Modeling a character BaseMesh in Blender (Tutorial)

[Music] hello everybody and welcome in this new video tutorial in which I'm going to show you how to create a base mesh with a good topology for a character the idea of this tutorial is not to be very blender specific but it's more to show you my workflow and my approach to this specific task a good base mesh is for me at least a huge time saver when sculpting a high poly character so I'm going to be very precise in explaining the different techniques that could be very important for the later use of the space mesh so let's get started I'm going to click in order to make those last wing disappear if at any point you are lost in the tutorial don't hesitate to go take a look at the bottom left I'm using an add-on that will show you the different shortcuts I'm using and if you are really lost because of my French accent don't worry you have a comment section where you can ask for help so let's get started I'm going to remove the default cube by pressing X and by pressing delete and in fact you know what I'm going to press B to box select the camera and the light and to delete them all so I'm then going to be spawning roundcube objects so if you're pressing shift a you probably by default won't add this wrong cube mesh if it's the case it's because you didn't activate the add-on in the Preferences called extra objects so I'm going to press f4 in order to have the file context menu pop over I'm going to go into preferences and I'm going to go in the add-on sections a section sorry and I'm going to press extra to activate the extra objects atom here so now you should be able to press shift a and you have a round cube okay so we are going to go in the front view by pressing one and by pressing tab I'm going to enter into edit mode I'm going to deselect everything by pressing alt a or by pressing a twice really fast and I going to go into x-ray mode by pressing alt Z then using the B key I'm going to select the left part of the object or the right depends on where you're looking through okay and I'm going to press X and delete the vertices if I didn't press the if I hadn't press the old Jeep shortcuts I wouldn't be able to select through the nation' so by default for instance in Maya you are able to select through but it's not the case in blender and then we are going to go in the modifier sections section here and we are going to add a mirror modifier like this then we can press the clipping option and we are ready to start modeling the head so this geometry will be good enough to start the topology of the head so I'm going to go in the side view and I'm going to create first a line that will represent the jawline okay so in order to do this we are going to push some vertices around okay remove this line and in order to do this I'm going to use the proportional editing by pressing G okey the same tool in our software are sometimes sometimes called soft selection but as you can see it's a way to move third vertices around in a soft manner so I'm going to go like this proximately and then what I'm going to do is I'm going to extrude the jaw line so I'm going to push some purchases around and one thing that is really really important when modeling organic shape is to don't worry about what you are moving around some beginner is a very question about cautious about the fact that when you move something it's the end but don't worry when you are modeling you're pushing vertices are wrong all the time and you are fixing stuff and you're basically using a virtual clay okay so nothing is a mistake so we are going to go into face mode and we are going to select the bottom part and we are going to extrude this part by pressing sorry by pressing E okay so now this part I'm going to rotate rotate it a bit because I'm looking at this jaw line so I can pressing Alt + left click I can select this line and as you can see it would be a good start for creating the job then I'm going to press alt C to come back into to leave the x-ray mode and I'm going to select using the box select so each time you see this it's because I'm pressing B and I'm box selecting okay and the fact that I'm not in x-ray mode it means that I can select only what I see so now I'm going to select this vertex and if I'm pressing ctrl and blender and I'm clicking here it will like select the path of vertex of vertices that I'm that that will be in between those two points so it's a shortcut for soaking those three very very vertices so those three vertex and I'm going to push like the vertices like this okay just to be very precise - to be very transparent with you and I don't know where I'm going with this it's very it's like intro I'm like pushing vertices around and if there is something that won't be right I'm going just to fix it using my basic tool set poly modeling tools okay so usually your head is more like a box so I'm going to select the proportional editing and I'm going to flatten the side like this and if I'm looking from the top it's wider in the back and it's a bit thinner in the front like this okay so this vertex here is not well placed so I'm going to push it back and from the side view I want to create a more again boxy shape I want to push all this geometry up a bit and I one sec the old head by pressing a and I want to scale everything a bit so it fits better with the ideal proportion of the head I'm going to make the forehead a bit higher I'm going to like push some vertices around okay so this is I think a good start it's not perfect but don't worry it's going to be the case all the time and York we are then going to add the the eye socket section so in order to do this what I want to do is to have a line that will be like this like a mask that represents a mask so in order to do this one thing that I usually do is I select some vertices some faces sorry and I'm pressing I in order to inset and in this case I'm probably know I'm I'm probably yes I'm probably going to use those faces and if I'm pressing I and B it's going to take the mirror into account it's going to analyze the boundary of the inset and it's going to leave the boundary intact so in this case now what I've created is this loop around the eyes so I need to shape now my new geometry in order to make it more like a mask and it will represent better nice socket okay so I'm going to do this I'm going to push the eyebrows a bit forward and I'm going to push the cheekbone a bit forward one important thing is to look around all the time you don't want to stay in one view especially when you don't have a lot of topology a lot of polygons okay so now what I want to do is to we leave the proportionality thing because in Oh again and I'm going to use those this vertex remove it and I'm going to use this line this loop and I'm going to extrude it and I'm going to turn it a bit on the z axis so I'm pressing R and Z and this is going to be key I leave so if I'm going in the top view and pressing alt Z you can see it starts to look a bit like the eye socket okay so I want to be even more precise than this and I want to create a better eye socket so in order to do this what I'm going to do is I'm going to add another object I'm going to add a sphere whatever the orientation and I'm going to press alt Z no H you go into transparent see-through modes and I'm selecting this object and I'm going to place it approximately there I'm going to scale it a bit usually you have one eyeball in the center and one and a half a half of an eye on the side depends on the proportions on the operations you are relying on that's in this case it's going to be okay and then I'm going to put the eye a bit forward and I'm going to select my mesh back in object mode I'm going to go in edit mode and then I'm going to snap those vertices to project them on the sphere so in order to in order to in order to do this sorry I'm going to activate the snapping here or pressing shift tab and I'm going to use the face snap to face and I'm going to click on the rotate scale because I want every transformation to use snapping and I'm going to project individual elements okay so now when I'm moving or dating or whatever it's going to project my selection onto whatever object is below so in this case I can project on the eye I'm going to try to make the perfect eye opening so don't worry about the fact that you don't have enough to enough geometry that's perfectly fine at this stage the idea is just to look at this loop and to make it perfect I'm going to add a loop there because I think it's going to be required later so it's I'm going to do this like this and I think it's probably for now at least good enough like this I'm going to press shift tab in order to remove the snapping option and I'm going to adjust the eye socket around okay so now I can remove the sphere and I'm good to go so now what I want to do is I want to add I want to join the eye like this that's something that I sometimes sometimes do I want to fill the triangle YouTube it's just to be sure that lines connects from the top and flows to the bottom okay so that's just for me a way to to think the flow of the different lines so now I'm adding this line here that will be shaping the eyelids and I'm going to model them a bit but not too much okay we are not at the stage where the details are important we are at the stage where we need a good base mesh topology cute for the for sculpting part later okay so now we are going to add the nose so in order to add the nose what I want to do is to select some some geometry basically here but I think that before and adding the I'm going to still push some British some vertices around I think this could be a bit further back in order to define the jawline better so if you look at the face from the side from the front sorry that the jawline is a bit higher like this and I'm going to just try to shape this in a much better way you like this okay so I don't like the fact that here I have stretched all the gun so what I'm going to do is and don't worry it's okay I'm going to remove some polygons like this and I'm then going to connect back those this line those two edges by pressing F so I can clip both edges and by pressing F and I'm going to reshape the flow of my topology so if I want I can like push back a new edge here so I'm pressing ctrl alt you add an edge and I'm going to push it back a bit and I'm going to make an opening for a new edge again here and I'm going to press F by selecting this edge F and F and I'm I've closed the the bottom choke and as you can see now I have a better flow like this line is flowing right down and the shapes are better defined so now what I want to do is I want to I will be coming back to the a bit later to the the shape to the oval or overall shape of the head but now I want to add the notes so in order to add a nose what I want to do is I want to select future a some geometry okay and in order to do this I'm going to I'm going to prove this back to push this a bit lower and I'm going to select this I think then I'm going to press I and it it will be keeping the the the boundary option like by pressing B as you and as you may recall and we are going to Dan extrude this for okay then I'm going to select those vertices and I'm going to push them like this a bit and I'm going to try to make a bear looking shape out of this so as you may see this loop here I don't want to lose it and it's not connecting it's connecting to the nasal part of the bones so it's not very good I think to my opinion so what I want to do in this case is just an undo and we think about everything so I want to keep this this is a really important loop so in order to keep that what I wanted you now is to think that the nasal bone will be here okay so I'm going to push this up a bit and now I'm going to take into account this part so I won't even do the inset I changed my mind I'm going to be a bit loose with this and I'm just going to extrude like this okay and now I can move the points like this and as you can see by by selecting one face more I still have this look that would go on top of the close to the nose bridge and and this is something that is actually better in terms of topology because it will separate the nose the wings of the nose in their own location I will say okay and as you can see if I'm setting this loop it's connecting the wings of the nose so now what I want to do quickly is to go in scope mode by pressing ctrl tab I'm going to go in the scalp mode and I want using the shift key I want just to smooth my topology a bit as you can see it's easier to do in scope mode and I can also press G in order to sculpt a bit so I'm using a mouse so it won't be as good as when using a tablet but it's good enough for what we want to do and as you can see it's pretty quick and now what I'm going to do is I'm going to try to create a better edge flow with the mouth so what I want to do is of course add the topology of the mouth but in order to do this what I'm going to do is to remove this vertex if I'm removing this vertex I will also have to remove this face here and what I want for sure you have is a loop that goes from the nostrils to from the wings of the nose or in the nose the nostrils around the mouth and back on top of the chin and this is called the loaf line and this is something that you will have to you to march in the head for days measure or at least in my opinion so as you can see I'm just extruding this loop because I want it so if I'm extruding it I will have it and then it's just a matter of like closing the gaps so now what I'm going to do is to merge those two vertices because they look like kissing lovers I'm going to press right click and merge vertices at Center it's going to be okay now I don't want to lose this flow this loop flow so I'm going to select this this pressing F and I think those two vertices are going to be kissing lovers too so you can see now I can close this shape and as you can see it flows right with the eye now I'm going to merge those two at center and for the last two I'm going to select them I can also press shift or in order to repeat the last action but in this case it it's not working for whatever reason and I'm going to merge them back by pressing right click then so as you can see now I have this loop and this loop is the loft line so it's perfect to have its rights there I'm going to push it back and to go back with my artist mindsets now that I've have made my toe Balaji usually it's for me it's a very close it's it's it's very left brain right brain left brain like right brain like you need to be very logical and sometimes you need to be very creative with the shapes so remember that's when you have a good topology you will be very in very good hands for creating the shapes okay so now what I'm going to do is I'm just going to select this loop by pressing Alt + left click and I'm going to extrude it and scale it on the on the z-axis okay usually it's the the corners of the mouse and in the middle of the eye but the eyes are bit wide so I'm going to scale them later so I'm going to call it okay for the position of this mouth and what I'm going to do is I'm going to use the same approach then for the eyes using a cylinder this time so I'm going to put a cylinder like this that represents the teeth and I'm going to press Alt key to make it go to the center of the screen after the wall and I'm going to lower the cylinder bits like this and I'm going to push it back approximately there and then I'm going to activate the snapping using shift tab and I'm going to snap the vertices around the teeth going to remove the cylinder remove the snapping the person again alt shift am sorry and I'm going to select this loop done and as you can see I can push it a bit further like this and I'm going to do the same thing then for the eyes I'm going to connect the things okay and don't worry about trying those fingers are not your enemy like a lot of tutorial says they are there for you and they are good topology for a lot of cases so now what I'm going to do is to add some lines and I'm going to push bits those lines I'm going to here create the chin by pushing up some parts of the chin and maybe as you can see in this case the chin is a bit high so what I will do is I will work a bit on the shape so right brain hi you're there yes I've left my life brain for the right brain now meaning that I need to do more artistic thanks okay so I've pushed the jawline a bit lower in this situation and I'm shaping the bottom line like this okay so as you can see it's horrible in terms of like visual so what I'm going to do is to go into scope mode and by pressing G I'm going to sculpt with the nose it's not good usually but I'm going to do it right now just to accommodate for the shapes I'm going to push the eyes a bit inside because I think they are too too separated from one from each other I'm going to flatten a bit the top of the nose and to lower down the this point and I think I'm going to hear work on the forehead a bit that is totally looking bad so usually it means that I need some to add some geometry there so I'm going to answer you some geometry there for the forehead and I'm going to make it a bit narrower like this usually you have the forehead muscle here but in this case it's not so it's not visible and I don't like this so I'm going to remove it and I'm going to add a line like this in order to merge those vertices so I can press that last if I want in this case usually I prefer to not have n going here another end going but a pole sorry here so a pole is a this is a pole but this boy is okay a pole is like when you have a star you see so you have different edges that that meets at one location so I think in this case it's much better so we are going to keep this like this and for the back of the head I want to smooth the new line that I've introduced so I'm going to smooth using the sculpt tools still sculpt tool and as you can see it has sucked the geometry a bit so I'm going to make it wider a bit with the grab tool okay I'm going to smooth there and as you can see the flow starts to come a bit better in this case so when you're looking at the three-quarter view one thing that is really important in terms of shapes is to have this chick popping and in this case it's not the case so what I want to do is to push back to cheat a bit here and it should come it should be visible a bit so I'm going to push the cheeks a bit I'm going to make the mask for the bits so when I'm talking about the mask I'm talking about this remember and I think we are in a better situation right now and you think okay so now what I want to do is to make the chin a bit more prominent we are making more male base mesh in this case and it will be easier in terms of sculpt to make the chin more pointy so why not that make why not making it wide by default and I'm going to create bridge of the nose to make it up push nose inside I'm going to push the face a bit backward like this using the sculpting tools because sculpt even if it's just polygons is okay okay so now we are starting to have ahead of base on edge for me head that looks a bit better but the head is a bit wide so what I'm going to do is to select the object and pressing s X and make it and I'm going to make it a bit shorter in length and I'm going to press ctrl a to apply the scale if I don't do this if I'm looking at the scaling here I don't have a uniform scale yeah I don't want this I want one one one here so I'm going to press ctrl a and apply the scale and as you can see now I have one one one here but I'm still keeping the I'm still keeping the scale of my object so now one really important thing that will make the everything looks a bit better is to add the ears so the ears are lying on this section here okay at this height so we are going to do this right now so let's go going to go to the side view and one thing that I wanted to right away I don't want to wait for this I'm going to remove this geometry so we are going to add the ear and also this geometry is a bit clunky here so I'm going to add a loop for the jaw and this will give me your portunity to go into in the bottom view by pressing ctrl seven and it will give me the opportunity of pushing a bit back the bottom here and this is cool because it will define much better the jawline as you will see here I have an angle that is important in terms of shape so pushing points is what you do when you model a lot as you can see so now I still have my jawline here and it's well defined because of this so in fact I have two jaw lines I do those two loops make our making the hardness the sharp angle of the jaw line okay if I'm adding for instance on top of this subdivision surface let's see it keeps a bit better to shape okay so let's go so now we are going to add the ear finally the ear okay so they are lying as I said between the heights of the nose and the arcades or I don't know how to say this yeah I think it's arcades probably if it's not you've learned the French word so I'm going to select those faces and I'm going to extrude them so now it's an alien I don't want this so what I'm going to do is I'm going to collapse those edges so what is the collapse a collapse as you will see you select an edge you press X edge collapse and it merge the edge in one point so if I'm going to do this with all those edges edge collapse by pressing X Y or T option by pressing X you can see that the edges I've been pushed together it's like if I've done this black and they are merging okay so edge collapse then I can take the edges and I can push them back like this three importance in a base mesh to have the years at an angle okay the ears are taking the sound here from it from the front view because you mainly speak to people in front of you you don't speak you you don't speak to people without facing them and so hence the fact that the ears are open towards your sight okay so now what I want to do is to add an edge loop here and the cool thing with this is that to break the triangle here and if I'm scaling the new loop and you can see it will shape a bit the back of the year like this so I will scale it a bit on the height and then I'm going to accommodate for my new geometry okay so I want you to push this a bit inside don't worry if you're moving something in the wrong way there is no wrong in modeling in poly mapping because you can always push vertices back so I'm going to add a loop here and I'm going to slide this loop by pressing G twice and I'm going to slide this look like passing G twice again and something here I bet to create to accommodate for the different loops from the top I'm so used to having in the preferences the emulate 3-button house for selecting the the loop so I'm going to press back and let through the nose this allows me to double click on the edge loop to select it okay so now that I have this loop in the middle I can shape the ear a bit and I'm going to make it to push it in the inside of the skull by selecting it so what I'm going to do is I'm going to select the faces here I'm going to press ctrl+ to increase my selection and I'm going to scale the ear a bit and I'm going to press PO to enter it proportional editing and I'm going to push the ear inside maybe you rotate it a bit scale a little bit and just adapt the geometry of this year okay but let's not finish now of course as you can see it's pretty raw here I want to have a better transition between the skull and the ear so I'm going to spend a bit more time modeling modeling the ear so here I don't want this I want you have a more straight loop so I'm going to select it and rotate it same thing for here to rotate it okay starting to teach it so now I'm going to select those faces pressing I I can add an inset and I'm going to remove those faces and I'm going to create the inside of the ears so in order to do this I need to take into account the fact that this is the helix the helix is the the loop around the ear and what I want to do is to split this vertex in two so I'm going to press V and now I have this loop that I can put back inside the ear like this and I can add a third loop here and I can merge those vertices like this and now what I can do is to select everything inside the so the whole loop like this and I can extrude it scale it and push it inside okay what I want to do now is to isolate the ear so it's easier to work with so I'm going to press ctrl + to select the geometry around it I'm going to press / on mine and but it's not working so I'm going to press Alt alt shift H sorry add a blank and now I'm going to be able to model the inside of the ear a bit better okay we are going there it's okay so the lower part is the lobe so it's usually a bit bulky like this inflated so I'm going to try to approximate that like this and one thing that is important is there is a wide here of white shape so I'm going to extrude the internal parts of the year of the ear so those two edges and I'm going to connect them to the bottom yeah I think so I'm first going to move this to this geometry there and as you can see I don't have a lot of geometry here so it's going to be a bit tight so I'm going to set those edges and connect them those edges connect them going to add an edge here and I'm going to make the round part of the year like this and I'm going to try to push this outside and to approximate this shape okay so now what I want to do is to connect everything back so I'm going to select this pressing f2 connected this will give me the opportunity to to here close it with a triangle again in this case the triangle is not our enemy and then I'm going here to add a cut and it will lock mmm we create a quad here a bit stretched so I'm going to push this quads disc with this stretch crowd a bit higher and it's going to be okay fine for for us I think so or maybe not we are very going to go back into the situation later but here what I want to do is to close everything as much as possible like this I'm so I can imagine pressing ffff beauty of blender shines here and I'm going to add to select those faces pressing I Nora to add a loop I'm going to collapse this edge here oh I cannot sorry edge collapse and I'm going to collapse this edge to edge collapse I'm going to collapse this edge too each collapse again and I'm going to push this back a bit maybe I will collapse those edge as you can see I'm doing though I'm doing nothing interesting there so I'm going to come back and live an afterimage with you to do this maybe this is something that I will do in sculpt later for high poly but I think in this situation I have the good I have enough information for the person that will be using this display smash yes so one thing I wanted to do is to push a bit the geometry back yeah so if I'm adding a loop as you can see it will revolve around a lot of things I don't to be honest if you don't want this so what I'm going to do is to maybe remove this face and remove this face and I'm going to add the geometry that I wants one here I'm going to scale it up a bit to create the thickness of that year and I'm going to try to find a way to close this so I'm going to close it like this in this situation and I'm going to do the same thing here and the cool thing is that now I can add an edge that will stop right at the bottom like this and the cool thing is that this new loop give me enough geometry to define a bit better the back here so as you can see I can push this back and create the bump behind the ear a bit better it's a bit wonky but I think it's still very fine for a base mesh of course I want to do exactly this with reit apology of high poly but as you can see for base mesh I think it's okay defines the geometry a bit better so if I'm adding a subsurface a subdivision surface you can see that it shows a bit different parts and we are good to go for this headphone now maybe we'll come back a bit later with if we have more time at the end so now what I want to do is to start extruding the neck so in order to extrude the neck what I'm going to do is to first move some vertices some vertex around this and I'm going to select this opening maybe I will be pushing some things like this so I'm going to count the number of thirty vertex I have fourteen there so it means 28 with the mirror so I think it's okay so important enough and I'm going to extrude this okay and what I'm going to do with this is I'm going to scale everything down to the size of the neck and I'm going to rotate it and I'm going to press right click loop tool circle to create a circle out of this if you don't have to look to it circle option means that you you didn't pinch that you didn't enabled in the add-ons the loop tool the mesh loop tools atom so I highly recommend doing this and now you can see that they need to merge this I'm going to merge it with the mirror and as you can see and I'll have a neck so I'm going to extrude the neck formatively like this and I'm going to bend it like this okay so the neck is more like this okay I'm going to add an edge loop in the middle and I'm going to accommodate for this view loop and I'm going to with the proportionality thing make the head the back of the head a bit higher and I'm going to push the throat back and you create a better looking shape for the for the chin sorry so it's really important to have this skin part under the under the jaw especially when you are drawing a lot of times you with drawings you you don't see this this point on beginners drawing and it's been really making the head like stuck on a stick and that's something that you don't want and in modeling it's also important importance for it you have it so I'm doing it like this and now what I'm going to do is I'm going to define the chest okay so let's get started with the chests soon a lot of things to do okay so for the chest I have a simple approach I'm going to show it to you so the approach for me is to select the neck two extra debts this to widen its near the shoulders why donate a bit on the side basically creating this vase shape and then you push some vertices around like this and this is called the shoulder girdle it represents the clavicle from the bottom and trade trip trip is a trapezoid in English I think muscles top in French so I'm going to extrude now the chest like this and I'm going to put my model up a bit so now what I can do is to add some loops so this will be the chest line so the bottom of the pectoral muscle so I can rotate it a bit like this and then I'm going to create the opening of the arms behind I'm going to put this line inside the bit here will be the c7 vertebra so it's cervical I think and I'm going to put those purchases inside of it where here you have the shrimp creepazoid muscles that meets with the bottom of the neck and what I don't like here is that I don't have the sternocleidomastoid muscles defined but we're going to define them later don't worry so we are going to now extrude the arms so in order to extrude the arms what I want to do is to select faces like this and I'm going to walk remove them and this is going to be a good opening for the the arms and especially the deltoid muscles so I'm going to create a round shape using them and I'm going to widen pick this part and don't worry I'm going to add a loop there to accommodate for the shape so now that I have this what I want Oh in fact I shouldn't have I shouldn't have delete diverted the vertices so I'm going to put them back so in order to put them back I can call the grid filter by pressing ctrl F grateful okay and what I want to do from this I want to extrude sorry now I want to rotate it's going to create a cape like shape and I want you add one loop here and one loop here this will define here the pectoral muscle the pectoral line sorry that will go around the deltoid muscle and it will separate here the arm from the torso for a good deformation and here it will give us enough geometry year sorry to start extruding the arm so I'm going to do this in a very crude way like this I'm going to extrude the arm and I'm going to delete this here I'm going to select this loop and pressing right click loop tool circle you have like a circle for the arm and I'm going to press ctrl + many times norwich you select a few vertex a few vertices i'm going to go in the x-ray mode in order to deselect the bottom here by pressing b and using the middle mouse button and now what i will do is to press right click and smooth vertex vertices and as you can see everything will start to take shape a bit better so now i can go in the scope mode I can smooth a bit just line - if the smooth is too strong you can go here using this brush not this brush but they change the icons so I'm a bit lost smooth and you can hear in the tools or here change the strength to be a bit lower and now using the grab tool I can start to shape the chest a bit so as you can see I can push that I can push the chest muscle I can buy them the deltoids I really encourage you to look at references in this case anatomy references it's just a matter of pushing the shoulders into the right place here you have a small depression and we don't have the clavicles right now so we are going to do them soon don't worry okay so if you want to you can also inflate using the i key in scott mode to make the armpit a bit closer the geometry of the armpit a bit closer like this and i think we are good to go so now back into edit mode i'm going to add a line for the pecs and i'm going also treat shape the clavicles so i know for sure that the clavicles will be connected to the deltoids so it's something like this okay so in order to do this i'm going to destroy a bit the geometry that i have and i'm going to create a link like this okay a triangle and then I'm going to connect some things back a bit and anyway I'm going to destroy this geometry because I want the sternocleidomastoid muscle to come back there so I'm going to add a line here for the clavicles and I'm going to create to destroy some part of this geometry there to connect the clavicles using with the sternocleidomastoid muscles so IANA play-doh mastered muscles are coming from behind the neck toward the clavicles I'm going to destroy this and I'm going to rotate this human treat like this so it can connect in the front of the neck and same thing for for this I'm going to select this those faces I'm going to connect them and as you can see it follows like behind the here and I made a mistake it's not those geometry those this geometry sorry so I'm going to remove this and I'm going to take this one this one that connects behind the year it's going to connect to this one so as you can see it will be a bit stretched but we are trying to we are going to try to accommodate for this okay so now that I have this I'm going to try to fill the gaps there so it's not going to be easy of course because as you can see I have like big polygons there so one way of doing this is to add to find ways to add geometry that flows there so so we are going to try this so I don't want to lose this for sure because it's the line I'm going to define so I'm going to push it even more maybe I can join those two vertices right now so merge at last this and one good thing would have been to destroy even this and to make faces pop so I'm going to make a face out of nowhere because I'm using the F to add on so if I'm pressing F while having this vertex selected as you can see it creates a new face at the game place and I'm going to follow the shape like this so I have doubled sternocleidomastoid muscles so now what I want to do is to connect with the rests so maybe I can already you see destroyed this geometry so I've totally destroyed my neck here I know for sure that this won't connect there so I can still keep this and now I want to maybe follow with the rest of the geometry here I'm going to under the neck I'm going to add a lip here and I'm going to connect it by pressing right click and the merge vertex here at first or at last whatever I'm going to isolate the geometry I'm working in I'm working with because it's otherwise a nightmare to see from below and I'm going to for sure connect this to this but I need some geometry so I'm going to make everything way up here and I add a loop there and I'm going to back here connect this to this okay we'll deal with the loop later or to chest and now I'm going to I can try to connect everything so yeah I have this loop that will connect to this impact so I'm going to add a loop there and I loop there and another loop there and if you see here and can create this so this will define the Adam's apple and if I'm adding another loop there I can connect those two root vertex vertices there and I have the geometry here to create this to fill this and to fill this gap there okay so basically what I'm creating here is this loop I'm creating this this that follows everything this is straight so it calls everything and now I need to fill the gaps there so one way to fill the gap here is to define the trade trade period muscles a bit better so I imagine the trapezoid muscles coming from there to the back so I'm going to make using the F to add on some geometry going there so I'm going to add a cut spear oh sorry like this and I'm going to push this geometry back a bit so now maybe you can do this this this and I think we are good to close this here using a new cut here I can push this like this this this as you can see I'm not in the right shape here but remember that I've added a loop here in the middle I can remove this one so I'm selecting the vertices pressing X edge loop and now the last thing that I need to do is to find a way to connect this loop back but maybe what I can do is to select all those edges and collapse them so sorry X edge collapse and now I have a point here and I've solved my issue like this so it's even simpler and as you can see now I have like geometry that is like close to be good enough for what we want to do so I'm going to go back in the scope mode and now I'm going to smooth a bit everything thank you put the sternocleidomastoid a bit in front from this side this view I'm going to accommodate forever in fact all the topology that I created put through it's in front the cool thing is that I want you can add some loops here for instance but it's going it's going through the jaw it's not it's not that ideal but I think it's still okay so don't worry this is something that if you want you can accommodate but like I said I prefer to have the nose well defined and having less geometry I'm not really with the fact that this flows like this with a preferred you have a loop you know what I'm going to go through this a bit later if needed because right now I still need to define the rest I think it's more important to define the rest right now so I'm going to shift click there to smooth the front widen a bit the geometry using the scope mode again and I'm going to I can even use it to draw the draw tool to push a bit deforms this so for the chest what I want to do is to add a new cut here and I want to just define here the chest muscle in a very easy way put some vertices here a bit in the back you get the armpits did you find the deltoid muscle a bit better so deltoids are more straight on the top straight a bit on the top part and you have a depression like this it's not round it's not you want to make a cartoon maybe it could be round rounder but in this case it's not round so I'm going to smooth this produces a bit yeah like this and as you can see it defines I think that the line is well-defined there so it's okay I'm not going to be that precise for the rest of the muscles but I think what we've done here is important because it connects the important muscles or with the ad and and on the chest but I'm not going to define every muscles for the chest okay because it's still a base mesh remember it's not a nail to me call me modelling challenge so this should be a bit inside meaning that the line the chest line should at chest line should be added here so I've created one wrong direction here so I'm going to push this back so their armpit is there and as you can see I'm going to push this a bit back here it's the it's the the coastal part of the chest muscle of the backs and the belt hood could be a bit wider from the top view and here you have a small gap it could be emphasized like this so okay we are on our way okay so maybe I can do emphasize a bit the pegs like this okay so let's continue now we are going to extrude the lower chest a bit more once more and we are going to define the obliques there and we are going to define the pelvic line so I'm going to do this and I'm going to add some geometry there inside some cups and here I have a loop of 15 here I have a loop of 10 so maybe I can remove two loops there to have a loop of here in 13 maybe 12 it's going to be better so now I have 14 sorry in this case and I think it's a bit too much so let me check if I can remove someone's I don't think I can easily right now but maybe what I can do is to double this line so here as you can see I was not cautious of the fact that I had I have a mirror so I need to remove the clipping and I'm going to add another line to double the the central line here okay this will help me to define the the bed area later anyway so I'm going to select everything there so I have 12 vertices and I'm going to extrude them and I'm going to select now everything from the bottom and to smooth everything and I'm going to redo it with clipping and then I can also scale around the normals by pressing alt s and this helps to add more geometry okay so now I'm going to push this a bit lower and I'm going to define with loops the rest of the body basically so now it will be more matter of like having the right loops for the birds and having abdominal muscles and you define like some things so we are going to dive into details right now for everything so what I want to do is to first remove this loop in fact because before this I want to define the bird area in terms of topologies I'm going to move up a bit the pelvis line and I'm going to add one line here in the middle and I want to have your what we call the butterfly and the butterfly shape at the end of the pelvis is being seen a lot so you will see two dimples usually from the back and that's what I'm trying to shake here and I'm going from the side you put a shape like this that is called the isle iliac crest and this represents the top part of the pelvis okay so I'm going to do this and as you can see I have a nice flowing geometry like this and this is important this is the oblique muscles that are pushing you're twisting your torso sorry making your torso twist so they are they they attach there and the others from the back and the fact that it twists it it gives the ability to twist and now I want to define so di la di Crest sorry so that's what I'm doing here and now what I'm going to do with this is so it's a bit the force is a bit squared so I'm going to round it a bit from a different from the bottom you yeah and what I'm going to do is to create topology of the of the butt line basically so to do this I'm going to select one edge here and I'm going to extrude it whoa sorry remove the proportional little thing and I'm going to rotate it and I'm going to follow the line of the alphabet so I'm going to select this loop make it a bit lower I'm going to add a loop that will connect to the loop that we just extruded like this and this will be an important topological line so I'm going to make it a bit to make it fit a bit more and this is this one okay and it will define the area of will separate the area of the of the bit so now I need to have a flowing geometry so this line is twisting so I don't like this so it's important to have no twisting geometry so this one is not twisting but side one is twisting so I probably will be able to reconnect this one with this one so I'm connecting this one to this one then I can add here at generate a cut and I can merge everything there then I can add a cut here and I can heal the gap here with quads so now you have this line that that connects correctly and I have this line that connects correctly and here I have this line that connects correctly and defines here I don't remember the names of the two muscles here that are very straight but I think it's the unburdening sorry for this one here of this that should connect with should connect this so I'm going to merge those two vertices here and I can push this bit back and as you can see I don't have a lot of geometry so I will change my mind according to the connection line I will make it a bit forward so I'm going to take this one step and now I can feel the gap step ok so I have this line finally this line that flows this line that flows this this line that flows and connects this line that flows and connects and this line that flows and connects but here I need more geometry of course so I can fully add a line there and as you can see it will make the trick perfectly I think so now I have this loop that is still 12 vertices so I can now extrude it flatten it right now it will change don't worry but this gives me access to a nice base mesh topology for now so what I'm going to do is to simply make the lines flow a bit better and I'm going to go in the scope mode and I'm going to smooth everything there and thank you using the grab and push that and shape things simply so from the side we should see a nice round shape here a bit flat on the top and we should see the back muscles poking through there a bit and this those shoulders could be a bit far away like this so I think it's going there we are going there slowly but sticking shape so we don't have to clap we don't have the scapula my scapula defined this is something that we can define if we want you how can we approach this maybe it's simply by so we have this line we have this line and I want to just connect those lines together so maybe I can remove this and I can push this back a bit and I can select this this and extrude and you face like this and join those faces by pressing merge vertex at first and as you can see we now have the scapula be fine yeah so I can connect this back and oh sorry like this and I can add a loop there and I can feel the gaps like this the only thing I don't like with this idea is that now here I have a pole and I may not want so maybe I will come back to what I had but in the other the good thing is that it still defines pretty well the scapula so for now I'm going to stay with this but maybe I'm going to change this a bit later so the scapula should be more point here and is approximate approximately the height of health of the rib cage you can push it a bit and it's not only the scapula it's the scapula and and different muscles that are attached to it that's for now we can do this okay so if we shade smooth the character you can see that box a bit through and if we add a subdue interface it adds a nice shape to it okay so let's continue with our modeling process so I'm going to add to shape a bit better the torso so here I can't really add oops as you can see and I'm going to add the oblique muscles a bit [Music] dorsal muscle that is limas dorsal they're calling in English and or in Latin great to make this a bit toward the inside because it flows inside and let an anatomy standpoint here the external oblique are flowing back inside the back bit like this it's not exactly like this but it's it's it's a good beginning for your basement usually the for a meal it's a bit squarish in terms of shape around the butt and here I think the bed is a bit low so I'm going to rotate it using this loop and I want a nice S shape for the back okay the air is a bit bit tall and in this case I'm going to push the neck a bit backward and I'm going to make the chest muscle it's a bit forward I'm going to scale yet so I can proceed to select the head with the big three and I can scale the head of it and when I'm scaling it I need also just push it inside a bit remember that it's 3d so it's not perfect like this I'm going to control Z and we'll see that too later but the head for sure is a bit high so I'm going to make it lower push it - push it lower I'm going to make the trader trapezius trapezoid muscle a bit pregnant a bit more planning prominence and I'm going to select the head bit higher like this it's just a matter of looking through each view and you find the best adjustment I think we are going there so next thing is to add the apps so I'm going to select all those polygons I think maybe one more and I'm going to press I to inset and now I'm going to shape the ABS I'm going to add a line there that I can scale a bit will help me define the pelvis area that you can smooth abit maybe I can smooth everything around here the birds right like smooth vertices you'll help me define a bit better the isle iliac crest and for the abs I can push them a bit inside that's the end and I'm going to talk a bit third is this from the front I'm going also to select the centerline here even for the chests and I'm going to push it back a bit like this to define folks sorry not on the z axis but on the y axis to define the center line up just a bit more and this will help me to define to suggest the add muscle but at the end here I'm going to smooth everything because we don't see usually the centre line this in the lower section of the apse thank you scale them back along the normals so I think the obliques called be a bit more prominent here they are also called deal of Andals for males and [Music] we can separate here a bit more the back from the front here we should have what we call the serratus muscles but we won't define them usually that's the part that you do with sculpt you can push the first pair of apps a bit maybe we can smooth here a bit thing the idea is not you to sculpt Anatomy at this point it's just to help for the next stage which is sculpting usually okay so now what we have to do is to extrude the arms and the legs so for the legs there are bits in so I'm going to select the geometry of the legs and I'm going to put I'm a bit wider and I'm going to select the lower part of the dice and I'm going to put the leg right at the bottom like this and I'm going to scale at the ankle okay this will help me define the proportions so I'm going to make it a bit high error like this so if I'm taking the height of the of the chest it's approximately the height of the legs I think it's okay like this and we are going to add the knee that I'm going to flat so scale on the z axis and we are going to push everything back like this the first thing I'm going to do is to add a few cuts at the thigh and at the lower leg and if I'm looking through the mesh here I can also like add three cuts for the felony where the knee will be and now it's just a matter of sculpting the shapes so I'm going to add the calve the calfs muscles I'm going to define the thigh here a bit better where the quads should be in front remember that the legs attach attach the student to the iliac crest here and it's not directly connected to them to the chest I'm going to define the those lines that are representing the lower grads here and I'm going to relieve proportional editing to define a bit better the class talking about them define a bit better the pelvis line here we have the adductors abductors here I can compress a bit more geometry because it's where we have the oblique that folds over the either the iliac crest here we have the great for contour then the fashion Lata we're going to define a bit better later I'm going to try to have here at least from here to here so selecting these vertex control clicking this vertex to select the path between the subject I'm going to try to have a more a more rounder leg by sliding around the geometry in this case you can see that it's bit it's a bit flat so I can push from this view yunji de loop same for here inside I can like push it back a bit and the idea is to find the shapes so now what I'm going to do is to work on the knee so I'm going to open the knee simply like this and what I want to do is to also suggest the CBO report like this it's a very important nestled important bone of the lower leg I'm going to add another cut maybe here to put even more the shape of the quads the lower parts here and here I'm going to slide this a bit higher like this so but every is not really well defined I think something that will adjust it should not be up she'll be down at this at this point so hence the fact that I'm reversing the curve like this it starts to look a bit logical I'm going to push this back up a bit and you can see it's more v-shape like this here we should have the dimples that I've thought about here we have the obliques I think it's a bit better like this a bit well a bit better defined so I'm really sorry I had a I had a recording issue and I'm just showing you what pieces what I've done so you can follow along but don't worry it's not a very complex complex to do I've just pushed some vertices along what I've done is I've created this loop that moves back to the arm okay as you can see and I've split the the arm there and now here I have 12 vertices in the arm because I also added a loop here and this loop was simply added pressing ctrl R and as you can see it goes inside the throat I will also change as you can see the madcap don't worry I didn't change a lot of things I've just I think I just missed 10 minutes or between 5 and 10 minutes of Port so it's not that that much as you can see I've added a loop there and also I've shapen I've worked a bit on the on the legs just I've pushed the the knee like this what else I've done I think it that that's all that's that's all what I've done compared to the last part that you saw so I've also yes sorry I've also extruded the leg a bit more and the foot like this so the food is pretty easy to do as you can see I just stopped there and I've just extruded a few times as you can see it's not that part to do and what I want to do is I want to isolate the food so I'm going to select the food pressing shift H and I'm going to I'm going to extrude the toes so this shape is really in fact you need to do if you we're following with me along you can of course take a few minutes and and extrude the food like this don't worry if you arrive at this point it's probably that you know how to do this shape ok so now I'm going to remove the bottom here so I have the toes part and I have everything for the foods and I can select the fruit and I can press and I can right click smooth vertices okay so it gives me a good starting point for food so I can flatten this shape a bit and I will go into scope mode right now so I'm going to sculpt the shape of the fruits pushing the toes forward a bit I'm going to flatten a bit the top because it's too high in my opinion and I'm going to put push the toes a bit up even it if it's not the case in the real world in a bare foot but it's looking good so why not and I'm going to go into bottom view and I'm going to widen the toes part I can also use the proportional editing for doing this more precisely and as you can see I'm going to shape the food a bit better so now I'm going to make this a bit this and we are not going to model each toes but don't worry for the ends we are going to model the TV fingers but for the toes because usually they are so close to each other and you don't want to sculpt them separately I'm going to leave them to to the sculpting part so I'm going to scale a loop here that we have that will help me to better define the foot shape the foot connection and now I'm going to select this select this pressing F to fill the shape I'm going to add two loops there and I'm going to fill there I'm going to fill those triangles adding it cut right there gives me quads and I'm going to extrude like this I'll loop around okay so I'm cycling a vertex person F vertex F vertex vertex basically I'm creating direct control of the food border food and finally I can close this so I have this loop and inside I hope I can feel that if it's not the case don't worry I will find a solution so the solution is to fill this time to fill this in fact I could feel everything so I'm pretty happy right now okay so now now I have a closed shape it was close foods what I can do is select everything from the bottom and I can press sz0 - flat - flat on everything I can make it a bit high higher like this and I can add an edge loop in the middle and I can push this edge loop along the normal by pressing alt s and I am pretty good to go with the food shape like this one last thing or not the last thing sorry but one thing that I can do is I can make the slope a bit more important on the kinky side like this so as you can see it's flowing like this more so I can emphasize the arch of the foot right there also lower the small toes right there and I can again emphasize the arch of the fruits so here I can also add an edge loop that will have that will help me define the arch the inner arch of the foot like this and I'm good to go like this I think this for what I need to do again in the context of a base mesh maybe the foot is a bit high so I'm going to set the ankle and with proportional editing and going to lower it but I can select everything and make it go higher and I best touch the ground I think I'm in a good situation like this in a better situation like this and I can also using proportional editing and a bigger radius I can rotate a bit the foot by pressing R and Z and as you can see gives a more organic organic shape to the bottom leg so from the bottom view I can arrange the heel sorry I was looking for the reward and I can also make this a bit straighter at the backside of the leg because here we have a tendon that connects to the gastrocnemius muscles that are there again a bit if you can walk a bit by the way maybe I can push this a bit higher and like make my model a bit better like this I think it's it's looking better like this okay so I'm going to add another cut here and this cut will help me define the two kicks that we have in the ankle due to the tibia and the bone next to it I don't remember the name in English sorry and the inner one so this one is higher when seen from the front view than the other one and the small trick to remember this is that heat flows like this yet Falls like this and heat flows the opposite another cuts here and I don't want this to happen from the side view so I'm going to compensate this loop there okay so maybe you have one thing that we can do is to select those protrusions there and I can press H to hide them and this will give me access to the rest of the geometry that you can that I can smooth I need to smooth everything else and maybe I can like scale it a bit and I can press alt H to make the rest come back okay so it's a bit high so what I'm going to do is to select this little those loops I'm going to use a proportional editing again and I'm going to make it bit lower I think that the heal could be wider so I'm going to set those two vertices and I'm going to scale them on the x-axis and I can push get this inside of the foot a bit inside a bit more inside and I can like shape the toes a bit better like this again this is a matter of time for now I think it will do the trick so one of the other one older things or you don't want to do is to add cut there so I will like to slide this one and the idea with this is that I can push the tools create create the tools a bit lower like this to create a gap and I want to emphasize the fact that the toes are separated from the rest so I'm going to without the proportional editing I'm going to model this a bit better maybe then the toes are a bit long longer that they done they shall be so I'm going to flatten them a bit and pushing them back I'm going to rotate them just a bit and here you can see that the arch is not well-defined so I'm going to go in the scope mode and I'm going to smooth everything a bit and I'm going to use the grab tool pressing G you can pon say for this and then use a bit further shapes the arch I think for the time we spent on the the goal of this tutorial it's going to be pretty much it I'm going to push the gastrocnemius muscle a bit more link the grab brush again I'm trying to follow this shape yeah I'm going to try to connect the muscle a bit better but I don't have that much geometry so I can smooth a bit and that's something that could be done easy in a much easier way when sculpting so I'm going to let that for the sculpting a part and I'm going to press the to use the inflate brush to add more thickness to the lower leg and I think that the food could be a bit larger so I'm going to do this like this and I'm going to use proportional editing to push to take you back lips maybe the hunter four dozen hits now it's a bit too much so I'm going to undo it down a bit okay so we are making good progress I think so now the next thing to do is to extrude the arms so let's go for the arms so I'm going to select the arm and I'm first going to rotate it a bit of this and now I'm going to push this vertex inside of it and I'm going to extrude the arms like this remember that they should the end the hand should be at the middle of the thigh like this so this is the hand so I'm going to do this so this is the waist approximately here you need to to judge by yourself but I think it's okay like this I'm going to push the arm a bit back a bit back to create the bend where the elbow is I'm going to here walk a bit on the deltoids and same thing then for D legs think you have joints around the elbow so DL was going to be there so I can shape it a bit so you need to be informed that this is a topology for base mesh this is not a topology for final animation so I'm not using the same techniques when modeling a base mesh and when modeling a character for animation so in this case the loops are pretty easy there are there are straight meaning that they are following cylindrical shapes they are not defining the muscles a lot so for instance here I will do this to rotate the arm but I won't be doing the track your radial muscle and define this shape here I won't do this because it's not the purpose of this but I will approximate the shape as much as I can using this topology so now I will like push a bit the triceps back here I have the bicep and the bicep is not round it's a tube-like shape it's very flat from this from the top view here we can select this edge and push it a bit inside and same for here because we can see the triceps from the front and from the back so I can select those points and push them bit like this here are those two points I can scale them together then again a bit pinched and as you can see already it starts to take shape so what I want to do from now for now sorry is to select this those three loops and to smooth them a bit and I want you to flatten the key arm from this view a bit because in fact from the front view from the front view the arm looks like a cylinder but from the top view it's it's flat here in the lower arm in the forearm and it's like wider near the triceps bicep area so here we have a tendon I really encourage you to look at a Anatomy reference like a negotiate with something like this because you will be able to better understand what I'm talking about if you don't already know your Anatomy so here I'm defining the tricep and now what we can do is so first thing to note is that the the Delta L Chu Lai should be at the level of the lower pectoral muscle so I'm going to push the pecs a bit higher like this so it makes more sense I think I'm also going to push this line higher in order to make a new line inside a new loop inside that I will push along the normal vector to help s and I'm going also here before going back to the arm to defined the clavicle bit better maybe what I can do is to push this one closer to the clavicle and sweep Calot it's not going to be looking right so what I can do is maybe take the opposite approach maybe push this back here at the pit of the neck I'm going to push this back too and I'm going to select this line as the clavicle and as you can see it's probably going to do the job yeah a bit better and I'm going to from the front you lower down the level of the clavicle so it's from the front here it's a bit straight it's a bit straighter like this so one thing more that I want to do is to try to I'm going to remove this and this one too I'm going to try to push the clavicle even more into the deltoid which is the case in the real world so I'm going to push the clavicle right there and I'm going to try to accommodate for my new topology so here I'm going to close this yeah I'm going to close this probably I can do this like this ok so now I have the I have a real clavicle shape that looks more like a bike how can I say how it's called oh is it called this you know the bike handled then it's bike handles probably so it looks like it looks like this it's more yeah from the top view it's more like a bike handle and from the front view it's more straight okay so the pecs are a bit exaggerated so I'm going to push them back here I want to make extreme muscular guy maybe I can also like select the old harm by pressing ctrl + no select we do approximately and maybe I can make it on go back a bit to the front I think now we are in a better shape to go into the chest muscle than tear into the rest of the of the arm ok so I can push those vertices a bit bad - to overlap the tricep area I can maybe add another cuts because you know what I think it's one cat won't be enough so I can add cuts there - to add a better definition of the tricep area and to have a better definition of the bicep area I said an tricep so now we are in a better situation I think so ok okay so now the last part in terms of like topology and then we'll polish everything that we need to know you are afraid maybe of its Yahshua's that's the hand in the end yes of course hands are not extremely fun to do but they are simple enough for a base mesh to do okay so let's dive into the ends okay so to do the ends what we are going to start with is to extrude the ends in an in a front direction because when you weak attractor like this you want to have the anatomical stand meaning that we will do the end with the thumb here and the end like this bowl with with a mouse it's really hard to do but why I'm doing this it's be killed it's because if I would have if i if i did the hand like this with the thumb going forward like this I would have to turn this geometry to twist the geometry like this to create the twist in the hand and I don't want to do this at this at this stage if when sculpting you want to do this you can but if you don't want in the majority of the cases you don't want you won't be bothered with twisting German with her twisting geometry okay so let's go and we all of course defined the arm a bit better later but it's not the time right now I'm just going to add a few cuts just to say there's biceps a bit in France okay so let's go so first I'm going to extrude the wrist and then I'm going to extrude what will become the end and I'm going to select this geometry pressing P to separate it I'm going to remove the Muir and I'm going to press / in order to enter into isolate mode with only this object so I won't be bothered with the other hand from from another perspective and what I can do from now as I can rotate so it is aligned with one of the axes so I can flag this I can flap this I can remove even the risk because I we will be attaching it later but the only thing that is important is that we know that we are going to to be with the same amount of vertices here then we have in the in the arm to connect to shape shapes so now what we want to do is to extrude the fingers so the first thing I'm going to do is to add new geometry there and I know that the thumb will be will be probably going I'm probably going there don't stay to use your own hand as a reference so I know that I will have to find like this so the thumb you know what I'm going to model the hand in the order and order direction and I'm going to flip it later because I prefer to do this so the thumb will be approximately like this so whoa sorry I'm exchanging something like that makes no sense here so I'm going to right click and make it as a circle this this part okay so now I'm going to select everything by pressing ctrl I everything else and I'm going to go into vertex mode to access the smooth vertex thing which press control ctrl - to remove the one loop and I'm going to smooth everything else and now I can extrude from this the fun going to make it a bit wider because it's the you know it's the meat inside there I'm going to extrude the fun like like this again don't worry we will adjust everything later so now what I will do is I will try to connect loops so I'm going to connect those loops together those loops those loops those listen this one two three four one two three and I want the same amount of geometry there so instead I'm going to take another approach I'm going to try to extrude things like this even though it's not perfect that I'm going to try to follow this loop across all the finger we'll see now if this loop and now the good the good news with this is that I have I think enough too much week you define the fingers a bit better indeed what I can do is select this loop like this a bit so now I can select what will become your fingers later and I can scale it a bit in fact let me select this thing it's going to be faster and I can now get just everything and I can select those faces make them a circle and I can now extrude a finger like this so now from the side view this will be the index finger what I can do is cut this finger in half and I can cut it again in half but there so this will be where the the joint will be so I can add the joints and I can scale calls each time a bit add the fat below like this you can either just a simple cut there to distinguish the finger from the rest and I can also add a cut in the middle just you have the shape here I will add this cut to create the shape of the nail and overall this is a simple finger that we can create i will scale it like this and this view yeah the idea is to create a simple shape of a finger like this so now that I have this shape I can select it maybe pressing ctrl+ once again and I can duplicate it so I'm going to go in the back view I'm going to duplicate one time this finger and scale it and I'm going to try to connect it so first what I want to do is to add a cut in between everything there so I have a good separation between the fingers and we will see how to later remove the make sure that we don't so I'm going to remove this and I'm going to connect the fingers I'm going to remove this loop select the finger there maybe I can scale it a bit along the normals and I'm going to do the same thing for this one so let me which will Plus this and pressing alt s is going to help me a bit with the view and I'm going to select this I'm going to select this and I'm going to first try to create a circle with this it's not going to work pretty well so I'm going to push this a bit inside like this inside like this remember that it should be a round shape kind of and now I can connect using the bridge which is in the right click when you when you are in edge mode so bridge edge loops okay so once we're there we can accommodate for the bridge topology okay and we will have to be find everything later it's a little worried so now the last one the next ones are a bit smaller and I'm going to select this whole finger to rotate it a bit so it makes more sense okay so this one from the bottom I'm going to put the finger next to it I'm going to try to prepare the opening of the finger a bit better and I'm going to select this like this and which everything and it's starting to take shape right there maybe I can rotate this a bit and at this point I'm not worrying about anything about shapes huh okay it's just for now then just a matter of connecting things and playing around with the topology and we'll see later what we need to do in terms of shapes to have a better looking hand and the last finger the pinky finger is a bit smaller so I can scale it and connect it like this so right click bridge edge loop and I should be all right so now I'm at the point where we can start to think about how to model good looking or at least better looking fingers so for sure I want this part to be angled so if you look at your own hand you will see that you have a a webbing ends in between the fingers and they are dilating on more on the top part of your pound and there are shorter on the inside so I'm doing this here as you can see I'm pushing this geometry back yeah we have finger pads that won't be super defined there but you can put them a bit push them a bit sorry and one thing that's I didn't do as the thumb so in order to add the film what I didn't do is like go to the studio front of the film so the thumb is oriented a bit like this I'm going to add my loops around the thumb so note that for your fan you only have one joint visible so I can do this and I'm going to select the whole thumb and by pressing right click and smoother it is this okay like this using proportional editing again just the different parts so I'm going to try to force inside here the thumb a bit grab the shape of the tongue bit more pronounced trying to get the connection between the thumb and the index finger a bit nicer I know it's hard to do this with a few geometry few few polygons but you can smooth you see the transition a bit like this to do it a bit much so now what I want to do is to describe a bit better than something to take the pinky finger and I'm going to push it a bit inside because I want to describe the nice arching of the finger curve like this so this motion here and what I want to do now is to I'm sure that you all wonder how I'm going to try to create this end so I'm going to first collapse the vertices here that I created and that I know won't be able to make it for the rme don't you we emphasize the wedding there the webbing there's some lip the wedding and I'm going to collapse those edges again and maybe those even once so now I have many solutions so one of them is to here create some some quads like this but for now I have to steel edge collapse here my geometry even from the phones and here if I'm doing this it will probably work but here you can see I can work it around it and here I can create a crack so the cool thing with this technique is that I've solved my geometry only with quads the only thing that I'm not very fan a fan off is this so I can maybe push it they're a bit higher educate this and to hear of how can I say that the hole in the middle of the finger like the palm of the finger and I think it's a bit wider let me make it wider and what I can do from now on is maybe so same thing here I'm not very I'm not very a fan of what I've done there so I'm going to remove this those vertex those one and I'm going to make this higher this joint thing higher there so like this I think it's better and what if you know yes I think it's going to be enough for yes so now what I will do is of course try I'm going to try to you to smooth everything out so I'm going to select this this part of the of the end I'm going to smooth it a bit like this and here I'm not very fan again of this I in fact I should have pushed everything up a bit so it lines up with the rest of the end so now it's much better I think it comes off like flow of topology you can see and I can also add a smooth to everything and I can use the push around the normals a bit this adds a bit to the geometry of the end and I can add a nice line here that will give me access to more geometry to add the pads at the at the bottom of the fingers and as you can see I can also push the wedding aspect of the hand and this will make even more realistic the pinky finger is a bit steel high so what I can do is I can create a coordinate system based on the direction of the finger so I'm going to select an edge here and I'm going to click plus there to add an edge direction so if I'm cycling a gizmo you can see that the gizmo is aligned to this edge the cool thing is that now I can select everything and if I'm scaling pressing s + Z and Z again or let me select this gizmo so maybe I can set the gizmo directly but you can see well it's not really aligned with the with the fingers so I will I think it will have been better if I'm taking this edge that is like totally aligned so and to remove this and adding a new one it's going to be perfectly aligned with this and now if I'm selecting everything from the finger I can press G and y or SNY sorry now I'm scaling along the finger so I hope you understood what this method is with technique was the idea was to create a coordinate system based on the direction of the edge so now they have this I can go a bit into scope mode maybe push the shape of the pan a bit more inside okay again this what I'm doing is not mandatory for the base mesh but because the the sculpting part will be taking care of this but it's it's still okay if you want to work a bit Anatomy at the end on this point but I think that for this tutorial not in order to make its less longer than it is already I'm going to call it down done for it and I'm going to maybe put in a bit the top fingertips it's a bit like this and I'm going to attach this hand that we've made to our characters so maybe the thumb now that I'm seeing it from far away is a bit small so I can create in this case I have no choice to create coordinate system so each one in this case and now I can select a finger and I can scale it a bit along the direction of the I think it's much better like this yes and as I told you I need to flip the end around because it's not aligned anymore with the arm so I'm going to press ctrl M and X going back to the global transformation control M and X oh maybe it's old n-no it's ctrl ctrl alt M and thanks where is the mirror option ctrl shift and now it is on the 2.8 version sorry and now I can press ctrl shift and select new oh I see no it's not working anywhere so whatever what I can do is pressing as X minus 1 and at the end and I can rotate it and I will be recalculating the normals by pressing ctrl shift and as you can see and now I need to attach this and back to my model but one thing before you in this is to remember that if you're putting the hand like this it should be approximately the size of the face to the hairline so it's fortunately we write like this so I'm going to put here to me it seems a bit big so I'm going to scale it and I'm going to scale the head a bit later so I'm selecting the hand joining the hand with arm a little bit and I'm going to select the wrist and the hand and I'm going to reach in edge mode T loop like this and now I can recalculate the normals for everything and I'm good to go okay now it's just I think the normals are inverted so if you go there you can display them and you can see that normals are inverted so I'm starting everything ctrl M and we calculate the normal inside it's going to be better like this of course I need you and I'm going to push in a bit towards the back and rotate it a bit like this I think we are pretty good to shape it to go to the critical to go going to the stage we are in form modeling the waist and the arms I'm going to add this note that from the elbow that is approximately there so if you are extending your arm we always slightly turn inside slightly toward the inside you can see here we have like very tight geometry I don't want this I'm going to smooth this and scope note but the as I told you the hell the elbow is a bit like this and it's connected directly to the end to the ball joint at the end here of the waist so I'm placing it like this and it's straight because I can add a new cut there I can remove a bit of geometry from the front they're not geometry but I can flatten the geometry a bit from the front and overall I can shape the stop the on the shape of the arm so inside it's like this to meet it looks a bit a bit small so what I'm going to do is just scale it with proportional editing so I'm going to put the 3d cursor there by pressing shift right click and I'm going to press coma so Michael to go in the 3d cursor I'm going to scale from the Peapod pointer a bit young and you should be able to rotate the arm to the mid thigh so I think it's ok right this like this I'm going to smooth the arm the lower the forearms sorry a bit maybe using the clay I can add a bit of the forearm muscle but it's not very visible because we don't have the topology of course and can also pushed using the proportional editing proportional is there ok again go back to the I can go back using semicolon to median points and I can like push the biceps a bit in side I think we are close to be calling it down of course we can spend even more time with a lot of things but as a base mesh it's pretty decent so of course it's not perfect in terms of topology in terms of a lot of things but I think we can we can call it down for now because it's a long tutorial I don't want to bother you a lot with the this thing the only thing I will want to do is to push the origin back towards the food so I can press origin to Philly cursor which is in the center of the world and I said that I wanted to work a bit on the head so I'm going to when she walked a bit on the head then tech for and I think that the head is a bit high what is the face and also the eyes there are bits just to me there are bits looking high so of course we can add more geometry there so I will do it just for the purpose of like pushing the arcades a bit in the front to reach and also to help me to feel dolly get a bit but the cool thing is that right now you have all the topology to define a much better human looking character and it will be easy for you to sculpt on this so if you remove this for instance you will be able to see that the eyes are a bit a bit too big so I'm going to scale them and you add another cut around this I think it's going to be much better like this I want to add the cut in fact but and one thing that I wanted you is to just change the shape of this I should be a bit more realistic looking and I is not a perfect ellipse ellipsoidal shape so the nose is not that much defined but we don't have to because we can sculpt this but I think that like this probably a good start for creating Anatomy study your chart your high race character maybe the lower legs are a bit thing that it's okay it depends on the style of the character that you are doing but I think we can call it holding it down done for now as a muddler you always want to push things further but here I wanted to do a straight on tutorial and like a one-shot tutorial and I didn't want it to record different parts I wanted to show you like what is what it takes to create something like this so it's not perfect but I think it's still okay for I think we you have been like working for two hours or something like this so you see that adding a sub subdivision surface we can see a bit better the shapes that we've defined which you can see also the different hours that I didn't want you to see in the in the final match so let me like correct some some of the stuff I can push a bit better the rib cage right right there defining the better the different shapes here it smells a bit too back so maybe here you won't want to have the end of the butterfly there maybe you want to probably have this lower under under the bed so we are going to do this as a final touch so I'm going to add a shape like this inside okay and I'm going to connect merge those points just merge at last it's probably better to push this geometry as long as possible and maybe we can also slide a bit some edges like this much better control on the size of the birds if you can smooth the transition yeah I think for real now I'm coming it down so thank you for watching I hope this was informative enough for you I hope you will be able to create your own base mash down there or in whatever software you like and thank you for watching and see you next time you

Channel: sociamix

Views: 1,835,746

Keywords: anatomy, modeling, 3D, tutorial, blender, topology, retopology, character, basemesh, blender 3D, edgeloop, edgeflow, blender 2.81

Id: WlaMfIgS2ns

Length: 148min 20sec (8900 seconds)

Published: Fri Dec 20 2019