make earlobes. Select the four sides of the side and select "Subdivide" from the right click In the middle of the edge, an edge can be added Next we merge the middle vertex of the edge with the vertex at the base of the ear Then adjust the lower side to be the earlobe The four middle edges are also subdivided and deformed to form ears. It went like this. Next, use Shift to select a surface other than the earlobe Press the i key here to insert a face like this. Push it out to the back Press the i key further to adjust it for more ear shape Once it has been shaped to a certain degree, the next step is to make the ear beads. Press out with the E key to shape In addition, use Ctrl+R to increase the number of edges to make it look more like an ear beads. After the ear beads are finished, adjust the ear shape It went like this. Next, I model the eyes. Once the face and eyelashes are hidden, a new object is added Shift+A to add a circle, then from the menu below, set the vertex to 8, then press Press R to hit X, 90, and S→Z to stretch in the direction of the Z axis Then push out the inside with the E key. Further extruding with the E key, we will use grid fill to fill the surface here Next, add a subdivision surface from the modifier Let the eye vertices protrude slightly forward. Then, fill the back side with grid fill as well. It went like this. When finished, place it in the eye in edit mode and adjust the size. Add a mirror from the modifier If you leave it like this, your eyes will be too flat when viewed from the side. So, tilt them slightly outward with the G key. It went like this. Now that the face is complete, it's time to start making corrections to the face. Now, here's the fix. I will explain two things to keep in mind when doing so. The first is to "check it from various angles. When you correct only the front and the side, It is common for the shape to be out of order when viewed from angles such as oblique, fukan, and aori. 3D models are viewed from many different angles. It is necessary to modify the model with this in mind. Second, the oblique face is the most important In fact, it is said that the best angle to look at a 3D model is not the front or the side, but the oblique face. Therefore, the part of the face that really needs to be focused on is the oblique face Of course, both the front and the side are important. It is necessary to consider the balance So, how do you get the oblique face right? It is by modeling the cheekbones and the fullness of the face. The cheekbones are at an angle of roughly 45 degrees, and This is the area where the cheekbones are emphasized and the face is defined. If this is not done properly, a snooty face will be created, so correct it carefully. The other is the bulge, which can be seen here at an angle of about 20 degrees. It is mainly used to emphasize the soft fullness of the cheeks, and is also directly related to the cuteness of the character. So it's actually where we put the most effort. If this bulge is bumpy, it will make your face look lumpy. Let's make it look firm and soft. It is no exaggeration to say that a slanted face is determined entirely by the perfection of these cheekbones and fullness. So, let's be conscious of them and correct them If you turn on wireframing for the viewport display in the object properties When the object is pressed, the edges will be displayed as shown here. This will make it easier to work with the object. In addition, by turning off the optimized display of subdivision surfaces This will result in a more detailed display of the surface. The rest of the adjustment is done by looking at documents and other information. The face is the most visible part of the body. If there is an uncomfortable part of the face, it will be easily recognized. So it is important how much you can notice the discomfort One of the points to notice anything out of place is to step away from Blender and check again If you want to notice in less time
I think it's a good idea to check it against the documents I'm sure you'll eventually figure it out through experience and other intuitions. It's also true that it takes time to get there. I'm not quite there yet myself. Many times I don't even notice the discomfort Anyway, I modeled it over and over again, trying to I want to sharpen this intuition while I would like to be able to fix any part of the model that doesn't feel right. Completed. This is roughly what it looks like. Next, texture painting from UV mapping, and We'll go on to explain the shape key, but before we do that, let's take a break. Next, I would like to talk about UV mapping... but before that, let's talk about what UV mapping is in the first place. Simply put, it is the process of turning three dimensions into two dimensions. In order to apply a texture, it is necessary to develop the 3D into 2D, and this process is called "UV mapping". For example, suppose we have a sphere here. Then, place the scissors in the sphere and spread it out flat on the table. By painting on that flattened sphere
You can make a sphere with a picture on it. There is nothing difficult about it. It's just a fun and playful process. By the way, "U" in UV stands for the horizontal coordinate of the texture, and "V" for the vertical coordinate. And to develop the 3D model, A cut called a "seam" must be made. UV Mapping is to think about where to put the scissors and make it flat. In some cases, it may not be necessary to include Also, this unfolded figure is called "island" because of its island-like appearance. Trying to get started with UV mapping without any prior knowledge You may have a hard time because there are many things you don't understand. So, here I will try to explain some important points for UV mapping to avoid that difficulty as much as possible Now, let me explain the procedure First, from the top menu, there is "UV Editing". Click on it. Then the UV mapping menu will appear. The left side of the screen is the second dimension, and this is where the island will be placed. Let's UV map a sphere as a test. Once the face is hidden, add a UV sphere from Shift+A. edit mode and use Shift+Alt to select the edge you want to expand. Next, insert the seam that will serve as the cut. Select an edge from the menu above and choose Mark Seam. Then the edges will appear red like this.We can now insert the seam. If you want to erase it, select the seam and put "Clear Seam". All that remains is to select all the meshes with A, press U and press "unwrap". Then, in the figure on the left, we were able to map UV based on the seam. This is the basis of UV mapping. Next, where exactly should the seam be placed? The following is an explanation of where the seam should be placed. 1, Hard-to-notice areas
2, Highly curved areas
3, Parts that can be divided into front and back First, be sure to put the seam in a place where the cut is less noticeable. The reason for this is that if you put a seam in the front of the face or other commonly seen areas, it may stand out when you take it to other environments, such as Unity. What are some inconspicuous areas? For example, on the face, between the skin and the whites of the eyes, between the mouth and the mouth, at the base of the ears, and on the sides of the face. And these can be "strongly bent areas" or "areas that can be separated from the front and back. If it is a body, imagine the seams of a piece of clothing. It is like putting in a seam separating the front from the back. So, if you put in a seam with these three points, you will generally be fine. Let's put a seam in the face we just modeled as a test. First, seam the sides of the face to separate the front from the back. The seam is going to be bumpy, so let's merge the vertices or something. merge the vertices. Next, seam in the strongly bent areas. Examples would be the base of the ears, around the eyes, and around the mouth. As for the eyes, I want to clearly separate the whites from the skin, so I will make some adjustments by adding creases around the eyes. Put a seam here. Seam into the mouth as well. Since we will later draw a line on the mouth, I think it would be better to put it slightly outside. The ears do not develop well as they are, but let's UV map them once. It went like this. I still don't think the ear deployment is going well. In this case, you need to change the way you put in the seam The trick to getting the seam into the ear is to get it into the four ends. This way, it can be opened with a snap. Let's map it again. It went like this. Incidentally, the reason the surface is bumpy is because I mapped it while applying a subdivision surface. In other words, an expanded view of the surface without subdivisions is shown on the left. It is not impossible to apply textures in this state, but it is not recommended. So as you enter the painting phase, you will need to adapt the modifier as well. So, let's adapt mirrors and subdivision surfaces in that order. So, mapping it again, it looks like this Next, map your eyelashes, eyebrows, and eyes as well. Adapt these mirrors and subdivision surfaces. Basically, these three can only be viewed in one direction, so press the 1 key to bring the camera to the front, select only the eyelashes and eyebrows in edit mode, and press Press U to select "Project from View". Now we have succeeded in mapping the front side. Eyes are "projected from view" in the same way You must then select all of these in edit mode and adjust them so that they all fit into the left square. You can select each figure by pressing the L key, and then press the Use the S key to adjust the size and the G key to adjust the position. The larger the figure that enters here, the higher the resolution; conversely, the smaller the figure, the lower the resolution. The size of the island should be as large as possible for the front face and other parts of the body that are often seen. On the other hand, it is best to make the areas that are not often seen small. Basically, the inside of the mouth is the part of the body that isn't seen that much. It is okay if it is a little small. One thing to note about the work here is that "islands should not overlap with each other. If they overlap, the same texture will be applied to different islands, which will look strange. So, if you want to examine overlapping areas, choose "Select overlapping areas" from the selection. You can see where the overlap is, so let's adjust it with the G key. The "view to projection" island is fine as it is. This is roughly what it looks like. This completes the UV mapping. Incidentally, if you put a seam behind the face, you can also map the faces together as one, like this. After UV development is complete, the next step is texture paint. Texture paint is a feature that allows you to paint directly on 3D models within Blender. There are two things you must check before entering here. 1,Modeling must be completed.
2,UV mapping must be completed. Editing polygons becomes very difficult once you get into the painting process. If the adjustment is as simple as moving a few vertices, there is no problem. However, if you increase or decrease the number of vertices, the paint will be distorted accordingly, and you will have to redo the painting, including UV mapping. So if you are not yet satisfied with the modeling, you should not start painting easily. In this video, only the face is sculpted and painted. In reality, the face, body, hands, feet, hair, clothes, props, etc. are modeled, adjusted until you are satisfied with the model, and then the UVs are developed and the textures are painted. Since the theme of this issue is facial modeling, we will focus on the face. First, prepare to paint. To enter texture paint mode, select "Texture Paint" from the menu above. Two screens will then appear. The left side is a 2D screen and the right side is a 3D screen. Basically, these two screens are used to paint. "paint it right away..." but it is not possible to paint it right away as it is. You can't click and paint like this. This is because the texture and material have not been created. Objects without material will be purple, as shown here. So, let's create two things for this object: a texture and a material. On the right, you will see a texture slot. Press the + button here. Then a menu will appear, and select a base color. When the settings screen comes up, change the name to "Face" and Change the size of the image. Since the size 2048 x 2048 is stable, let's use it this time. Click OK when finished. Now all that's left to do is to go to the top of the image editor screen and select If you select the texture you just created, you can now apply the paint. Let's paint to try it out. It's working. Since it is currently pitch black, let's change it to skin tone. Click on "Fill" in the menu on the left. This function allows the user to fill in the specified color with a single press. From the brush settings on the right, set the color to skin tone And when I clicked on black, I was able to make everything skin-colored like this. We want to check the texture color here, so Let's press material preview. The color is kind of dim. The reason is that Blender is initially set to "Filmic" for output color. To make this brighter and more vivid, the settings at output must be changed. From Render Properties, click on Color Management. The view transformation here allows you to change the color tones when rendering. The default setting here is "Filmic", so set it to "Standard". This way, no adjustment is made at rendering time, and The color of the image will be vividly expressed. Texture paint is basically done by "standard". Now it's a little brighter. However, the material preview will cast a shadow.
I want to see it more clearly in the render preview, so
Let's make it a render preview. It's pitch black. This is because the object is influenced by the Principle BSDF,
That's why it's black to match the darkness of the world. So select the "Shading" tab Looking at the facial material, the Principle BSDF is connected. I want to check the color of the texture as it is, so I connect the texture image to the material output. Then, the color of the texture was projected as it was without being influenced by the world. Delete the Principle BSDF with the Delete key.
Now you are ready to create the texture. paint face immediately. Let's paint from the shadow first. The shadow of the face is basically the part hidden by the hair, under the chin, and around the neck. Slightly reduce the color, change from the menu on the left to draw,Let's paint. Before that, I will prepare to make it a little easier to work with. Select X from the menu above. By doing this, you can paint with the mirror on like this. However, please note that only the 3D view on the right can be mirrored. Also, it is easier to paint by checking the wireframe from the viewport display. I usually draw with a pen tab, but this time I will draw with a mouse. You can draw a texture just by operating the mouse. By the way, you can adjust the brush size by pressing the F key, so Let's remember this shortcut key Also, since there is no eraser tool in texture paint,
If you want to fix it, you need to absorb the background color with the S key and erase it. If you want to blur the border, use Soften and Smear from the menu on the left. Soften blurs the boundaries,
When you drag Smear, it will smear like rubbing with your finger. I will make a gradation while making full use of these two. It went like this. Now, let ’s talk about textures very importantly. That is, "Saving Blender does not save the texture." You might have wondered, "What? Why?" Paint is not limited to Blender, but there are times when you want to draw using external software such as Photoshop or SAI. So because I want to save the texture as an image
Blender and texture are separate. So if you want to save the texture,
You need to click this "Save All Images". It is quite possible that Blender will suddenly drop and work time will be lost. Be sure to save textures and Blender frequently. Return to face painting. I want to save the color once, so select the color palette and press New. Then the color palette data will appear, so press +. Now you can save the color. Save the shadow as well. You can now retrieve it at any time by clicking on it. If you want to turn it off, just press the - button. Let's draw the lips. Choose a light pink color and apply it to your lower lip. It went like this. Next, let's draw a line of mouth. Select a dark brown color from the colors. The place to draw is here. You can draw it as it is, but to make the work a little easier,
Let's change the stroke of the brush. Select a stroke from the menu on the right. From the stroke above, you can decide what kind of brush to draw, so let's choose a line here. A line allows you to draw a brush straight. Click to decide how many lines to draw, and click again to draw. Use this brush to draw a line from the figure on the left by tracing over the line around the mouth. it is complete. Looking at it in 3D, there is a solid line around the mouth. This is the reason why it is better to set the image size to "2048 x 2048" earlier. If it is smaller than this, it will become jaggies and dirty when you paint this line of mouth. However, if you look at it very close, there is jaggies even at this size, so it may be better to set it larger. So, when you paint the texture, set the image size as large as possible. This is the end of the mouth.
Also put a line on your nose. Next, I will express the redness of the cheeks. Select a soft red and paint it symmetrically from the 3D view. Return the stroke type to the space and apply it to your cheeks. There is a color in the white of the eyes, but there is no problem because it will be filled later. Using Soften and Smear, it is expressed as if it is gradation. Adjust the strength to make it even more blurry. It went like this. If you put a small white circle here, your lips and cheeks will be glossy. I want to start painting my eyes soon. First, select your eyes. No material is set, so select the material for the face texture. I will paint my eyes here. First, paint the base color. Next, paint the part that will be the main color brightly. Then paint the pupil in the middle. Let's paint the highlights as well. It went like this. I just noticed that I didn't draw the white eyes and mouth, so
Next, paint the white eyes and mouth. This is easy because you can apply it normally.
The white of the eyes is white, and the inside of the mouth is painted in warm colors. egarding white eyes, if there is a shadow on the eyes, you can create an illustration-like style. Let's paint on top with cool colors. It went like this. Next, I will paint my eyelashes and eyebrows. Basically, if you use the same color, there is almost no problem. Here's one trick to make your eyelashes attractive. It is "putting gradation on the left and right". This is a technique that is often used for trendy illustrations, so it's a good idea to keep in mind. The rest is fine adjustment. If you move the vertices a little, the texture will not be distorted so much, so there is no problem. That's all.
The above is the explanation of paint texture. Next, I will explain about shape keys. Shape key is a "function that can be transformed based on the original mesh" and is mainly used for facial expressions and muscle movements. In other software, "Morph" and "Blend Shape"
Is called. In short, it's okay if you think of it as "a great feature that allows you to create facial expressions." To make it easier to work, objects such as eyelashes and eyes are
All are combined with Ctrl + J. Now let's make a blink using the shape key. Select a property and there is an item called shape key, so we will operate here. Press + to create a shape key and-to delete it. If you add it for the first time, the original mesh data called "base" will be added, so if you press it again, key 1 will be added. Then you can click on the desired shape key to transform it in edit mode. For example, suppose you transform it like this.
I will return to the base once. You can transform it like this by dragging the numbers here to the left or right. This is the basic operation of the shape key. Let's make a blink. Delete this key 1 once and create a new shape key. The name is blink. Enter edit mode, select your lashes with the L key and hide them with the H key. Next, let's lower the upper apex of the eyelid. After finishing all the steps, let's adjust the lower side in the same way. It went like this. Now display the eyelashes with Alt + H. Then turn on proportional and adjust to your eyes. Put the lashes on the outer corners of the eyes inside and shape them further. Yes, the blink is complete. Let's make a wink as well. Click the blink to set it to 1, and select "Create new shape from mix" from the options on the right. Now you can duplicate the blinking shape key. Next, make it transparent and select the left side with the B key. Select "Blend from Shape Key" at the top of the menu above. A menu will appear below, so set the shape to "base" and uncheck the additional check. Then the base is blended only on the left side, and you can make a wink. This is the end of blinking,
By the way, I would like to talk about shape keys. That is, "Editing the base breaks the shape key." Shape keys store vertex movement information For example, if the vertices of the base shift in this way, the shape keys set for those vertices will shift as well. So, "The shape key work should be done after the mesh is completed." With texture paint earlier,
You can't add or remove vertices, but I said it's okay if you just move the vertices a little. However, in the case of shape keys, even movement is not allowed. So keep in mind that shape keys are the final stage of modeling. However, at the stage of making the shape key
Sometimes I say, "Oh, I want to fix it here." In that case, I am using "Shape Key to Blend" to fix it. ·summary
・ Cheekbones and bulges are important for diagonal faces
・ Put the seam in a place that is difficult to see
・ Don't forget to save the texture diligently
・ Basically, do not touch the shape key base This time I talked mainly about the face, but in the past videos, there is a video that explains while modeling the human body from scratch, so if you are interested, I would be very happy if you could watch it. I hope that your modeling life will be even more fulfilling. Thank you for watching until the end.
