WEBVTT

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We'll start off with a couple of very basic but also very important shaped keys.

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Click on the plus button to create

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a basis which will be the original mesh and then two

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more shape he's which will name eyes closed and mouth open.

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These expression tests will be helpful as building blocks for

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further expressions and to make sure that the eyes,

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teeth and inner mouth work well with the current model.

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So let's start with closed eyes.

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I recorded some reference material on myself to give some real

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life examples on how to achieve expressions in a believable way

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for blinking or just consciously closing and opening your eyes.

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We need to slide the eyelids along the eyeball surface towards each other

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but it's not just that

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the upper eyelid is visibly going most of the way

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down with those eyelashes pushing the lower eyelashes slightly downwards,

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the lower eyelids

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Only move up a little bit of the way to meet the Upper one.

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There's also a clear downwards arc to the closed eyelids.

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The crease above the eyes when having the eyes open also pretty much

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disappears when the eyes are closed since all the skin is pulled downwards

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as of course way more details on realistic eyes.

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But we will just apply a simplified version of this to the stylized character.

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Make sure to have the right shape key selected and enter edit mode

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enable X symmetry so that the changes on one

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side are carried over to the other as well.

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If you're not sure if the head is perfectly symmetrical,

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then delete one side again and use the mirror

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modify before you get into any shape keys.

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Now we want to edit these edges of the

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eyelids first which will be easier with X ray shading

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but first you need to define a pivot point to rotate the islets around

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which should be the eyes itself.

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Go back into object mode and select the eye and set the three D. Cursor

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to the selected object

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if that would work because the origin of the object is slightly off.

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You can also base it on a selection and edit mode or just literally eyeball it

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then back in edit mode on the head,

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changed the pivot point to the three D cursor and start

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rotating the edges of the upper eyelid from the side view.

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You can also do it from any other of you. Just make sure that you rotate along the X.

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Axis,

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Ideally the upper eyelid should move like 3/4 downwards in an

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arc from one corner of the eye to the other.

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Afterwards you can move the edges more freely to give

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them a bit more space and fine tune their positions.

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You might also notice some problems with the symmetry.

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Just fix these areas separately.

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The same changes also need to be made for the lower eyelids which only move a

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little but upwards to meet the upper eyelids

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and become more or less straight themselves.

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Then make sure that both eyelids roughly align

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Now the 3-4 extra edge loops we added for the eyelids come into play

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all select them and slide them down towards the ends of the eyelids.

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You can also slide the last loop a bit inwards since

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it relaxes the skin around the eye a bit more,

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removing the crease that was there before even further

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with a multi resolution modify enabled,

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we can always see our final result but turn it off when

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you want to edit the actual mesh in edit modern sculpt mode,

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even though it's not very important for the shape

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key to look good while sliding the values.

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It can be very helpful to see what is moving where

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right now. The eyelids probably don't quite touch each other when subdivided

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to make fixing this a bit easier. We can create a few vertex groups.

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These will help us select and adjust specific areas quickly

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to define them.

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To select a portion of the head.

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For example,

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anything above the corners of the eyes and then assign it to the eyelids.

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Upper vertex group,

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repeat this for the other verdicts groups islets, lower mouth, upper and mouth.

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Lower.

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To edit these shaped keys in a bit more detailed way.

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I can generally recommend to enable this button for shape key. Edit mode.

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This will show you the mixed results of all your shape keys in edit mode and self.

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Just the currently selected one.

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This way you can slide the value of any shaky and see the result while editing them.

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Then select everything in the vertex group eyelids lower and hide the selection

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in sculpt boat.

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That geometry is then still hidden and won't be affected by your brush.

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Then push the upper eyelid a bit downwards to push it into the lower eyelid.

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You can also adjust the eyelids further

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if there are any intersections with the eyes or other issues,

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ideally

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the loops should also have a bit of even spacing between them

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to not create any hard edges when subdividing the islets

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as a tip.

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Again, hiding geometry can help when selecting specific portions of a mesh.

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Since loop selection and growing selections is being stopped by hidden geometry.

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This way you can select loops on the eyelids specifically

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if you want. You can also exaggerate the downward arc of the closed eyelids.

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In my example on the screen it's rather straight

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now. It's time to do the same thing. But in reverse

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for the open mouth,

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the mouth opening is a bit more tricky since it isn't just skin sliding

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but way more interactions with the jaw bone and muscles moving the entire thing.

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When we open our mouth,

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it doesn't necessarily have anything to do with

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muscles pulling on the skin around the lips.

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The draw bone rotates downwards and the skin and

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muscles around it are being pulled down with it

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since the lower lips are connected to the upper ones. Fear the mouth corners

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the upper lips also being pulled on but also being held back by

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being connected to the nose and being pushed against the upper teeth.

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This keeps the mouth corners roughly

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slightly lower than the middle.

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The interesting thing is that the jaw starts unhinging itself.

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Once you open the mouth a lot

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muscles are pulling the jawbone forward while it continues to rotate outwards,

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the jaw sinks more into the neck and a bulge forms around the pivot point of the jaw.

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Now let's apply this to the stylized character.

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Make sure to have the open mouth shape keys selected just to be

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sure that you don't do any unintended changes to other shaped keys.

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It happens a lot if you're not careful enough.

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Again use the vertex groups to select portions of the head more quickly.

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In this case the lower mouth

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then de select the back of the jaw and neck.

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You can do this with lasso selection

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also make sure that X ray shading is still enabled.

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So you can select

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through the object.

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You should essentially have the lower lip, chin and most of the draw selected

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Now from the side view.

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Set the three D cursor from where you want the jaw to rotate from.

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Also to interject you

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in hindsight.

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When looking at these recordings,

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I set the three deckers are pretty far off its way more accurate to set it in front

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of the year at around one third or half of the height of the of the ear.

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Of course this also depends on the proportions and stylization of your character.

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After setting the pivot point to be the three D. Cursor.

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You can now rotate the selection

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with a bit of connected proportional editing

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with a sharp fall off curve.

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This can already pull on the upper lip

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and surrounding skin while rotating.

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You can rotate it right to the point

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where the jaw should start dislocating and bulging.

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Now in sculpt mode you can fix the stretch geometry and other issues.

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The first thing we can do is to smooth

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out the neck where the skin and fat should accumulate

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a clay brush with a bit of auto smooth can do wonders here.

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The stretched faces along the cheek also needs some smoothing but be

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careful not too smooth too much without adding some volume back.

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Otherwise the cheeks will become very flat.

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The back of the jaw likely also needs a bit of reconstruction

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by adding volume back and pushing the corner of the job back

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another tip.

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If you just want to slide some skin back and forth without much volume loss or gain,

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Then use the nudge and thumb brushes here.

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Just make sure that pressure sensitivity for radius and strength is disabled.

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And that the stroke method is set to dots.

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You can also hide the lower teeth gums and the tongue for now

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push and smooth the lips a bit to get the slightly stretched old shape.

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Yeah,

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but be careful with a smooth brush since it can easily destroy your model shapes.

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Just keep rotating around the model

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to look at the mouth from different angles and adjusted further

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slide the value of the shape key to compare.

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Or just check the little checkbox to enable and disable it.

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The stretching and loss of volume of the cheeks is definitely

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important but make sure you don't lose volume on the cheekbones.

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The volumes of the face should always be kind of consistent,

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just like when you're sculpting the clothes

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in chapter two,

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the bone structure should be the main thing

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that keeps the proportions of the head together.

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In this case the cheekbones,

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jaw and teeth as well as the more solid structures of the nose.

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If you mainly think about the opening of the mouth in those

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terms and then shift around the fat and skin around it,

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then it is easier to understand how to

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make these facial movements look more convincing.

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You can then continue to fine tune the shapes as much as you want.

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Also make sure to look at this with wire frames enabled,

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since the skin should be pulled all over the place,

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not just directly where the bones and muscles are moving.

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This will make it immediately look more natural

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now that the mouth is open, we can clearly see the inner mouth with the teeth better

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at this point.

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If you want to adjust these areas,

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definitely select the basis shape key and select and sculpt from there.

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Otherwise these changes will only show when you enable the open mouth shape key,

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which would look very weird if you want.

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You can create a second jaw movement shape key to push it further,

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dislocate the jaw and bolt out the muscles at the cheeks.

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But I'll keep this relatively simple for now

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when we unhygienic other objects now becomes clear what

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is missing though the inner mouth objects for example also need to move with the jaw.

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So for this create a basis and mouth open shape key.

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Make sure that you have the mouth open shape is selected on all of these

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objects and then enter edit mode on all of them at the same time.

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Then with the same pivot point as for the jaw, rotate the mesh along the X.

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Axis to fit with the open mouth.

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The same thing of course needs to happen to the eyelashes.

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So do the same thing over here with an eye closed shape key

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in this case

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the eyes were the pivot point for the eyelid rotation.

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So rotate the measure of the eyelashes to roughly match the islets.

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Too much general position but also more importantly match the rotation.

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Of course this doesn't exactly match.

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So align the mesh further and edit mode or sculpt mode with the closed eyes

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if you want to sculpt it into position.

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I can still recommend to use this snake hook brush

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since it also rotates the mesh a little bit.

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Now of course once you really get into sculpting the

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expressions we will be mixing shaped keys left and right.

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So it will be great if the shape keys of

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different objects are moving in unison and not separately.

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The way to do this

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in blender is with drivers.

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Drivers essentially make one value affect other values.

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So for example we can make the shape key in the eyelashes,

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copy the value of the shape key on the head.

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To do this.

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We first need to know the name of the data

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block that the shape key of the head belongs to.

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If you have python tool tips enabled in the preferences you can read

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the name when hovering over the shape key values on the head objects.

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So in this case it reads key 0.0. R. One for me.

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Another way to find this information is to open up the object

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in the outline er and open up the object data there.

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You will see the little green key data block

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now. Right click on the value of the closed eyes shape key and click on copy data path.

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Now on the value of the closed ice shape key on the eyelashes.

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Right click on it

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here at a driver which will open up a little pop up with some settings.

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This might look pretty complicated but you can mostly ignore most of these.

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First off set the expression two plus 0.0 instead of plus one.

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Otherwise it will always add an additional one

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to the value which we really don't want.

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We want to copy the value from the other shape key exactly 1-1.

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Then click on the little axe dropped down and set it to a single property.

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So it will only look for a single input which will be the value of the other. Shapey.

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Then set the id. Type two key.

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And in my case

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it was key.001.

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Then paste in

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the data path that we copied earlier.

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And this is basically it.

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So now the driver will look for a single property in the key

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dot oo one data block that is matching the path that we gave.

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You can see that the value is being driven by the purple color on the value.

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And if you now slide the value of the shape key on the head,

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it will slide both shape keys at the same time.

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So now repeat the same process for the open mouth and the inner mouth objects

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copy the data path at a driver, change the expression two plus zero.

247
00:17:29.510 --> 00:17:31.060
Set it to single property.

248
00:17:31.620 --> 00:17:33.460
Look for the key data block

249
00:17:34.140 --> 00:17:37.560
and type in the name of the same one as before.

250
00:17:38.140 --> 00:17:41.290
Then paste in the data path you copied

251
00:17:42.040 --> 00:17:45.030
to get the same driver on other inner mouth objects

252
00:17:45.190 --> 00:17:47.770
just right click on the purple value

253
00:17:48.340 --> 00:17:54.460
and click on copy driver then paste the driver on the shape keys of the other objects.

254
00:17:55.340 --> 00:17:57.050
And with this, all of it is set up

255
00:17:57.840 --> 00:18:02.060
with all of this, you are ready to get into the rest of the expression sculpting.