WEBVTT 0 00:00:00.040 --> 00:00:03.850 with the basics covered. It's time to plan out our topology. 1 00:00:04.340 --> 00:00:06.630 I can generally recommend doing some amount 2 00:00:06.630 --> 00:00:09.050 of preparation instead of just winging it. 3 00:00:09.440 --> 00:00:13.050 Uh you will have an easier time solving this puzzle that 4 00:00:13.050 --> 00:00:16.280 way and to show how important a bit of preparation is. 5 00:00:16.290 --> 00:00:20.280 I will guide you through my thought process of read apologizing 6 00:00:20.280 --> 00:00:23.860 the face one of the most complex areas in my opinion. 7 00:00:24.440 --> 00:00:27.470 If you know how to tackle that, you know how to basically reach, 8 00:00:27.470 --> 00:00:28.850 apologize almost anything. 9 00:00:29.640 --> 00:00:34.250 It's also good to mention that my terminology so far and in the rest of the chapter 10 00:00:34.380 --> 00:00:39.450 is pretty much a wild mix from other artists and what I came up myself. 11 00:00:39.840 --> 00:00:42.150 There's no commonly agreed on 12 00:00:42.740 --> 00:00:50.360 terminology, so I'll at least make sure that mine is well explained and consistent 13 00:00:50.840 --> 00:00:51.740 for the planning. 14 00:00:51.750 --> 00:00:55.190 I'll use the sculpt of rain after the expression tests 15 00:00:55.190 --> 00:00:58.850 were made and withdraw overs from the annotation tool. 16 00:00:59.440 --> 00:01:04.019 With this, we will determine the goals and minimum requirements of our topology, 17 00:01:04.030 --> 00:01:06.760 especially from what we learned in chapter three. 18 00:01:07.340 --> 00:01:10.190 First off, we start with the general edge flow. 19 00:01:10.490 --> 00:01:14.960 This is often the same across humanoid characters or even most animals. 20 00:01:15.740 --> 00:01:18.710 There are circular loops going around the eyes, islets, 21 00:01:18.720 --> 00:01:22.060 nose and mouth to support the general shape. 22 00:01:22.640 --> 00:01:24.880 There's also a loop going around the chin 23 00:01:24.980 --> 00:01:30.460 last line and into the nose bridge to frame the mouth and the nasal area. 24 00:01:31.820 --> 00:01:34.320 The edge flow is also roughly aligned with 25 00:01:34.320 --> 00:01:36.690 the movement of the muscles in those areas, 26 00:01:36.700 --> 00:01:38.160 not just the shapes. 27 00:01:38.840 --> 00:01:41.890 Lastly, there is a loop along the jaw, 28 00:01:41.900 --> 00:01:45.860 ear and temple and then the forehead to frame the face 29 00:01:46.240 --> 00:01:48.360 and follow the shapes and the muscles there. 30 00:01:49.040 --> 00:01:53.490 I made a separation in the middle since the other side will just be symmetrical. 31 00:01:53.500 --> 00:01:55.350 So we'll just use the mirror modifier. 32 00:01:55.360 --> 00:01:59.960 But this is the most basic outline that most faces will follow. 33 00:02:00.640 --> 00:02:03.130 Next up we have our landmarks. 34 00:02:03.150 --> 00:02:08.330 These are areas that for specific reasons need to match a certain structure. 35 00:02:08.340 --> 00:02:12.950 In this case there are the eyebrow objects on top of the face which 36 00:02:12.950 --> 00:02:17.460 I want to match as closely as possible with the topology on the face. 37 00:02:18.240 --> 00:02:22.950 This way I can be sure that the skin and the eyebrows will deform in unison. 38 00:02:23.440 --> 00:02:26.250 If you would use hair stimulation and grooming 39 00:02:26.380 --> 00:02:28.450 then this is probably not as important. 40 00:02:29.640 --> 00:02:33.660 It's really if there are two separate objects on top of each other, 41 00:02:34.140 --> 00:02:36.430 you might also have big piercings, 42 00:02:36.440 --> 00:02:40.560 a nasty scar with stitches or any other landmarks, 43 00:02:40.940 --> 00:02:45.790 but these are only meant to provide enough geometry to move with 44 00:02:45.800 --> 00:02:50.560 other objects that are attached not to model other objects into them 45 00:02:51.040 --> 00:02:53.860 stitches, piercings, eyebrows, et cetera 46 00:02:54.240 --> 00:02:55.820 should be kept separate 47 00:02:55.930 --> 00:02:58.260 to not make the topology too complicated. 48 00:02:58.740 --> 00:03:02.520 Following the general shapes is the first thing the 49 00:03:02.520 --> 00:03:06.860 next important thing is capturing specific surface details. 50 00:03:07.540 --> 00:03:11.150 We can outline the primary creases which are hard 51 00:03:11.160 --> 00:03:14.610 edges that need to be captured by the topology. 52 00:03:14.640 --> 00:03:18.680 This is usually achieved by having one or two proximity loops 53 00:03:18.710 --> 00:03:23.350 next to the hard edge to keep it sharp while subdivided 54 00:03:23.940 --> 00:03:27.720 tied to this idea or the secondary creases which are 55 00:03:27.720 --> 00:03:30.750 only becoming sharp when the area is getting compressed. 56 00:03:31.340 --> 00:03:36.650 You can base these on the muscle movement and expression tests that we sculpt it 57 00:03:37.640 --> 00:03:42.180 for this. There also needs to be one or two proximity loops 58 00:03:42.290 --> 00:03:46.060 but spaced out more to keep the surface smooth by default. 59 00:03:46.640 --> 00:03:50.670 Only when for example firing off a muscle to smile. 60 00:03:50.680 --> 00:03:56.060 Do the secondary creases become sharp by compressing the loops together. 61 00:03:56.540 --> 00:04:00.260 But to make this possible, the loops need to be there and ready. 62 00:04:00.640 --> 00:04:03.370 But now that we talked about the defamation of the mesh, 63 00:04:03.380 --> 00:04:09.250 it's good to give an ideal structure to the areas that will articulate the most. 64 00:04:09.740 --> 00:04:10.650 These are for example, 65 00:04:10.650 --> 00:04:16.550 the browse eyelids and lips which can deform in various ways based on the expression 66 00:04:17.240 --> 00:04:19.860 to make the defamation as clean as possible. 67 00:04:20.029 --> 00:04:26.150 That need to be at least three loops. To define any arc or curvature in these areas, 68 00:04:27.040 --> 00:04:29.310 What I'm talking about now is basically based 69 00:04:29.310 --> 00:04:31.960 on the three curve principle by brian tyndall, 70 00:04:32.340 --> 00:04:35.960 which I can highly recommend if you want to dive deeper into the subject. 71 00:04:36.440 --> 00:04:39.890 So they need to be one mid and to end loops for each 72 00:04:39.890 --> 00:04:45.260 brow eye and the mouth with with a horizontal separation in the middle. 73 00:04:46.140 --> 00:04:49.990 But just like adding curve handles will give you more control. 74 00:04:50.000 --> 00:04:54.060 Each of these loops should have two loops next to them 75 00:04:54.640 --> 00:04:57.240 from there on out more loops can be added 76 00:04:57.250 --> 00:05:01.740 if needed by the defamation or curvature of the surface 77 00:05:01.750 --> 00:05:04.970 but try to keep this three curve structure and 78 00:05:04.970 --> 00:05:09.960 the amount of loops symmetrical vertically and even horizontally. 79 00:05:10.540 --> 00:05:14.490 The rest of the loops that go perpendicular to these articulation loops 80 00:05:14.500 --> 00:05:18.660 should just be to keep the curvature of the surface intact. 81 00:05:19.040 --> 00:05:23.380 For example, for the closed eyes or stretched and compressed expression. 82 00:05:23.390 --> 00:05:26.780 There need to be enough loops to keep the structure of these 83 00:05:26.780 --> 00:05:32.360 shapes standing and not end up with two stretched or flat services. 84 00:05:32.840 --> 00:05:36.760 But with all of these pieces of the puzzle, how do we connect them? 85 00:05:37.240 --> 00:05:40.750 This is where the strategic placement of polls comes in. 86 00:05:41.340 --> 00:05:43.770 What we want to do with them is to 87 00:05:43.770 --> 00:05:47.760 redirect these lines into square and circular patches. 88 00:05:48.440 --> 00:05:53.370 The polls should be placed away from the creases and hard edges and instead on 89 00:05:53.370 --> 00:05:56.860 surfaces that stay mostly flat won't deform 90 00:05:56.860 --> 00:05:59.860 heavily or are hidden by other geometry. 91 00:06:01.040 --> 00:06:02.570 With these polls placed, 92 00:06:02.580 --> 00:06:06.810 we can connect the dots and to find specific patches to guide 93 00:06:06.820 --> 00:06:10.760 all of the other lines in the right direction without conflicts. 94 00:06:11.440 --> 00:06:14.010 So, so for example, by placing some polls, 95 00:06:14.020 --> 00:06:19.260 we can create a square patch inside or next to circular ones. 96 00:06:19.940 --> 00:06:23.890 It's important to actually connect the polls and not spiral them 97 00:06:23.890 --> 00:06:29.150 off This way we have very clearly defined square and circular patches 98 00:06:29.540 --> 00:06:32.230 in a constant ebb and flow next to each other 99 00:06:32.580 --> 00:06:33.860 and within each other, 100 00:06:34.340 --> 00:06:35.900 bringing this all together. 101 00:06:35.900 --> 00:06:38.960 In modeling, you should end up with something like this, 102 00:06:39.340 --> 00:06:42.060 I call it the patches to make the structure more clear, 103 00:06:42.440 --> 00:06:45.300 but this is very much an open ended puzzle 104 00:06:45.310 --> 00:06:48.560 since there is no gold standard for written apology. 105 00:06:49.640 --> 00:06:54.020 This ring topology can be reused for multiple characters, 106 00:06:54.040 --> 00:06:58.850 but some might need some special attention and different implementations. 107 00:06:59.440 --> 00:07:00.400 For example, 108 00:07:00.410 --> 00:07:03.090 if you would want to add some more loops below 109 00:07:03.090 --> 00:07:07.570 the eyelids and between the brows to get more definition, 110 00:07:07.580 --> 00:07:11.160 you could add another circular patch, like a hero mask. 111 00:07:11.840 --> 00:07:14.980 If you look online at our other artists, read apologies, 112 00:07:14.990 --> 00:07:17.960 you will find many different solutions to the puzzle, 113 00:07:18.440 --> 00:07:21.680 but as long as you understand the principles and what is 114 00:07:21.680 --> 00:07:25.850 needed for your character then you can pretty much read apologize anything 115 00:07:26.540 --> 00:07:27.190 of course 116 00:07:27.300 --> 00:07:29.360 in an actual production environment, 117 00:07:29.500 --> 00:07:31.360 there is an extra chaos factor. 118 00:07:31.740 --> 00:07:36.660 This planning and execution is pretty much an ideal scenario but there might not, 119 00:07:37.040 --> 00:07:40.100 there might still be some changes and last minute 120 00:07:40.100 --> 00:07:43.850 adjustments or the time available is only very minimal. 121 00:07:44.240 --> 00:07:47.680 You might want a couple more loops in the brow area for 122 00:07:47.680 --> 00:07:51.460 frowning and you add a diamond and try to hide it. 123 00:07:51.940 --> 00:07:54.250 It's a bit ugly, but you can make it work. 124 00:07:54.740 --> 00:07:58.000 They could also be a little graveyard below the jaw where 125 00:07:58.000 --> 00:08:02.660 the arcs are just wide enough to not be too noticeable. 126 00:08:03.140 --> 00:08:04.190 Also, as a side note, 127 00:08:04.200 --> 00:08:07.410 I drew the ark the wrong way loops would be 128 00:08:07.410 --> 00:08:10.990 coming from the face and redirected back into it. 129 00:08:11.000 --> 00:08:11.560 So 130 00:08:12.240 --> 00:08:13.260 just to clear that up, 131 00:08:14.540 --> 00:08:18.260 extra poles to lead some more loops into an 132 00:08:18.260 --> 00:08:21.160 area where you need them is also very common. 133 00:08:22.040 --> 00:08:27.160 Or some areas might lack extra poles, which makes the available loops of it thin. 134 00:08:27.640 --> 00:08:32.159 The better the topology, the better the animated outcome will be. 135 00:08:33.440 --> 00:08:35.150 But placing more polls 136 00:08:35.740 --> 00:08:39.419 comes at a cost of more stretching and pinching. 137 00:08:39.429 --> 00:08:41.559 That's the tricky part of the puzzle. 138 00:08:42.840 --> 00:08:44.910 In the next video, I'll demonstrate how to read, 139 00:08:44.910 --> 00:08:50.550 apologize the face in practice to get to the results you see on the screen right now.