This 2nd chapter is using a lot of techniques and theory of the first chapter.
In these videos, I will guide you on how to build a body out of primitive objects.
We will cover this in this video in a moment.
In the next videos we will continue to define the primitive objects
to get a full play in our body
if you want. You can use your head sculpt from chapter.
Want to attach to the body of this chapter
but it's not really necessary
And just like Chapter one.
This is followed by merging, smoothing and style. Izing the body.
The difference is that will already plan out
the stylization while we have the objects separated
after that I will go more into a time lapse to cover
more ground on polishing the body while giving commentary on my methods,
design decisions and
thought process.
After that I will go over the basics on
creating different types of base measures for sculpting clothes.
This is then followed up with demonstrations
and explanations on how to sculpt fabric,
wrinkles and faults.
With all those lessons completed.
I will give you the full commentated time
lapses of sculpting rains body and outfits.
So let's get started
just like with the head will start by modeling the
body out of primitive objects with minimal changes to the geometry
For the head.
You can create one from scratch or if you want
you can just import the one from chapter one.
You can do this by either a pending the collection that
you put the head objects in or by opening the file,
selecting the objects you want to copy and then copying them with control seat.
Then open the body file and paste the objects
birth control of the
So right now it's all about the most basic
proportions and shapes that the human body is built off
for this example. I'm again going to use the male anatomy
as an example but
The rain time lapses will fill in the rest by showing you the female one.
And this is again really about internalizing the overall body shapes,
forms and structure.
Eventually you could even just sculpt the entire body from one sphere if you like.
As long as you internalize the basics through practice.
Just like in Chapter one
I kept organizing my sculpted objects and collections and
named them in the outline er to the right.
This makes quick hiding isolating and orientation very easy.
We're going to start off with the torso.
I made some quick annotation drawings to show you
the proportions and shapes we are generally going for.
You can download and check out the file
yourself with my body sculpting results included.
Generally
all the human proportions can be nicely measured based on the size of the head
For an idealized body. The human is about eight heads tall.
You can see the overall proportions in this with written
down milestones of what part of the body is.
Where for each head you stack on top of each other.
You can find more detailed illustrations of this online. Of course
just search for something along the lines of human drawing proportions.
A more accurate way of measuring the body would be
more like 7.5 heads.
But we'll stick to the idealized version since it's simpler to memorize
for the torso. It's good to start out looking at it from the side.
The spine is curved by nature so it's good to start with the torso thinking of a sphere
for the chest and a sphere for the pelvis
both rotated slightly towards the front and each other.
This can then be connected with a section in between to form the belly area.
Move the three D.
Cursor from the side view with a shortcut shift,
right mouse button or the cursor tool.
This way you won't accidentally move the three D. Cursor along the X. Axis
like you would do from the front.
We want to keep the middle objects centered at all times,
add a UV sphere for the rib cage with shift A.
And then scale it up to match the size of the annotations with S.
Then rotated a bit clockwise with our and scale it along its local Z.
Access to make it longer with S. And then hitting Z twice.
You can then duplicate the sphere with shifty and move it towards the pelvis.
It's also good to note that I enabled random colors and the shading options.
This way each object is visibly different with a randomly assigned color.
This makes it a bit easier to keep the many objects apart
from the front view.
We can then make both spheres a bit wider by scaling them along the X. Axis with S.
And then pressing X.
For the spine, belly area. Will create a cylinder
to bring it into shape.
Will go into edit mode and add an edge loop in the
middle of the cylinder with control are or the loop cut tool.
We can then select the upper edge loop with old select and grab it with G.
To align it with the chest.
We'll also scale it up on the X.
Axis a bit to make the chest overall wider than the center.
Same thing for the bottom loop and the pelvis.
But we'll keep that one the same scale.
At first we're going to try to stay on the
realistic side so the torso needs to gain more volume
for a stylized character. The body can be slimmer or more varied
just scale up the objects to fit the body proportions were going for
since all these objects are kept separate,
it will be very easy to change the proportions quickly. Later on
from here on out will add the most prominent muscles and hips
add a cube where the chest has to be.
We can then subdivide the cube by using the shortcut control and
Either you're pressing one of the numbers from 1-4.
This will add a subdivision surface modifier to the object
with the number of subdivisions based on the number you pressed
in this case
free is fine.
But you can change the resolution that modify a
tab of the properties editor to the right anyway,
but the result doesn't really look like a cube anymore
and we want to keep a bit of the cube profile.
So let's go into edit mode.
Select everything
and we'll add
edge creases with a shortcut shift. E
This will change the amount of smoothing that is applied to the edges.
When subdividing it with a modifier.
You can adjust the strength by moving your mouse away from the center of the
selection or by typing in any value from one to from 0 to 1.
The strength of the edge crease is indicated by how magenta the edge is displayed.
We can then scale the object down in the Y
axis and rotated into place to form the chest.
Then in edit mode will select the lower right corner and move it a bit inwards
and the upper right corner outwards to meet the shoulder.
We can then, as in chapter one,
add a mirror modifier and design a centered
empty called center as the mirror object.
This way, we'll keep the local location and orientation of each object.
If we decide to make proportion changes or anything,
we can then move on to the trapezius to connect the neck to the shoulders and the back.
I already went over this muscle in Chapter one.
But
I'll show here how to connect it to the rest of the torso,
create a sphere
and scale it along the Z. Axis.
Then rotated into place to point towards both the shoulders and the head.
From the top. It should fill in the triangle like shape that points towards the arms.
Again, add a mirror modifier.
It's okay if these objects don't quite match the annotation lines
since we will sculpt them further into shape later on,
make sure that the chest object is filling in
the middle portion where the neck and the chest meat
for the shoulder blades will just reuse the chest object.
Select and duplicate the object with shifty
and then move it towards the back.
You can then rotate it along the Z. Axis with our and then pressing Z.
To align it with the back,
scale the shoulder blades down and rotate them slightly from the back view.
You can now already notice the armpits forming.
Now we'll add an extra object for the abdomen.
Set the three D. Cursor ideally from the site before creating a new object.
If you said it from the front it will be shifted along the X.
Axis and the object will be off center.
You can also select the belly cylinder
And set the three D cursor to the selection with shift S
atmosphere and scale it up
to make it only show
in the belly and not the back will scale it up along the Z. Axis and down on the Y axis.
Then move it further to the front with pressing G.
And then why?
Next up? Will add a sphere on the right of the pelvis for the hips.
If we look at the drawing again
this will essentially connect the legs to the torso and also form the but
scale the sphere along the Z. Axis and rotated a bit from the front or the back view.
As always
add a mirror modifier.
If you look at the overall torso, you can also notice the curvature of it all.
Now it's time to get into the arms.
You can also organize these portions of the
body into individual collections if you like.
For this example we'll go for an A. Polls
which means that the arms are at a tilted angle and set off just completely straight.
I'll explain more about the resting poses. Later on.
Looking closer at the arms,
we noticed that the main portions and moving parts are the shoulders,
upper arm, a small portion for the elbow
and the lower arm.
The trick about the relationship of their shape
is
that they form kind of a link chain.
Each has a thick and the thin side
and fit into each other like that.
So let's demonstrate this by actually creating the objects.
We'll use subdivided cubes for this again and start with the shoulder.
Place the three D Cursor and at the Cube.
Press control three and go into edit mode
and then use shift E again
decrease the edges that you have selected.
Also remember
you can change the X ray slider and the shading options to one.
To see your geometry and edit mode
while having the shading be completely opaque.
Select and grab the two corners that point towards the neck
and arm to make the shoulders a bit more diamond shaped
Switch to edge selection with two
and scale the top most edge down
afterwards. Scale the edge towards the torso up.
For the upper arm will create another subdivided cube
rotated from the front to align its own Z axis with the shoulder.
Then scale the cube along its own Z. Axis with S.
And then pressing Z twice.
Try to connect it well with the shoulder.
Always remember the chain link shape of all of it.
Scale the upper arm along
the Y. Axis
and slightly down on the X axis.
Then duplicate the upper arm and rotated along its own sea access 90°
with our
And then pressing Z twice
and then typing in 90.
Go into edit mode and scale down the wrist section.
We can also add another loop for the lower arm with control are or the loop cut tool
to define the width, more
scale the loops along the local Y axis
to add a bit of thickness to the middle portion.
To skip a bit of time.
We can assign a mirror modifier to one of them and have all other selected
and pressing control. L
then choose
modifiers
and the modifier stack will be copied to the other objects
that you have selected
for. The legs will do something very similar to the arms.
Will create the object again from subdivided cubes.
Keeping a bit of the cube profile is pretty important for the legs though.
The legs are also angled slightly backwards.
We can then add some loops
to add a bit of a lack profile.
Move these loops a bit forward to bend the upper leg a bit
from the front rotated clockwise to have it angled inwards.
Then move the loops to give the leg a bulge on the right and a bit of an s.
Curve on the left
for the knee. We can create a sphere to connect the upper and lower leg
scattered along the z. Axis and rotated in the opposite direction
as the upper leg.
For the lower leg will duplicate the upper
one and rotated 180 degrees along the z axis
mirrored along the X. Axis. With control M. And pressing X.
And apply the scale with control A
and recalculate the normals in edit mode with shift in.
Make sure that the lower leg is a bit displaced to the right of the upper leg.
Again have a bit of a curve
to the object on the right
but instead of making the s curve manually on the left
will push the left side in and keep this object purely
bent.
Also adjust the profile from the site,
with the leg becoming thinner towards the ankle.
This object will now be the main lower leg and the shins.
Place the three d. cursor on the left of the lower leg and add a sphere,
scale it up along the Z. Axis and place it
in the lower leg to create the calves
from the site.
It should be positioned a bit backwards to make it more prominent from the back view.
Make sure that both together form the base shape of the lower leg.
Well then select the front left edge, loop and sharpen the crease a little bit
a sign and copy mirror modifiers for the leg objects and they are all done
ideally turn off merge for the mirror modifiers to
not accidentally merge the two sides where they meet.
Also be careful when copying modifiers between objects because some of
them might have subdivision surface modifiers on them while others don't
and sometimes you don't want to copy them over
now it's finally time to move on to the hands.
One adjustment we can do to the arms. First is to rotate the lower arm a little bit
to make it more relaxed.
Place the three D cursor on the elbow and
switch the pivot point to be the three D cursor
to change the pivot point,
Then rotate the law arm around the three D cursor
create a cube for the palm of the hand scattered along the three axes.
To match this kind of flat Q. Shape that you see on the screen.
We'll do this first and then rotate it into place with the arms.
An interesting thing about the hand
is that the shape of the palm is rotating
slightly side wards and the fingers are angled counter to that.
You can look at your own hand as an example and you'll notice it
afterwards. We can rotate the cube into place and add the subdivisions as usual.
In edit mode we can change the edge creasing and adjust the shape a little bit
for the fingers will also use cubes in this case
cylinders are also fine but I like the square profile as a story.
Scale the cube along the X. Access to get the first finger section,
duplicate the cube and position it further up the finger
Well then scale the second section down along the X.
Axis to be about 3/4 as long as the first.
Do the same for the third section and scale it to 3/4 of the length of the 2nd 1.
This way we have a progressive size difference of the finger sections.
Afterwards set the pivot point to be the three
D cursor again and rotate the finger sections a bit
to make them more relaxed.
Afterwards will connect the cubes as the index finger to the palm.
Then duplicate the index finger three times and place them next to each other.
But of course not all these fingers are the same
size so we need to select them and resize them.
The pinky finger is by far the smallest and placed further back into the palm.
The ring finger is a bit smaller than the middle
finger and also a bit further back in the palm.
The middle finger can stay the same.
The index finger is a bit smaller than the
ring finger but further in the front of the palm
so visually they match each other in length.
This is of course dependent on the hand.
There are different looks to hands and fingers size and length.
The same thing for the feet or the general proportions of the body.
These proportions that I'm showing a kind of an idealized rule of them.
If you look at the hand from the side view the
palm of the hand together with its fingers are a bit bent
For the thumb we can duplicate two sections
of the other fingers and arrange them on the side of the palm.
Remember on which side the thumb is always on
basically the easiest way to remember it is if
you have both your hands in front of you,
the thumbs can touch each other.
Some of the verses can be pulled into the palm a bit more.
The lower thumb
is then directly leading into the wrist.
Then we'll just position and scale the tip of the thumb.
The thumb is not just naturally angled at
around 45°, but also rotated a bit downwards.
If we look at the annotation drawings,
we can see that at an angle the thumb goes about as far as the middle of the hand
or roughly whether palm ends.
This is a good literal rule of thumb to know how long it needs to be
to show the bend of the palm a bit more. We can add another loop
and move the vertex is on the side a bit down and rotate them a bit
at the mirror modifier to the hand object by
copying it from an arm object like before.
With control L.
With this we're almost done.
The last thing that is missing is of course the foot
Will create a foot from basically two objects.
The first one is another subdivided cube, which will be the sole.
This one will be scaled down along the Z axis
and then we can define the profile from below.
In edit mode.
Look up foot profile online for more direct reference
of how a foot looks like from below.
First off, we can scale the foot up on the Y and X. Access
to roughly half the size that we want.
Then we can add a couple more loops to have more geometry to work with
select and move the vertex is around to get something close to a foot profile.
If it ends up still too small, you can then scale up the object.
The second object to add is the rest of the foot.
And we'll do that by adding a cylinder
and moving and scaling it roughly into place on top of the soul
from below or above. We can then select and move around the vertex is
to define the shape more.
You can also hide other collections of body parts to have less visual clutter,
enable proportional editing to have a fall off
effect while moving your selections in edit mode.
Use the scroll wheel
to change the radius of that fall of effect.
Make the cylinder roughly fit the profile but leave room for the toes.
Then select the top loop of the cylinder and scale
it down to match the size of the ankle,
then push it back to connected to the leg.
The lower part of the leg can also be pushed down a bit more to meet the foot.
Then as always add mirror modifiers
and this is it will have our primitive base mesh for the full body.
Also remember that you can save and reuse
any of these based measures for future sculpts
in the next video will finally get into sculpting all of these objects into shape.
See you then