Hello. Hello. Hello.
Yeah,
welcome to another blender studio live stream.
Okay
so
today it's going to be a bit different.
Um so
completely new characters or like completely new
character for this dream new topic.
The last few streams were on the,
I was working on Michelle the sheep which was more sculpting oriented
and now it's going to be back to read the apology.
I see people can hear me awesome,
I'll come to the stream.
Okay, so this is a bit of a surprise announcement, the new character edition.
Um so this is actually, I want to give a bit of context to this project.
So um uh we actually also made like a
on the blender cloud block post announcement on this.
So essentially um the
like two years ago I worked on the the blender cloud character of Rain which is
a full open source rick that is available on the cloud for you to download.
And ever since we started uh the production on this character,
it was always clear that
for, especially for animation purposes it makes sense to add a second character,
especially if you want to animate like a scene,
it makes sense to have two characters at the same time interacting with each other.
So it was always a bit
a plan to have two of them at the very least.
And last year around june right before
the product production of Sprite fright started,
I had a bit of time to actually start working on this character,
the second male character which we nicknamed snow.
So
uh so far the only thing I only had very limited time working on him
and the only thing I really got to work on was the sculpting part.
So figuring out the design. So
all of this is actually available.
I uploaded everything that I recorded and all the materials on the blender cloud.
It's part of my stylist character workflow training course.
So over here you could like find a bonus chapter
which is called Snow with like additional time lapses,
which is essentially just everything that I've done for the character so far.
And also all the blend files and additional videos and screenshots that I've made.
So you can just download the files and play around around with it.
It's all available. So
um but there's still lots to do.
So the idea is to continue with a written apology
and then go on from there into every
topic essentially until the character is done.
Ah
Yeah,
so um
it's like a bunch of things that were already done.
Um The sculpting of the character itself is essentially finished.
Uh There were like similar design ideas behind the character as
with rain to make the character easy easy to animate.
All the clothing is relatively skin tight
so there isn't like any extensive rigging or cloth simulation required.
Um
and
after the general design was figured out, I also went into some expression testing.
So there's actually
a bunch of sculpts that I did of just like
basic expressions but also some more elaborate ones of
just figuring out a does this design actually work.
So
um all of this is already done. You can find more of this uh in the training course.
I don't want to get into too much detail in for this. But the last thing I did is
the post
just posing him in sculpt mode with the new tools,
essentially what I've already shown in the past streams and then
putting them next to rain
and seeing them side by side and seeing that everything works.
Um
Yes, also mike's comment, if you don't have any questions to me directly,
you can tag me or like blender studio in the chat
and I will see that more immediately. So
um
for the re topology,
I want to go not too much into detail but still give like uh kind of
a comprehensive um overview of my work flow
of like how you would go about this because
um I have a nice chance with this character of improving on my workflow a bit.
I think with the character of rain.
There were some mistakes I did with the written apology
and I got to rectify them a bit in the
training course with the tutorials that I've made for it.
But even though the anthropology is solid, it's
I I have the strong, I had the strong sense that it was too dense.
One of the workflow problems that I had at the time is
that I would start really with the fine details and then reach,
apologize just everything in this really granular small approach
and that ended up with a very high tense city written apology.
Um
and
I want to do that a bit differently for Snow.
I want to have a bit more control over the resolution
and not go to
overboard
with the amount of geometry.
Um but yeah, I want to give you also a bit of a nice
okay
um example of how
um how to make like a really clean read apology for
film production or how we would do it for the movie.
Uh At least how I would go about it.
So I already made a new collection over here called Snow Written apology.
I'm going to use as the base of my real apology.
I'm going to start with the head,
especially the face because it's an interesting subject to show
kind of like a bunch of the theory behind it.
Um
and then I just expand from there.
But the head is also the most final piece over here because you
can see some differences between the full body sculpt and the expression testing.
And that is because from the expression tests,
I noticed some things I wanted to tweak like
little things like where the hairline is, but the most significant,
it's just the height of the nose bridge and things like that,
which
uh it's small changes but they actually uh
significantly increased the appeal for some expressions.
And that's why having these
uh this testing phase of just sculpting
different expressions is actually so useful.
You your stress testing your design.
Um But that's why I'm gonna take this as the base.
So
I'm essentially just gonna just uh I'm gonna reset the cursor
to the world origin and then from the side view,
I'm just gonna move it over here.
Uh Like let's just start over here.
Generally I really like to start from the mouth because it's uh it's
I don't know maybe it's uh from the earliest tutorials that I started watching
where everyone was always starting from the mouth that I just stuck with it.
But it's also kind of a pivotal area where you can easily expand from.
Um So what I generally like to do is I like to polling model the entire anthropology.
Um I also think a box modeling approach is really interesting where you
would start from cube and just insert more loops to add more definition.
But
I want to show this a bit more step by step.
So
II an easy way to start is just from a plane.
Just put it here and just put it right in front of the mouth.
I can already go into edit mode. Actually, I'm gonna
um
Yeah, let's just keep the fade inactive geometry overlay. I think that's fine.
I'm going to keep it at .3.
It's just graying out all the other objects of it actually, and
uh actually want to start the music,
which I always forget about in the beginning,
maybe I should update the playlist at some point.
I want to add some more songs by the way,
which you can also find in the in the description now, down below.
So I actually added all the
albums and bands that are like part of the playlist.
So the first thing that I like to do is just to add a loop cut in the middle.
So I'm just having it directly here in the middle. I'm gonna delete the other side
and now I can add just a mirror modifier.
Um
This is the most essential modifier essentially to have here.
Um in edit mode on this object, I'm going to enable the hidden wire overlay.
That's just gonna
uh set essentially the object that I'm in edit mode to kind of into a wireframe mode,
but it's still obscuring itself,
it's like almost like an ideal way of displaying your topology.
Most disabling author, graphic proportional editing. So now I can
I'm going to enable this button over here which is
going to show the topology also on the other side.
Yeah,
and I'm going to enable clipping on the mirror modifier.
So this doesn't happen constantly where it's just like
it doesn't clip into the middle if it's enabled, it's always visible over there.
I also on the re topology objects enable display as weight now,
it's this struggle over here in front so it's always in front of all other objects.
Um It's really useful for displaying your topology
now. I don't have to worry about not seeing my rich polity object.
Um And yes, I see the question. Uh will you be, will we be able to download it?
Yes, I will make all the files available on the blender clout
once, once it's finished, essentially.
Uh Do you have a writable template for faces?
Uh No, I kinda I just use my general modeling workspace.
Um and there's just a couple of steps I need to
do to like what I'm basically showing right now too.
Ah
make it more ideal to visualize the wreath, apology.
Um I basically did everything I needed to do right now already.
Just the hidden wire overlay and setting the object to be visible in front.
Um
The
the only other thing left is essentially just the modifier set up so the
mirror modifiers one thing but I also want to add a shrink wrap modifier.
I'm going to set this to
um target normal project which is usually I use project but it requires more setup.
I think actually I'm going to use this as my new default.
Uh I'm gonna set this to on surface which is perfect.
Set the target to be this object over here
and that's it.
So now what this does is in addition to just the regular snapping on in edit mode,
it just make sure it's always wrapped onto the sculpted object
so it's always perfectly on the surface.
And then the last thing I want to do is add a subdivision surface modifier,
which is just
subdividing the result for a
smooth preview, which
I usually keep to object mode. I don't want to have this enabled in edit mode.
Um but yes, this is essentially everything I need.
I'm going to get rid of the three D cursor.
Um
So
this is the usual starting point. Um
What I want to focus on at first is uh I can make some
annotations of like the general thought process of how I go about the topology.
So the most general thing you want to follow is the the edge flow.
So it's just the general flow where these loops
should go based on the forms that you have the shapes of the object, but also based on
um
based on the muscle movements that you would have a
eventually.
So
I can already like draw around like some
some of the most essential
aspects
of where those loops should go.
Mhm.
And essentially it's not too complicated.
Like um the most, the most basic things are for example,
like a loop around the mouth around the nasal nasal labial fold over here,
which is like
circling the nose and then the last line and then the chin
and then yeah,
you could for example have like a loop that
is almost uh just looping around the face itself
and just kind of framing it.
And if you wanted to like there's various different approaches,
but you could also in this case,
add like another like mask loop around the around
the brow which is then leading back into here.
And then you get like a general flow of of your edges.
I'm just going to call this.
Come on,
can I rename it?
Double checking doesn't work.
Uh
Oh, control clicking. So edge flow.
Um I can also make a new layer.
Uh
and this is the first uh the other important thing I actually usually focus on,
especially when I start with the mouth and that is
like having a certain minimum amount of looks.
Um But I would also want to read the comments for a moment.
Can you flip your camera? We can't see your shrink wrapped settings. Oh, thank you.
Thank you for letting me know. I actually forgot about that.
What I usually do is I marked like a little area over here
as
I don't put anything here, like
kind of like this.
But
you know what?
Um
I might actually
do something different.
I don't need this much space over here.
I could also just adjust the work space a little
bit just to have this movie school over here.
So all of my
uh no preferences. Let's have the properties over here.
So you always see the modifiers over here on the side.
I hope this is helpful,
but thanks for letting me know.
So now I have like way more space for the outline, which is amazing. Um
awesome. So what else is there outweighed other questions. Uh
What do you do when there's a lot of polygons
and it's lagging while you're trying to preview the animation?
Uh Well, I'm not going to preview the animation right now,
but the ideal scenario is to keep the
to disable some modifiers for the report for the time being,
to increase performance
are using a vanilla version of blender or any extra plug ins.
I'm going to use the vanilla version pretty much.
Um There's some adults that I have enabled, like the F to add on.
You can find that it's just a pre existing add on is already available.
Like you can just search for
wait, hold on,
You can just search for F.
two and there it is, this is the main one that I'm going to rely on. Other ones.
It's just like the screen caps over here on the side.
Um And like some custom menus, but they're not really that essential. Um
But uh
apart from that is also my custom theme which
I finally put into the description if you're interested,
but
just so I don't have to explain every time how I made it.
What do you think about doing a C. Loop on the eyes.
Another continuous loop.
I've seen some people not connect the loop at the ends of the ice.
Well there's like
um
very there's different approaches and I would say that's it's more based on like
the shape of the head and the style.
Like also the more cartoony you would go the simpler the rich apology could be. So
uh you could just
keep it really simple. Uh
And I don't think this, I wouldn't say this like a
essential right or wrong way of doing re topology.
It's all just dependent on what is required of the character,
how much realism is actually in this character.
And how much do you need to achieve with the written apology?
Um
If you're interested in more like how I sculpted this character,
I have like all the time lapses on the blender clout
but let's just actually jump more into it.
So with I'm going to take now the mouth as an example for this.
But essentially uh one of the things I learned from,
like some of my research is um this is more
related to if you're rigging later on with shaped piece.
But I think it's it's still generally a great way of making a clean
reach apology. It's um to have the right amount of loops for a nice articulation.
Um So articulation is just like articulation areas like areas of
the face that have to do a lot of deformation.
Like especially for expressions.
So you want to have enough loops to pull off any shape you want, any shape,
you could possibly need any that the animators would require.
So for that it's nice to have like
three loops essentially as like enough curve handles,
like almost like enough handles to pull off any shape.
And then of course on the side these um the capping of point, like the the end loops,
so you get like a mid to um like a left or right and an end
and the same essentially also applies for
um
for the eyes. So this is the bare minimum that he would need in terms of loops.
Um but
it's still not enough, especially if you want to hit more
detailed shapes on just one side of the mouth.
So it's a nice nice way of capping it off,
is to see like each of these main looks as like curve points,
but then you also have to curve handles attached to it.
So I would kind of like aimed for this minimum amount of loops pretty much always
to just have like
ah
The Middle one with 2 extra proximity loops
and then the right and the left one with two proximity loops.
And then the end loop over here on the corner again with two loops,
capping that off and that should give you the most amount of control for hitting
pretty much any shape you want unless
you have like some really special requirements,
like having like some zigzagging mouth with sharp shapes or something like that.
Um but in more realistic cases, I would say this is pretty much enough.
Um and this is what I want to do right now,
so I can just start this pretty roughly off just extruding
these poets over here
and just
uh moving stuff around. I I generally like to use the tweak tool a lot
for these sort of things like and also you might notice that I'm actually like,
I'm still have like my own modified key map that switching to the tools
instead of the classical operators,
but it's not really required. So
let's just do this essentially. This is just my starting point
and
So I already have the middle loop, I have the left and the right one
and then I would theoretically over here have um the endpoint,
I'm also going to enable this uh
toggle over here which is called auto merge editing or like automatic verses.
And it's just a helpful way of like if you
would slide a loop or verdicts into another one,
they would just immediately merge.
So
it's just a helpful little thing of saving some time
and making it a bit more loose.
Um
well, see, I see another question,
will this be this video be up after the
livestream or will it be taken down afterwards?
Best verses were actually planning to
uh this is always going to be available on youtube, but you can also just,
it will be also available on the blender cloud afterwards,
which I think is pretty essential.
It's a great companion piece to the
of course and the already existing training videos that I've made.
Okay,
so we have
all of the essential loops
right now over here.
So,
uh one thing that I'm kind of missing over here
and that is like something that I've been struggling with is
um
you want to keep both sides symmetrical uh the upper lip and the lower lip,
same with the upper eyelid and the lower eyelid, if they, if the loops match,
it's very easy to connect them and have them meet in the middle.
So, but you want the same to be true for over here.
And if I would make a loop cut over here,
it will just redirect the loop to the upper side.
That's not what I want. It's immediately making it asymmetrical.
So what I like to do here is I'm just going to select these vortices,
press J to split them
and then
I'm going to subdivide it
by the way, this is just my own menu. It's essentially just quick favorites.
Um but you can find usually all of this in the in the right click menu.
Um Now this is a little trick that I often
do and it's like essentially a two pole over here.
It's a pole as a verte asi, that vertex that doesn't have
four connected edges.
Um but it only has two connected edges.
And what it does,
it would I'm going to make another annotation layer actually over here,
I'm going to just make this one white,
It's just
the neutral one.
Um So what this does is where usually the loop would
be redirected down here if this would be a square,
because it's just immediately redirects it just straight.
It actually redirects it over here and back into the lower lip.
And it's just a really nice way of keeping these loops connected and symmetrical
and it's just saving me a bit of time and work.
So now if I add a look over here, it's just immediately
going to the other side.
It's a nice little trick,
but I can essentially already start with just adding the minimum amount of uh
loops that I need for the mouth that I want.
So I already have
this part over here,
theoretically then I would also need
these two over here and now, that's essentially it.
So I just need to disperse disperse them a bit more.
So this is already giving me quite a bit of resolution,
I think it's already a bit high,
but this is the target that that I'm aiming for,
so I can also arrange this loop a bit more to match up with the edge of the lips.
Mhm
mm
mhm.
Uh
Yeah, you can just cut an edge loop with control are
um I hope it's easy to follow.
So
from here on out it's actually kind of easy to expand from this,
I can keep it as simple as this right now.
And what I would actually like to do is
to just
I can just duplicate this face over you
and I can just
model this nasal labial fault over here. This extra loop that is going around
like this, I can keep this,
I I don't need to do this in like a really
particular way of accounting exactly how many loops this is.
I can make this really rough and simple like this
uh and then I can detail it from there
uh from there on out.
I mean we would basically have a similar thing going on for the eyes.
Uh maybe it's not the best idea to already go into the ice, but I can at least
essentially repeat what I've done.
So
mhm.
I would just, same with the mouth we have,
I'm actually going to enable the
this uh
these lines again, but I love the inclusion of an opacity slider
for these annotation layers.
It's so simple, but it was really missing.
I'm going to make them a bit thinner.
So same here, we have the main amount of loops that I want to add
which are then going to culminate over here
on the corners,
keeping it symmetrical
for now, even though the eye is
is actually
open,
I'm going to um
yeah,
I'm gonna just fill this in as if it's closed just to keep it symmetrical for now.
Okay,
keeping it like this.
Okay, um
then I can just extrude and immediately scale this
to already put the loops in place for the islets.
Now let's just remove the interfaces again
and I have the main loops over here for the sites for the for the edges.
Um
and then I can add the supporting loops over here again actually, let me
fill this in again,
just in a simple way,
just so I can like add these loops and I can add them
on one side and it's also going to appear on the other side.
Yeah,
like this.
Okay, I'm going to get rid of the
annotation
overlay annotation layers again actually let me just um
I'm going I'm going to just hide them,
that's fine.
Okay, and I don't really need any more loops,
I can just delete the in a heart over here again
and I can just rearrange some of these bits,
especially since the islets over here.
The eyelid over here is getting a lot thinner
kind of like this
um but just like with modeling in general
uh read apology is affected by this too. I said this in a previous life stream.
It's a lot of nudging,
although there are tools in blender now that will make this a lot easier,
going more into detail
once I add more elements that are connected, but I can keep this like this for now.
Uh I can see already one issue,
I have the mirror modifier over here but it's actually not centered,
I can see that it's like uh
it's mirroring somewhere
different
so
I'm just going to apply the location
and rotation,
that was it.
Okay
if those values are just applied then it's just going to mirror it on the same
and on the same axis as the world and since
I aligned this head sculpt also with a world,
that's ideal.
Um
So I can merge these over here.
Mhm.
Like this.
Okay.
Uh so
to make this a bit easier for myself,
I can
I can mark scenes
to essentially keep
oh
to essentially remember where my main loops are.
So
Mhm
Essentially this one and
this one,
these are my articulation lines
just so I don't forget.
Okay, perfect.
Same thing over here essentially. So
we have like these loops over here
and
Maxine and that's it.
It's just a nice little way of
uh keeping in mind where my most important loops are for now.
Um So
where do we go from here? So one thing I could do is I could already start
connecting some of these but I could also
eventually I'm gonna land into more problems so
um I'm going to bring the annotation alas back actually because
another thing I want to note over here are
thanks,
we need to name this
and this is going to be
increases
so
increases are interesting because um I'm they're basically um there sometimes
going to be fighting your edge loop a little bit,
your edge flow a little bit.
But they are very distinct shapes that you want to capture with a written apology.
So for example,
they are sharp areas over here on the eyelets
or like around the nose.
Like over here, you would really want to capture these creases in the topology,
same thing really for
the lips.
Mhm
And
something that rain didn't have
this pronounced chin.
So it's like all of these little areas,
sometimes
they
are also not visible from the start.
So they are also like some, I would,
I would call them secondary increases where they are going to
be more pronounced the more it will go into animation.
So let's say
snow over here is going to smile or look really angry.
They are going to be creases that appear based based on his expression.
So for example, there would be one right here
essentially
um
also this one would be more pronounced that are following the brow
but that means that once the crease kind of appears over there,
I actually can
um
let's see,
I can actually go to that expression because I sculpted it already.
So I already marked some of these down.
So over here you can see them really on the brow where you,
where I really want to have this crease over here here
and some other creases are also going to be more pronounced,
like the last line over here
and
that means I need to add enough loops for these creases to
be able to appear using the rig later on. The same thing on the,
on the forehead. There's this crease that I want to add.
Um but other than that, there's not many more, it's like essentially all the basics.
So let's just go back to frame one and continue
okay,
so
mm
um and for this to work,
I essentially need to add like a center look
over here and two additional loops to follow it.
Like this can also be a bit more
complicated with like more of a grid pattern.
We have these loops
not like circle around.
Um
but yes, that's essentially the idea.
So these are going to be important
and
let's just continue with that.
I'm going to bring back everything else.
So I really want to have this over here on the last line.
I can already start connecting some of these um like over here.
Yeah.
And
mhm.
I'm going to keep it simple for now, so I'm just gonna keep filling this in a bit.
But just while keeping in mind what I want to do with this now here
becomes a bit tricky because I want to have this crease over here for the
for the chin
and for that, I'm going to break
this idealized clean topology a bit. I'm gonna actually
slide this up and I would like to actually have something like this happen.
Mm
Well like I place a pole over here um to redirect this edge loop instead
of going directly up into the lips it goes sideways and it kind of frames the
um
the chip
and the same will happen down here.
Yeah,
I think I can just like fill it in really in a simple way.
Uh Although I would like to I can just select this and just
inside it and press B to exclude boundaries from the in setting.
So I can just like get this extra loop in here.
And the reason why I do this is is an interesting thing,
like a general tip that I have for anthropology is you see these
like vertex is over here that have like three or five connected edges.
Don't place them directly on a crease.
Try to place these on flat or like very even surfaces
because these will be really visible once you subdivide it.
And if they are supposed to highlight directly a crease,
it's going to show some stretching. It's going to be a bit ugly.
Um It's it's a small tweak but it's it's just a general
workflow that I'm doing of just never allowing one of these polls
to be directly on a crease.
So in this case I have these polls over here and these two loops are
essentially framing
this crease right here,
but the polls are not directly on the crease.
Um
Yes, I'm just sometimes checking the chat if there's anything going on.
Um If you have questions to, to me directly attacked me in the chat again.
Um
before we pull it, does the model have edge loops that are hard to be evict? Um
I mean before we topology,
the topology can be as chaotic and nonsensical as you want,
which is actually the case,
like I can show you this and even though like I had to make
some really fast and rough three topology to make the expression tests work.
Um it's not pretty uh it's and it's like it has a lot of polls in it.
It just goes in random directions sometimes.
And the most important thing that I had for the three
topology is just that the eyes and the mouth match up
and then I just re projected all the sculpting details on, on on top.
So it's just really messy. And with the rich apology that I'm doing right now,
it's supposed to be much more clean.
So I'm gonna also
let's actually do this.
I want to still mark things that seems just
as a reminder of some of these important areas.
I'm also going to
clear these are scenes.
Okay, this is looking better.
Okay,
still nudging things around. I think this is nice.
Um
So
here's the thing
essentially I could
do this
where I would place a hole over here.
Yeah,
I'm gonna do this for now just to see where it goes.
It's like different approaches on how to how I've seen. People manage the upper lip.
I kind of
usually like to
have like
kind of like the
circling area that goes around the lip. I have the,
the nasal labial fold, like this entire area over here.
And then the way of how I manage these is especially going into
the nose that I would just add this small little patch over here,
which is just making this all a bit easier.
Um So that's why this poll is right over here.
I'm going over some of this theory, but quickly, I hope this is making enough sense.
Do you do this voluntarily or professional? Oh, nice question.
Well,
I mean this is my job. I do this professionally for the studio.
Um but this character is like something I pitched and I
wanted to make and I actually really enjoy a written apology
um
because it's a nice little puzzle.
It's essentially posing a, solving a puzzle.
Um
uh and yes, I see the question, do you read apologize the body as well.
I will get into that.
So I will start with face today and then this will expand until I get to read,
apologize the hair, the rest of the head, the body,
the clothing and then once and once everything is really apologized.
We will go into more areas like texture ring and shading and so on.
Um So I'm gonna leave this right here like this for now
and the nose
now. That's interesting.
Yeah.
So
can I established this edge loop over here to be
um
to be the center of the crease.
So I'm going to follow through on that.
It's going to remain the center of decrease all the way over here
and just as well over here.
And that means this loop over here is going to culminate right here.
Just so I have this nice line over here. Follow exactly
the shape of the, of the head.
Well, here we go.
Kind of like this.
I think that should work. Um
But this is going to be tricky because
yeah,
let's actually add
one more over here.
Oh,
so
Mhm.
Again,
I always want to have
uh like
the center of the crease not be connected to any polls.
So I will I already added like this extra face look over here to gain some distance
from from anything that are going to do on the nose.
Um
So let's just continue with that.
Mhm.
Okay.
For the nose, I'm just gonna start to extrude this and scale it inwards
like this.
You can already see it's a bit messy because
the shrink wrap modifiers just immediately shrink wrapping it onto
the surface.
So I need to nudge some of this around a bit.
Mhm.
At the bottom of the nose. That's going to become really trick.
That's gonna be really tricky.
Mhm.
Okay,
I think the nose is still one of the most tricky areas that are regularly.
Just struggle a bit with um
which is a bit of a shame.
So
um
sculpted this is in this,
in an interesting way where I've essentially to
increase is right next to each other,
It's not ideal.
Um I'm also going to disable the mirror, modify for edit,
not it's gonna make it a bit easier to see uh what I'm doing right now.
Uh Yeah, like this. Okay, I'm already going to merge these two faces over here,
add like to actually just to add a bit of definition to it.
It's like the minimum amount, I think.
Um Let's see.
Yeah,
the nose holes are also going to be really tricky.
I mean, you can
cover the nostrils with a face first and then inside it. Yes,
I could like, I could just
kind of like do something like this, where I first
kind of like fill this in and then I just like inside it and
um essentially move it in like this,
but I'm not sure if that's going to highlight the shapes and the best way right now,
so I'm gonna
keep it like this for now. I have like an interesting flow going on over here
and I want to capture that, It's not the easiest thing.
Yeah.
Okay, so I'm just gonna keep filling this in for a bit because
it's just going to make it easier to look at this
if I have it already.
Yeah, because nothing is really going to change on this uh surface over here,
this is going to remain mostly the same, but the nose hole
that's gonna be tricky.
Okay, go
Yeah.
Uh huh.
I think I'm gonna
mm
it's a bit tricky because I really do have to creases over here right now,
so if I want to follow my logic off
having the polls never directly on increase,
I would need to make some compromises here
by adding more loops,
let's see.
Mhm.
I can space some of this stuff a bit more out.
Yeah.
Mhm.
That's fine. At least for now.
Yeah.
Now, to the interesting part,
how do I capture this shape?
Can actually do it? And
in a relatively uncomplicated way,
if emerged this,
I want to have this extra look going around and kind of frame this.
Mhm.
I can try this,
it's not ideal, but it could get me at least the shape that I want.
Um
Yeah,
with me
mm
I can keep it like this for now. Um Again, I want to
damn it.
Um
Yeah,
so I had this one marked as my crease right now
which is not ideal.
It's a bit messy, I'm not gonna lie
mm
For now it's messy uh snapping, supported for edge slide and build,
you're using no edge sliding doesn't snap
and I think it's actually
yes, in most cases it's good that it doesn't but
um
yeah sometimes it happens anyway
On your scale of 1-20, how much do you like your job?
I mean I like my job a lot.
That's I'm really grateful for the opportunity of live streaming over here
and
I
I think it's it's
it's it's a lot of fun, I get to show some of this stuff that I that I um
that I'm doing.
Um it's definitely slowing me down and it's it's interesting
that like I get to do this during the production
of sprite right, but I'm really grateful for it.
Okay, wait, I'm gonna merge this.
Okay,
again,
um
yeah,
mm I want to actually try something which is
no, I don't want to, I don't want to convert to any of this stuff,
it's just it's going to be too visible.
Mhm
Yeah you too,
I need to destroy
what I did here in the nose hole a bit.
Yeah,
yeah,
yeah.
Okay,
so what am I trying to achieve right now?
I want to have all of these hard edges kind of captured in the topology over here,
especially around the nose, that's the tricky
for rain, I can ignore the problem and I want to learn a bit from from the things that
did not work out on rain
and do it a bit better for snow.
Yeah
mm
yeah,
I think this might actually work.
Yeah,
no these polls are terrible.
Um wow,
these ones,
these are horrendous,
I cannot keep them.
Yeah.
Uh it's just, it's six connected edges to one vertex and that is not going to work.
So I actually need to split this off
like this,
this would relax it a bit more
and I could like merge this
and fill it in again
and now it's at least
uh it's five connected edges. I'm actually going to select this.
And another little trick I like to do is in the view port display over here.
I can enable wireframe for specific objects.
Mhm
And now it always shows the wireframe on this object.
What's going to decrease the capacity of wire frames?
Mm
um still has
with my logic not work out this still has six connected edges because
mhm
because I didn't actually change anything.
Mhm.
I am going to delete this all together for now.
Yeah.
And the ah the ideal way that I see it is,
it would be too
to something like this
where I have the look kind of like lead out for its
yeah.
Mhm
Wait,
so actually, oh there's face missing
And I, I relaxed a bit now, that's actually like uh 25 polls over here.
Uh can we make games in blender?
Well, yes,
uh blender is missing its game engine that it used to have but you can absolutely make
a lot of the assets and animations that would go into
game creation.
Um
you plan on doing a rigging life of this character, I actually don't know how to rig.
Um So someone else would have to do that life,
but it would be amazing um if we could do some
more uh some more editorial content, we're just like presentation present,
presenting our work
on rigging and shading and all that stuff
in this format.
Okay,
so I like this actually more like,
maybe you can see what I'm going for with here with this like where
this loop is kind of like framing the nose but only mostly on the top
and then on the bottom, it's just kind of sliding in.
Uh it's just that's just fitting the design of snows, knows a bit more.
Mhm.
What?
Yeah,
but um
I already see some issues
popping up where like
what if I would actually want to
make a nose hole
in that case?
I think I might actually be able to do something like this. Uh
Mhm.
I don't actually want to add more edges over here,
but I'm going just going to just do it for now just to see how this affects
the topology
because now I could just
ah take these faces over here or maybe just this face
and just extruded further in for the North Pole or maybe just leave it filled in
for now,
but this is getting a bit dense over here. Now,
I'm spending a lot of time right now on the um on the nose, that's not good to be honest.
Um Now I might actually try to do this trick
where I just like sliding these two edges over here
in
and filling, just making a quarter out of these two faces.
Make this just to reduce the amount of edges a bit.
Mm
let it go.
Mm.
Um
Although to be honest, that was not very wise because
I I terminated it really, really fall down over here.
It's actually undo this.
There we go.
Mm hmm.
Mhm.
I'm gonna try something
um
Mhm.
Yeah,
can I?
Mhm.
Do something like this,
That would be ideal.
Yeah.
Mm.
Mm
Yeah,
pretty much kind of,
I'm playing around a little bit,
but uh this is at least getting rid of one of
the loops and actually sending it somewhere where it's actually helpful,
which is in the North Pole.
Now I have a bit more resolution over here, it's a bit messy, but I can clean it up.
Um
Mhm
Yeah,
one thing I actually like to do is
how important is it having a square and uniform sized faces for something like this?
Very important.
Um
Yeah,
it's,
I would say like um like square is definitely important because it's
um square faces have basically no stretching by themselves um when subdivided
if you have a triangle or a ningun
that's going to have some stretching
but
for uniform, I'm not opposed to like having like
much more rectangular faces on the red topology,
as long as the shape is more consistent.
Like
you don't want your lowest resolution and your highest resolution to
like your subdivided resolution to look vastly different.
That's just gonna make it unpredictable.
Um
Yeah,
essentially what stretching us
um can you make a Vfx territorial? Not really. I think I'm
so I mean personally, I'm the wrong person for that, but
uh maybe someone else at the studios up for it.
Mhm,
mhm.
And at least for now it's not really planned.
I
wouldn't strictly say no, it's never going to happen, but
it's not on the radar right now,
wow.
Yeah.
Mhm.
Now this is interesting.
Mhm.
I have too many loops
theoretically going upwards.
Yeah,
I'm going to make a hole here.
Ah
I like having a hole in like some of the areas that you
wouldn't see
later on
because you actually get to
get rid of some loops in there.
Yeah,
I don't mind having like now an extra loop for the nose bridge,
but
I didn't want to have to
mhm
mm.
I feel like this resolution.
Okay,
now a lot of this stuff needs to be nudged around a bit more
um
but at least the structure itself,
it's kind of getting
where I wanted to be.
I can continue with some more areas, so for example,
can bring back
the annotation layers.
I can't capture the crisis, like at least the loops that go there.
Um
Oh yeah. I see questions on like about the pc that I'm using.
I have noted some specs down below in the in the video description.
So you can check it out over there.
But yes, I would like to actually continue with for example, the brow.
And one of the interesting things that I noticed with a brow is
one of the um
the brow is essentially also an articulation area.
Like you want to treat this as sort of a curve.
So you kind of have like
and points over here.
Um
And then also three curves to give you the most amount of freedom. Unlike
actually
um
deforming this in various ways.
It's actually interesting that like if you go to the to the course,
I also made like a bunch of
cheat sheets.
So.
Mhm.
To be honest,
it's like it's also something that I sometimes like to look at myself just because
it can be kind of helpful to remind myself on like what is
the more ideal anthropology
or like some of the theory on it
in this case.
Like
I had the feeling that like
these are actually too many loops.
Like
this is the bare minimum that I actually would need.
Mm
It's a fine if they miss a line with the articulation loops of the
of the eyes.
Mhm.
They don't need to match up directly.
Um So what about the inner mouth? I see the question. Um
Yes.
I also need to reach, apologize the inner mouth but that's easier to do afterwards.
Um
And also question, I need to purchase rain, Well,
rain and the like a lot of the content on the blender cloud is
uh like it's kind of behind the subscription service but it's still open source,
so if you,
even if you once had access to it and you downloaded it, you have it, you own it,
like you just, you don't need to pay any fees to it.
So
it's actually something I heard about a lot of like
characters that you could animate for,
that you could animate out there.
It's like they are hidden behind like
a subscription service or something like that.
That's that's really nice
or at least I don't like it.
Okay.
Yeah,
well,
so
what I'd like to do for the eyebrows
is that the topology
of
essentially the browse, the eyebrows are matching each other? So
joint,
here we go. It's more like this
if the topology of the eyebrows which is like all the hair and the eyebrows and so on.
Uh I'm not going to make a groom of it like
any hair simulation,
it's actually it is going to be
a hair mesh.
Mhm.
So that just makes it a bit easier,
but in any way it's not it's really helpful if your browse the topology
of the browse match up with the eyebrows so they can move in unison.
Makes it especially really easy for
um
for for animators.
Okay I'm going to actually hide
all of that again,
marquesa seems these are my important ones.
Thank you.
Using a mouse. No, I'm actually using a tablet right now.
I actually got so used to just always using a tablet
even though then there's not really optimized to doing that.
Okay,
I'm actually going to just skip ahead over here and just work on the jaw.
Okay.
Mhm.
So that's just actually,
I like to use the
extra cursor as well for this,
so I just need to click
um
let's see,
Here we go.
What kind of tap it screen on your screen? Well it's
it's uh it's just a regular drawing tablet, no screen attached.
I don't think you really need a screen. It's actually quite uncomfortable
in my opinion, not just in my opinion it's actually economically uncomfortable.
Um uh It takes quite a bit of effort setting it up
in a way that is not going to hurt your neck,
your back or your arms.
Mhm.
Yeah.
Uh huh.
Okay.
Um I'm gonna add enough loops to actually connect
all of this kinda at least down below.
I don't need to connect it yet.
I just want to have enough loops available to connect it.
I don't like this.
Um And then essentially the same thing on the browser.
I could also already connected actually
just to see if it matches up
mm
There we go, I can get rid of it again.
Okay.
30 years are going to be tricky. I'm looking forward to that.
So
I'm going to fill some of this stuff in
just forbid. But I am still planning to adjust it.
Yeah.
Um
so I need to remind myself right now on where exactly I put that line for.
Yes. Like this one over here.
Yeah.
So
this one problem.
Yeah.
Mhm.
Mm.
Yes.
Here.
Mm hmm.
Okay.
Actually I'm using the wrong annotation layer for this and until there's this one.
Okay,
um
simple questions in the development of blender,
do you plan to improve the display of the mesh for anthropology?
Like rita flow? Yes,
that is still plant. There were already prototypes in place actually,
but they weren't finished. The
the development goals kind of shifted elsewhere. But I think eventually
it is definitely in the best interests for
everyone
related to reach apology workflows to just at least improve the display of the mesh.
Um Question for union. Have you learned three D.
Modeling on blender or did you make a switch from another software? Well,
originally I started with blender
That was like 10 years ago then I switched
over to zebras for sculpting and soft image for modeling
then to Maya for a very brief period of time and
then back but on the side just kept working in blender.
Um But I'd still miss exercise
of it.
It's like little things in there that I wish blender would have
uh
Uh huh
So um how do I continue? I could
so I want to align
these looks over here, I think that makes sense.
Just kind of like this main loop that is kind of framing the face
to just have that in line
with the crease over here,
which means you also need to
Add like two loops next to it,
like these ones.
Mhm
And this then already aligns with
with the brow, which I'm also just going to mark completely as a crease.
I want to remind myself that this is the the landmark
that I've said where the eyebrows are going to be placed.
Um I don't want to get into this part yet.
Okay,
I also don't want to connect to many pieces
yet because that's going to just become tricky,
but
just for laying out some of these things that can be,
can make it a bit easier to plan.
Okay,
the same thing over here, I have, I'm going to have a crease
right here,
so I need these two loops right next to them.
Um
Oh, thank you, you're awesome, I'm inspired by you, Thank you very much.
Um
How do you get to color a character like that? I reached late for the livestream.
Uh well uh the color is just from vertex colors.
This was actually before I started using sculpt vertex colors,
the experimental future that is available in the alpha version.
This is just I went to vertex paint mode and I just painted over it
and that's it.
Like if I just go to flat colors. This is essentially that if I remove cavity
it's just very simple colors.
And then studio lighting which is just my own little uh set up over here.
But you can also use midcaps if you wanted to.
Actually I could switch to E. T. I should actually. This is actually making it um
much more pretty
and it's not like it's getting less readable I would say like
this is fine but this is just popping a bit more.
Um But I do want to decrease the back line a bit.
Where is it?
Yes this one
Set this to six. No not this one.
Let's see
it's this one.
Six.
Here we go.
Mm.
Um Okay. Disabling extras again.
Um. Oh my God lots of questions. Um
It would be cool to get some variation on this character for animation with two men.
Oh yeah that is true.
It would actually be nice to um to for
example offer some various hairstyles to give some variety.
So you could technically it could theoretically use
the same rick twice for two different characters
but they just look mostly the same.
Um
And yes here is a separated mesh. I saw that question just a moment ago.
Yeah.
Um For the crease on the on the brow. This this is going to be interesting I think.
um
it's enough if I like Crosshatch, it's like I don't need to have like this,
this crease kind of go around that's just making the topology pretty complicated.
I can also just keep the relatively uncomplicated
structure that is that it has right now,
the edge flow
and just offer enough loops, loops that I can add a crease over here.
Um
Yeah,
but it is interesting that I'm running out of loops.
Mm
So
mm
my I might have actually overshot the mark a bit over here
or
I could change this a bit. I can I can add another loop over here.
So I have three.
This would make
this one decrease,
which would make a lot of sense.
Um then I can already connect these two.
It's getting a bit dense over here, but I think this is really necessary
and then I can just exclude this,
fill this in.
Um like this,
I can also add another loop over here in the middle of the brow.
Um especially if I want to.
Mhm
Yeah.
Let's see.
Mm
mhm
Yeah,
this would be also the crease and over here it would continue
like this.
I want to have this and then I would need
these extra loops over here to kind of frame them.
I hope that makes sense. Um
Uh huh
Yeah.
Again, if you have questions just tag blender studio in the comments.
It's easier for me to see them.
Okay,
so this is already getting a dense but I think it's
fine especially when compared to rain it's not too um abnormal.
I can already ex food and scale up
the region over here on the eyes.
I think that's actually a good idea.
Mhm.
Like this
it's
mm
Mhm.
Uh huh.
You're connecting this is going to be a bit of an issue.
I wonder if I can or if I should connect the crease over here
which would then ideally go directly into the corner of the eye.
So let's actually try that
can actually
Connect The two Crisis.
Mhm.
Like this
now I noticed that like I have like I have a lot of topology over here from the eye
um And leading that into the brow is adding a
lot of groups that I don't really need for the brow
but
probably that could be fine.
I'm gonna just try this.
Yeah,
filling it in to see if it actually matches up
and I think this is fine.
Yeah.
Yeah
kind of like this
yeah.
Mhm
mhm
mm
And
the further the brow area goes towards the outer edges over here,
I don't need to match it up exactly anymore.
Mm
One thing I kind of like to do is to go into sculpt mode for this,
I'm going to go back to solid view and
I'm actually going to disable this overlay. Um
And I like to just use the slight relax
uh slight relax brush blah.
Um to slide around anthropology but it's smooth it to relax it
mm.
Mhm.
Just a bit.
Um
What is the upcoming update of blender?
Well the next, I'm just reading some questions right now. It's the
The next update to blend. I mean that's 2.83.
There's going to be released notes about it when it comes out.
Um
When you are creasing does that serve a purpose beyond just the U. S.
I'm not sure what you mean. Well there are you can
increase the edges and that can have benefits for the for the written apology
but I wouldn't recommend it.
Um How high poly do you get? Usually
I try not to go to high poly but I also don't shy away from it if it's necessary.
Um
Yeah
uh scrolling is a bit difficult. Uh
How do we apply a material for a point of a mesh?
Sorry I don't know what you mean. Um Why do you need creases in a written apology?
Well
I mean uh with creases I don't mean like applying a crease to an edge.
Like what you would do with
um
uh like over here with shift E.
Or. Oh I think you mean seems um seems that just a reminder.
I'm just I'm just noting noting basically a little um
uh little bits of information about the re topology,
like what kind of important groups are in here and
the elements that I want to keep and preserve that.
I'm working around essentially.
Um
Yeah.
Is it better to reach apologize with such high pollen counts.
What would you do when you've reached the body?
Well yeah,
that's going to be a tricky subject and I'm going to
get to the influence and once I get to the body
but there's no way of getting around it. I want to have this poll account for the hit.
Um This is gonna give me the most amount of control.
Give the rigor and the animators the most amount of control later on.
I don't want to have
too few loops in here because it's not gonna be helpful.
Yeah.
Uh huh.
Yeah.
Mhm.
Yeah.
Mhm.
Yeah. This is not looking good but I can tweak that later on.
Um
mhm
Yeah.
I can also just oh can also just going to scope out
and just move around some of this geometry a bit and smooth it
specifically using the slight relax brush. I really like this.
I really like doing this
now here. It's getting a bit tricky. I have a lot of topology over here
in the brow area
which I still think I need
but it's a lot,
it's actually too much for
wait. I want to see the other side.
There we go.
It's actually too much going into the rest of the face.
I could try to like
add it over here but I don't think this is really helpful.
Thank you. Yeah,
look at this, this is
Mhm.
I can I can try it, I'm not gonna say no to it immediately.
Mhm.
Because I could also use these loops for highlighting the creases in the surface.
Yeah.
Mhm.
Yeah.
Mhm.
And
like this,
Yeah.
Uh
uh are you using a mouse or tablet? A tablet, but sometimes also a mouse.
I have one right here on the side, but mostly right now I'm just using a
regular drawing tablet.
Um
uh would it not be the same as working
with half the polygons then applying a subdivision also?
How are you getting the polygons to stick to the face and scott mod?
Uh Well,
I'm getting it to stick to the face and scott more because I I have the modifiers
visible in scalp mode.
There's just a shrink wrap modify and it's just shrink wrapping it back onto the face
and subdividing the rich apologize the rich apology to
get more resolution is not a good solution.
It's actually like it's if you
um
if it's about getting more topology,
like you should just taylor ideally taylor the topology
to have the least amount of topology necessary.
The fact that you're the just subdividing,
it is not going to give you much more control or
it might actually give you a lot more loops than you would realistically need.
So, adding,
I'm punching the microphone at exactly the amount of loops you want to
have and not more subdividing should have a different uh different purpose.
So um
have you ever tried using universal mesh for several characters?
Say anthropology layout with different proportional
step for different proportions type?
Uh Yes,
and it's difficult like if you as long as the
head proportions and the style is pretty much the same,
you can get away with it.
I think that's actually a really good time saver,
but
it's tricky
for this case.
I could not use reuse rains topology or any of the other open movie characters.
I want to tailor this specifically to this character.
Um
Can you tell how to make a one minute animation?
Uh No,
but we can make about 10 seconds. Right. Uh I I'm not an animator. Uh So I don't know.
Um Are there plans to put slight relax into the modeling tap?
I'm constantly switching to you to use it.
Well.
Mhm.
Yes,
it would be ideal to like the slide relax
brush in general is a really amazing modeling tool.
And having that available in edit mode as well is
is the ideal scenario
at least a simplified version of it. So yes, that would be great.
Um to disable the subdivision surface modifier to not see like a smooth result
And in Scotland I can just smooth over this a bit with a slight flex brush.
Mhm
mm.
Oh you should not do this.
Yeah.
Uh
Yeah.
Mhm.
Yeah.
Oh, I see a question. How do you enable the face filling function?
You're using the whole time? It's the f to add on.
It's actually it's actually uh in blender by default.
You just need to enable it in the adult section.
Yeah.
Mhm
mm hmm.
Yeah.
Going to disabled face sets and I want to see this
um
mm
Yeah, I need to push this up.
Hold
on.
I would love the slight relax brush to be available in edit mode.
It's the only one that I'm really using.
It's the only reason why I'm switching to sculpt mode really
hold
so
but there are
uh deeper
changes that should be done to the wreath, apology. Work floor
here.
It's interesting like now I have like a lot of loops from the eyes and I don't
want to just add more loops over here because they are going to go into the mouth.
And I already have the
optimal amount of loops for the mouth. I don't want to add more just unnecessarily.
So adding loops over here for example is a way of a
better idea because I don't mind having more loops in the nose.
This is actually really helpful.
Mm
So we're just gonna fill this in. It can look a bit ugly for now.
Like this.
Mhm.
Yeah.
And I should also now, like from time to time,
I like to just duplicate to duplicate and apply the shrink
wrap modifier because then everything just snaps back to the surface
can make sure that I can just like sculpt on this
and it's not going to deform in any really weird ways.
Mhm.
Uh Out loops.
Uh huh.
You know?
Okay. Just smoothing over the nose a bit to distribute this geometry a bit.
I like that.
I don't have to do this with a regular
edit mode features because it would take so long.
Uh I see way more questions.
Um
uh I was wondering why are some edges red and some black?
Well by default I just would be black but I'm marking some of them as
seems with control E and then Mark seem just as a reminder for myself.
Where do I have my creases? Where do I have my main patches?
And really important loops that I want to keep?
Um
earlier in the in the stream.
I was explaining why I was selling some of
these like they're basically like our main articulation loops.
I want to have to get some control
um to give some control to the rigor
later on and some creases that I want to have in their um
Yeah.
Where did you learn to read? Apologize lots of people.
It's essentially like uh knowledge that I accumulated over the years.
Part of it from like um like mentors and people that from
my um from when I was an apprentice at a three D.
Studio at a three D. Animation studio for advertisement
then like also other coworkers yet blender?
And also just from research looking up for example, brian Tyndall, um who's like
really amazing written apology a guy and
like articulation artists working for for Pixar.
It's,
it's really insightful just looking at all of their stuff
and you can really learn a lot reaching out.
Um
and they typically also have like books and tutorial content.
Um
there were some talks about written apology mode, heard problem mentioning it.
So that could be a cool solution. Yes. Um
I don't know like a written apology mode is still something
that I am a bit lukewarm towards to be honest,
because it would just duplicate a lot of functionality that is already an edit mode.
But I also see the benefits to it. So
I wouldn't,
I don't think it would be totally out of the question, like it makes sense.
But I would rather want to see also solutions explored where you
would have a written apology workspace and then the settings in,
in in the view port and an edit mode are just more accessible towards that workflow.
Mm hmm.
Okay, now
I'm actually going to mark some of these. Um
Yeah,
yeah,
yeah. I don't want to mark the crisis over here as seems I'm gonna
clear theme
and I'm going to mark them as sharps
now they're blue.
It's perfect.
So it's just an easier way of recognizing, hey, where are my uh where are my creases?
and the red lines are than just my important loops. Um
like the articulation lines and
just uh
Mhm.
The main patches that I want to keep that I want to have in here.
Yeah.
Mhm.
Thank you.
Okay, I want to change something over here.
There's like lots of loops going around here.
I wonder if I can
add another look over here without much worry
and then just fill this in like this,
You get rid of one.
No,
no, probably not.
It's getting really hot. Really dense store.
I don't like it.
Well actually it should work like I can just slide this in, move this one up.
Even if this loop is like supporting a crease over here. Oh no, it is decrease
now. I can't do this.
I don't want to have a poll on a crease.
Mhm.
So I'm going to keep it like this,
you can
that's just gonna
call some unnecessary stretching.
So
yeah.
Ah this is so dense over here. I don't like it.
Mhm.
Yeah.
Mhm
mm.
Mhm.
Okay.
Mhm.
If I can do something like this.
Yeah,
can like
mhm
push this around a bit.
Yeah.
What?
Uh huh.
Can you turn a loop back on itself?
Uh Well that is the main goal that like whatever loops
I create here that they always lead back into themselves.
Try to never spiral a loop out of control that's just gonna lead to bad things?
Um
my ideal. I really love it when a loop is really
leading back into itself in a way that it forms like a very self contained patch
but that is sometimes not
possible to achieve. Its not possible to keep it always like that.
Um
Hey good to be able to tune in if I may add something to the conversation
that poorly about the above the lip fields, a little misplaced
above the lip.
Yeah.
Um
I mean the lips is they're still going to be adjusted but maybe I should do that now,
let's just do it now.
Um So one of the things I would like to do is just to add like
two loops over here to frame the edge of the lip because this is a crease.
This is a sharp line
and I want to
have topology here too.
Support the sharp line.
Yeah
like this maybe not so much anymore towards the edge of
the mouth so I can just fan this out of it
but definitely
towards over here I want to have this sharp
so if I go into object mode and enable the subdivision surface modifier,
you can see it is now a sharp line.
Now I can add like two more loops over here
in the middle
to fill
the lips a bit more with volume.
Um And to save me some time.
I'm just going to duplicate and apply the shrinker modifier.
Um
You should
uh Wait.
Uh huh
I see some more questions how you make these lines on the faith. Well
okay.
Oh you mean? I don't know what you mean? Like the yellow ones.
That's the uh the fuck up the name. Blue cut tool.
And these lines I marked them with control E.
As seems and as sharps just as like a way of annotating the model.
Um You should bevel the edges of the lip or something. It looks quite sharp.
Um
Maybe beveling. Uh Sometimes I find it a bit unpredictable what it actually does.
If I bevel this, it would create too sharp edges.
It would just destroy my annotation. So
I generally like to just cut in edge loops with control our uh
but I will add as many loops and as I need to to make
the sharp lines really sharp
as sharp as necessary a sense essentially.
Um
Are you going to do a hair simulation or just keep them a mesh?
I'm going to also read apologize the hair.
It is definitely planned, so everything will be read,
apologized not just the face but also just uh the entire body and outfit.
So all of this is going to be done.
So let's just continue over here.
I'm gonna continue on tv.
I want to use even more
for great apology which is modeling task in general.
I think it's really pretty but I'm going to disabled sampling I think.
Or at least keep it on like let's keep it on six samples,
so it's moving a bit while navigating, but it's not like constantly sampling.
Um
Why you don't use three to put every re top floor? Similar adults?
Well I did use some read apology adults,
but I wanted to um I wanted to show a vanilla workflow,
like how do you use blender without any adults?
I think using
a full flow is actually like a valid approach. It can save some time, but
think like the
main modeling features of
of Glenda all
uh
they're fine for this workflow.
Um But right now I'm doing it a bit slow intentionally also just to
be able to comment a bit more on it.
Mhm.
Okay, here we go.
So
the cheeks, they're going to be difficult.
Uh They they look always a bit difficult,
but they're actually quite simple in theory because it is really just
about making a kind of like a square patch out of it.
So
I could now just really
extrude this upwards. Like this,
let's add some edge loops over here.
And essentially,
yeah,
this is like the big square patch um which Adams
you're using to display the shortcuts on the report.
It's the screen cast keys, add on, it's like I have it over here. Screen cast keys.
It's it's a really nice add on,
you can find it on github
just google for screen cast keys blender and then buy
new t uh that's just in general the best version.
Uh will you be adding bones during the stream as well now?
Uh
that's not really necessary.
Vanilla workflow is really good to show great work to thank you. Um
I am strongly in favor of like especially if
it helps your own workflow to use blender adults,
I'm using it to like I'm using the pie menu editor
to make like some more costs uh far more customized adults,
but also because it's not the best in python,
it's just giving me a bit of an interface to make that more easily.
But um
adults can be helpful and I like the open um
uh like culture of blender of like everyone
just making and providing and sharing anyone.
It's really nice.
Uh huh
Yeah,
let's see how do I do this?
Mm.
Mhm.
Mhm
mm.
Yeah.
Yes,
mm.
Mhm.
I think I want to be honest to be to have at least one loop
lead back in here.
Yeah.
Mhm.
Just to get
just so I don't have all of the loops over here, go down to the cheek
but I am fully prepared for just
adding more loops in here. I think that's fine.
Mhm
mhm
And a girl,
I'm just going to fill this in like really dirty
um
not like this
right,
just to see how many loops I would really realistically need even to fill this in
and to see if this is actually fine,
like I can do this in a really quick and dirty way.
Like this is really dirty but now I can still go into sculpt mode
and with a slight relax brush just smooth over it.
Yeah,
like this
and it's looking already much better.
Yeah.
Mhm.
But I am not necessarily a big fan of how
density is.
It was actually one of the things I wanted to avoid.
Okay.
But
yeah,
uh if it's if it can't be avoided, I'm also fine with it.
Okay, let's just apply weight
duplicate and apply
the shrink wrap, modify again.
Very good.
Uh
mhm
mm
Another question I meant whether you're going to turn the hair into a particle
simulation or just keep it as a mesh and thanks for the awesome work.
Thank you very much.
Um Right now it's really just a sculpt but I would really apologize it.
So it's a cleaned up version, still a mesh
and I would never add a particle simulation to it.
Um
So,
I mean that's still a possibility eventually to make a particle
simulation but that's not really in the plan right now.
Ah
Can we use blender add on? Can we use blender on Androids?
I'm not sure. I never tried,
I don't think it's really supported but it could be um
So it's having loops that don't spiral or cross themselves?
Important for later stages of character development or is
it just for the sake of the modeler.
Well
it is for the same sanity of the model, but also for the rigor
like
uh spiralling loops are going to
uh generally increase the amount of loops that
you're going to have to an unnecessary degree,
so it's actually good to keep them
away from your model as much as possible.
Mm hmm.
Okay, so I have to square patch over here.
I think that should be fine.
Yes,
but I'm not necessarily super happy with
with the resolution of it. It's a lot.
I think that could be improved.
Yeah.
See
yeah,
what time is it anyway? Oh wow,
okay. I'm getting um
close to the end of today's stream anyway.
I'm gonna continue a bit with a face but I'm already kinda happy with the progress.
Um I'm going to remove the
the red
seems over here.
I don't need that visual clutter actually
um
mm
I think I can actually get rid of this one.
Yeah,
it's actually cut
Another one in here.
Mm
mhm.
I want to get the amount of loops down as much as possible.
Yeah,
it's definitely going to be one of my goals right now.
This is
say large right now
when I could
just for now add like
compromise over here with like little diamond quads,
but I'm not too happy about that. I can
add a whole for it.
Okay.
Yeah,
yeah,
let's see.
Mhm.
I'm doing a surprising amount of cleanup, even though it's not necessary yet?
Um
I also see some questions that I missed.
Have you tried to make your own hyper realistic portrait blender? No
no not yet.
Mhm
Let's see.
Okay.
Really? Not happy about this whole area.
Yeah.
Yeah
let's see you.
Mhm.
Yeah
mm.
Another question this is just for showing technical purposes
or will you do something with your good work?
Well the idea is to eventually wants to re topology is done of
this character the complete character to go
further into UV unwrapping texture and shading
and
also just rendering and presenting the
character in an interesting way but eventually
the character should be
um rigged and added to the to the clouds character library
so you can actually access that they are downloaded animated and all the
files should be available and so on what I'm doing right now.
Yeah.
Mhm.
Uh huh
let's see you.
This is interesting.
I think I would want to
push this down
just to match the shapes a bit more over here
by the way, I turned the object right now via a shortcut into a wireframe object.
You can find that here and display as wire
or by default it's displayed as textured.
So if it's wire
then
it's just making it a bit easier for me right now to see
the underlying object in the underlying sculpt in sculpt mode
while still being able to sculpt on the beach apology.
Mhm
Like this
um
Mhm.
What is the first character you have designed? I don't know to be honest.
Not right now.
It's been a while.
Yeah.
Mhm
Okay.
Mhm
Okay.
Mhm.
In general, this is looking fine.
I would like this to have a bit more distance
for here. So it matches to shape a bit more of the cheekbone.
Mhm.
And this is gonna be tricky. I want to have the line follow this shape over here
and this is actually not just any line, it's actually a crease.
So I'm gonna actually mark it as such over here. This is a crease,
which I want to keep,
Yeah.
Okay,
okay. So how do I manage that?
Yeah,
mm hmm
I have a feeling this is going to be very tricky
because if I can match up the loops of the, the end point over here on the,
on the eye with this crease,
that would be ideal.
Mm Let's see.
Oh boy.
Yeah.
Mm
Can I,
can I merge these?
I want to get the
thank you.
Uh it's not
deal, but I couldn't manage.
Mhm
Yeah,
yeah.
Mhm,
wow. No, this does not work.
This is now where the puzzle is getting kind of interesting.
Do you know if the rigging will be streamed? No, I'm not sure.
Um
I don't like where this
sleeping.
Uh huh,
mm hmm.
Mhm
Yeah,
I'm just experimenting right now on how I could
fill these areas without adding a lot of loops.
I mean the easiest way is to just like really to lead it into the cheek
because this but there's already so much going
on there that it's just a bit overkill,
wow.
Yeah.
Mhm.
Don't like this idea.
Yeah.
Home Home.
Okay.
Find Home.
Mm
I should say if I haven't saved in an eternity. Um
Mhm.
Two
mm
uh is that he played
versions in blender? Sorry, I don't understand.
Mhm.
Um How many hours have you spent making a complete character? Richter texture?
Well depends on the character.
Uh There's like some simpler characters where we spent like a week or like
a couple of weeks.
Yeah.
Um like for example the settlers project but then rain for example what's an entire
almost like a research project that took,
it took like
1 1/2 a couple months
but it's essentially like making the main character of your movie
so it makes sense that it takes a lot of time.
Um
Mhm.
Yeah.
Mhm.
Yeah,
I'm I remember disappointed that like with a written apology right now I
didn't get to lead the loops really nicely into like very organized patches,
but
that's fine.
It's still
uh huh
apology. It's still itself should still work the way it does right now.
Yeah.
Mhm.
Yeah.
Okay.
Mhm.
Yeah.
I think mostly everything is kind of here
at least for the face.
Of course the best way to test this is to just like enable the
subdivision surface modifier and to see how it looks.
In comparison to
the sculpt underneath.
There's also something weird going on over here.
What is that?
That's weird.
Oh there's a there's a face that was hidden.
Okay,
here we go.
So just this mask this
this part of the rich apology. How much does it match up?
I think it does fairly well.
Yeah,
the most important thing is that it captures not necessarily
the main volumes because that's something I can fix afterwards.
But the crisis
especially around the eyes, I think it does a pretty good job.
It could be sharper over here so I could just nudge this further in
and interestingly enough that is
no,
well I would have to add at least one edge over here as like the counterpart
really just to make this crease visible.
Might actually make it to visible right now but can be soft and
yeah, is looking good
and then
yeah,
someone is drilling.
I hope that's not audible
in the stream.
Mhm.
Okay.
Uh huh.
His nose so big. Yes,
that was definitely part of the design. I wanted to give him a bigger nose than rain.
Um
I think the design of the nose is pretty fun.
Uh huh.
Mhm.
Yeah,
like there's certain aspects of the character designs that
are exaggerated between these different characters for rain.
It was really supposed to be the brow and her eyebrows.
She has a really pronounced brow
for him. It was definitely more than nose
and chin.
Okay.
Uh huh.
How do I make this work in the best way I could like
push this up.
Mhm.
These groups are close enough to each other that they could
uh that they could pinch together and form that crease without having like
a severe loss of volume around on the on the other sides.
Yeah,
could work.
Uh huh
mm.
Mhm.
Okay.
And
I assume the eyebrows are separate geometry.
If so is it tricky to make it not disappear
into the face or something when freaking or deforming?
That is a really good question. Um
To avoid that,
what I always try to do is to have like the topology over here on the eyebrows.
This is the topology of the face but it
should match up with the eyebrows as much as possible
except for the outer parts of a here word which has become too tiny.
But what that offers us is if we make an eyebrow geometry,
it can have the same amount of loops at this
at the same place and then they can move together
without a real effort to the rigging.
So that just makes it easier.
I think there's already looking pretty good.
Um
Of course there's like other elements missing
like for example read apologizing the ears,
the neck and all that stuff but I think I'll leave that to another stream.
Um that would be done in the next part, finishing up the rest of the head.
I just want to double check
on these facial elements like
the nose for example, like I just left a hole in here for now
and
I could finish up the eyes. That's something I could do at least.
Um Not going into the inner. I like the thickness of the eyelids and such.
Um
Actually it's let's do it anyway,
that's the least I can do.
Mm
So I can just like extrude and scale this in
like this.
And then I kind of get the
the inner islets
and don't shy away from making them thick
eyelids are actually really thick if you look at them.
Uh Like from an anatomical standpoint
of course I might need to have to adjust the distance to
the eyes so they don't have to clip into each other.
Um
But something like this
uh actually hit
so uh
the I object. There we go.
Mhm.
Like this.
Mhm.
Kind of like this.
Okay.
Okay
and then
I need a certain amount of loops
and
wait. There's actually some more questions I should also
answer those. Are you
a T. Four a post on a post type of person? Well uh
I've tried
a few different resting poses
throughout the different productions we had. And
the most popular for the animators is generally the T. Polls
just because it's making uh rotation values on bones and all that, all that stuff.
Much easier to manage. So if you want to give
animators, less of a headache, go for typos.
But for sculpting
in general, I actually am now moving away from T. Or a pulse is completely
I want when I'm sculpting character on a design perspective just
finding the character design,
I'm going to just post them with the arm stone
in the in the most relaxed way, a natural way as possible.
I don't want to
I don't want to do the design to be
less readable because of technicals
specifics
something that's a problem that we ran into a few times now.
Mhm.
But yes, the eyelids, I already have this edge loop over here and I would like to add
At least like yeah like three more.
And these three are just enough like if the I should ever close
but there's enough loops to keep the volume of the eyelids intact.
Like the the islets could have a bit of
curvature and actually wrapped nicely around the eye.
But then also these two loops are a nice counter
piece to the creases that we're going to have here.
I'm going to add one more over there as well.
And this is going to also be marked as a sharp
and this just makes more sense now.
Um
So I have these two loops over here for this crease and these two loops for
this crease and these four uh these uh four looks over here can be used for
Uh huh
For when the eye closes.
That's a general. It's a really good rule of thumb.
Um the year I'm going to do that in the next dream.
I think
I am pretty happy with how this looks.
The temple area is gonna be tricky. I think I need to figure this out this out next time
I know that I messed up the temple area but on the rain,
read apology and I want to fix that mistake.
But let's just have a look at this again.
I'm actually going to switch to a madcap so I can see the surface curvature even more.
So if I
switch between
the face and the rich apology exist like this hide and hide.
Think the lip crease could be sharper. It's losing a bit of volume right now.
Same thing for the um for the chin and same thing over here.
But other than that, it should actually be good.
It's capturing most of the details. But yes, the lip that is
That is actually a thing.
Yeah.
So I'm going to slide these up
more towards this.
Yeah,
critical point over there. Why I want that crease. Same thing over here.
No,
the closer they hook this edge over here, the sharper the crease is going to be.
And over here I'm actually going to add another loop.
So this one can be, I can slide this further upwards and this one can rest
a bit more snuck
on this crease over here.
Mm
That
and now I have this like this crease over here.
Much better captured as well as on the lips.
There's a general loss of volume but that can be fixed another way afterwards.
Once I'm happy with the general reach apology
um
When will be the next dream? I'm gonna do this weekly,
each Thursday at 4:00.
I
kind of settled on that time
in general now.
Um
but yes,
if you're hungry for more,
there's also the time lapses of the sculpting progress on the blender clouds.
Um but more on the re topology
can also be found there like the topology of the character rain but for snow,
you would have to wait for a bit.
I'm going to show the basically everything else
that's left to do for creating this character life
is making it as accessible as possible.
Um
I'm going to quickly just for a short time hide the
seams and sharps just to have a look at the red apology
and I think this is actually looking pretty good.
Yeah.
You think it could be tweaked in a couple areas.
Not too happy with how some of these loops actually like where they lead
but none of it is nonsensical. It's all
yeah,
it's all kind of nice and symmetrical
and even though some areas like over here are a bit dense,
it's not like there are any more dense than any other area of the face.
So should be fine.
And I have just enough loops for every major crease that I want to have
available for animation.
Yes.
Yeah, that should basically be it for now.
Uh I'm going to end the stream here so I hope you have really enjoyed this.
I'm just quickly checking for any more questions.
Another shrink wrap, duplicate apply. Might be smart before quitting. Ha ha!
That's a good tip. Okay, I'm gonna actually do it shifty control a bam
so
now we can actually see how this compares.
I think this is pretty good progress.
Okay
then I'll see you next time. Thank you very much for joining
and have a good day.