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Hello and welcome to chapter 1, so in chapter 1 we're going to start actually blocking out the base for our character to then sculpt on.
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I'm using Blender 3.4 but anything later than this should be fine and anything earlier you should probably, the earliest you should use is probably 3.3
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because we have some sculpt versus color features we're going to be using later on for texturing.
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I think the feature doesn't really exist in the same way until 3.3 so that's probably the latest you should use.
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In addition to that I also have some input screen recording down here so when I'm clicking the different stuff then you can see it here.
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I will try to mention all the stuff that I do if there's special commands or features then I will try to keep those in mind and let you know.
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But if I miss something then you can always check out the input there.
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So in terms of blocking the stuff out in Blender it will be a combination of blocking out really primitives and then getting to a point where we can merge it all together and move into the sculpting phase.
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And on the right over here I also have my reference board that I'll be using just for checking for proportions and these things as we move along.
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So the first thing we're going to do in Blender Scene is I'm going to remove the light and the camera, we don't need those.
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And then I'm going to take this cube and then I'm going to split it down the middle so I can mirror it across the X axis.
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So I'm going to go into the edit mode here and just put a loop cut and then I'm going to delete one side there and then I'm going to mirror this one over.
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So now I have a mirrored cube.
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I'm also going to turn on clipping, this just means that if I move the whole thing it sticks in the middle always.
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And that's kind of what I want.
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So my character is a little bit below 2 meters, maybe 185 or something.
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And this right here marks 2 meters because the default cube is 2 meters tall.
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So my character is probably going to be around there in height.
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So I'm going to use that as a guide to kind of move everything in.
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And I'm just going to move this in as a chest piece, so kind of the rib cage.
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And I'm going to duplicate it and have one for the pelvis also.
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And then I'm going to have a third one for the head as well, like this.
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Cool.
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I'm going to take them all and just squeeze them in like that.
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So that's kind of the very basic block out here.
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And then I'm going to bring that in.
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Maybe we're going to bring them in as well.
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And then this one I can twist a little bit because the chest piece is actually twisted.
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I'm going to make sure to balance these ones out roughly.
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Cool.
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Something along those lines.
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And then on top of this I'm going to add a subdivision surface modifier just to round everything out.
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I'm going to use that to block out a more defined shape.
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So something like that.
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Let's see here.
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We've got that going on there.
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Something like that.
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Maybe something along those lines.
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And this is not super important, like exactly how good this looks.
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It's just so we have something to build onto.
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I just want this to be somewhat a rib cage shape.
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This is probably fine.
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It's not perfect, but it's good enough for what we need, I think.
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And for the head here, I can block out something there, block out something there.
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Then we've got a little bit more of a head shape.
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And it can be quite helpful to just create something that's somewhat good.
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It just tells you a bit earlier if your proportions are working.
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We could also start sculpting this from a sphere.
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I definitely prefer doing this more and more.
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It's a bit more work in the beginning, but then it goes a lot faster when I'm getting into the sculpting process
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because I'm figuring so many things out at a different kind of resolution now.
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I prefer it that way, but there's no right and wrong, of course.
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It's what I think works for me right now.
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Cool.
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This is where skeletal reference can be really good.
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So if you have that kind of stuff on hand, then you can definitely use that.
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Nice. Okay. So that's pretty good.
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Then I'm going to create a cylinder here.
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And the cylinder, we're going to use that as the base for our arms and legs.
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And I'm going to make a mirror on this one.
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I'm going to scale it down and move it out.
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I'm going to make it mirror across the body here like that.
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Cool.
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Let's see here.
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We could also use a cube for this, but I think this is okay just as a base.
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We're not doing something incredibly crazy here.
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And don't worry about the topology at all because we're merging everything afterwards anyways.
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So that's really not what's important here.
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I'm going to create another cylinder.
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Move that out.
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Turn off self-selection here like that.
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And what I'm trying to create here is that natural kind of position of the legs where
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– actually, I'm going to rotate these out a little bit –
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where the thigh actually goes in a lot more than you think sometimes.
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So let's see if I can find an example of it here.
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So here, for example, you see that – oh, this is actually not the best example.
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But there's a distinct difference between the way the thigh angles and the shin.
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It's not just straight. It's like that has an angle and that has an angle.
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And I think because of his pose right there, it doesn't look quite the way that it usually does here.
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Let's see if we can have a different example of it somewhere.
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You might see it a little bit here, the way that this one angles.
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It's kind of like there's a big thigh that comes out there,
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and then the interpolated angle would be like from that point to there.
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It actually goes inwards, and that's kind of what I'm thinking about.
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But I might have exaggerated a little bit too much here.
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But then this one could actually come out a little bit like that.
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So you notice I'm blocking in things that I know will be a certain angle in the future.
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So I can use these primitive shapes for that, just in a very simple state.
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I can see I got the middle right there, so that's probably okay.
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Like that. Cool.
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Then I'm going to create another pair of cylinders here.
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And I could use that for the shoulders here.
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And it's important to not put the shoulders like that.
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The shoulders are more hanging here because there's a clavicle and a scapula that's kind of attaching itself here.
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I'm going to use that.
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Oh, actually, this doesn't have a mirror.
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We're going to put a mirror on it across this one.
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Like that.
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And just make sure that it's kind of like a half interpretation of the bone and something else.
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That's fine.
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And then we have the lower arm here.
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Putting that in like that.
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And I think, actually, we want to pose it a little bit more in an A-pose, because we are going to be rigging this one.
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So it just makes sense to already start thinking in those terms.
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So I'm going to give him a little bit of space there.
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You could also do a T-pose, but I think A-pose is a bit more what I was kind of imagining.
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Usually gives a bit nicer deformations, in my opinion.
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Okay, cool.
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That's pretty good.
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Then I want some stuff for the feet here.
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So I'm going to create a cube and place that in like so.
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And just a very simple kind of shape here.
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Nothing crazy at all.
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And I also want a mirror for that one.
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Oh, the wrong one.
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Mirror for the pelvis there.
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Nice.
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And then I got that going on.
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And I might use these feet just to create some scapula.
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You know, I'll quite often do that where I just take something, a form, and then I'm like,
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you know what, that form could actually work quite well as this other form.
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And the scapula are the shoulder blades, of course.
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Just use that.
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And then I have them there as some kind of a form like that.
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That seems pretty good, I think.
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Just checking from every angle here.
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That seems nice.
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And then I could do a similar thing with the clavicles.
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That almost feels like that's something that I don't want to miss.
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The clavicles are interesting because they actually have a bend on them.
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If we see here on the reference here, you can kind of see that they go a little bit straight there,
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and then they have a different angle than an angle like that.
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So it's like this two-stage thing.
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And it looks kind of different for different people, but I always think of it as like two segments,
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like that segment and that segment.
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And the segment on top here is a bit more straight.
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It's kind of a bit more flat.
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And then this one is the bendy bit.
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That's kind of how I see them.
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But to simplify right now, I'm going to maybe just do like that,
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and then scale in like that.
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Something like that, maybe.
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And then have this thing coming down.
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Yeah, something.
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Then I have it placed.
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It's not the final.
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Cool.
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And then I could actually...
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I think I'm going to add a spine.
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So I'm going to grab it up here.
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And I could do smaller resolutions for all the stuff, but it's really not necessary right now.
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And I can see already that my proportions are not exactly what I want.
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And the good thing about this is that I'm focusing on the really big picture here.
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And if I jumped into sculpting straight away,
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sometimes you just fall into the trap of just doing details
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instead of focusing on the really big things.
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And this kind of forces me to think about the proportions of everything
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and not fall into that trap of doing details.
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And once you've done lots of details, then suddenly you have to correct really big things.
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It becomes an issue.
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And what I'm seeing right now is that my character is kind of leaning backwards a little bit too much.
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Like the chest part here, I wish that this was a bit further back.
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So I'm going to take this here and just pull it forward a little bit.
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And then take the spine here.
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Pull that in.
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Pull that in.
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And the head here.
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Something like that.
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Yeah, that feels a little bit more natural.
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That's exactly what I wanted.
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Cool.
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And then we just need to put in some hands here.
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And for hands, I think I'm just going to be using a cube and stuff like that.
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And his hands might actually be a little bit too long now that I'm looking at it.
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Like his overall arm length might be quite long.
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It's okay because it's a stylized character.
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So we can work with it.
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But we just got to figure out if that's what we want.
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But we can correct the stuff a little bit.
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But I would like to get the overall...
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They're quite long, which I also tend to make long arms.
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So that's not a surprise to me.
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But let's see here.
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I'm just going to bring that in a little bit.
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And bring that in a little bit.
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Something along those lines.
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Then I can mirror that over to the other side like so.
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Okay.
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That's not too bad.
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Cool.
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So this is kind of our block out here.
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I'm going to put this into a new group here just called block out.
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This is our base block out.
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A really rough block out for our character.
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And this is all moving towards the sculpting stage.
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So it might seem a little bit time wasted.
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Because we could have maybe sculpted this out faster.
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But I just find that helps.
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Your mileage may vary.
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The next thing I'm going to do is I'm going to do a sculpt pass.
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Not a sculpt pass, but a muscle pass.
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So we're going to be making some muscle kind of shapes.
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And then we're going to stretch those around the body.
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And kind of create the bigger muscle groupings.
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It's not going to be every muscle.
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But definitely some of the bigger stuff.
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And this is where your reference for the muscle stuff can be super helpful.
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We're going to put one in for the pectoral, for example.
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One for the deltoids and the trapezius.
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The big kind of back muscle that's sitting there.
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This one that we see kind of bulging out right there.
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We're going to put that stuff in.
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And that's going to make the sculpting process go really fast afterwards.
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If we can nail that.
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And for this, it can be kind of helpful having random colors on.
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Just to see everything a little bit more clearly.
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And I'm going to create a cube.
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And then I'm going to put on subdivision surface modifier.
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And I'm going to sculpt out the muscle shape using this one.
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So the first muscle shape I'm going to do here is going to be the trapezius, I think.
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So that kind of has the shape.
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That is kind of an interesting shape.
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It kind of becomes this big thing like this.
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And then I'm going to mirror this over.
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There.
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And then I will move this in here.
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Maybe we can give it a bit more resolution here and there.
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Yeah, I like that.
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Okay, so I want this one to be somewhere.
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So I'm going to turn on soft selection on O there.
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And just start putting this stuff where it needs to be.
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And it's kind of attaching at the base of the neck.
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And then it lies on top of the scapula here.
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Let's see here, a bit thinner.
237
00:16:50,002 --> 00:16:55,999
Kind of sits somewhere like this.
238
00:16:56,002 --> 00:16:59,999
And I'm just putting it really roughly.
239
00:17:00,002 --> 00:17:04,999
That's my goal. It's just to get it there.
240
00:17:05,002 --> 00:17:14,999
And then I'm going to add edge loops if I need edge loops to further sculpt it into the right place.
241
00:17:15,002 --> 00:17:18,999
Something like that.
242
00:17:19,002 --> 00:17:28,000
And let's see here.
243
00:17:29,000 --> 00:17:31,999
Delete an edge loop there.
244
00:17:32,002 --> 00:17:33,999
Just to see.
245
00:17:34,002 --> 00:17:36,999
Yeah, that kind of fits into that role.
246
00:17:37,002 --> 00:17:38,999
And it would need to be adjusted proportionally.
247
00:17:39,002 --> 00:17:42,999
His neck would not be this broad. It would probably be a bit thinner.
248
00:17:43,002 --> 00:17:46,999
But it's kind of sitting where I want it to sit.
249
00:17:47,002 --> 00:17:49,999
Yeah, that actually looks pretty good.
250
00:17:50,002 --> 00:17:51,999
That's the trapezius there.
251
00:17:52,002 --> 00:17:55,999
Then I want another one.
252
00:17:56,002 --> 00:17:57,999
And we're going to do the same thing here.
253
00:17:58,002 --> 00:18:01,999
Maybe even give it a preemptive subdivision there.
254
00:18:02,002 --> 00:18:03,999
And then stretch this out.
255
00:18:04,002 --> 00:18:10,999
And this one is going to become our chest muscle here, I think.
256
00:18:11,002 --> 00:18:14,999
So let's try that.
257
00:18:15,002 --> 00:18:16,999
Let's put it like here.
258
00:18:17,002 --> 00:18:20,999
And attach it to the arm bone.
259
00:18:21,002 --> 00:18:21,999
Like that.
260
00:18:22,002 --> 00:18:24,999
Give it a mirror.
261
00:18:25,002 --> 00:18:27,999
To the side.
262
00:18:28,002 --> 00:18:33,999
And it's okay if it intersects with the base mesh.
263
00:18:34,002 --> 00:18:38,999
That's not the most...
264
00:18:39,002 --> 00:18:40,999
That doesn't really matter so much.
265
00:18:41,002 --> 00:18:46,999
What we want is just the overall look of the shape here.
266
00:18:47,002 --> 00:18:49,999
And here we can actually create this little intersection.
267
00:18:50,002 --> 00:18:53,999
Or this little space in here, which is a part of it.
268
00:18:54,002 --> 00:18:56,999
Just check out your reference and see how you can block this.
269
00:18:57,002 --> 00:19:00,999
And you can see how you're already getting quite a lot of definition.
270
00:19:01,002 --> 00:19:03,999
In terms of muscle definition.
271
00:19:04,002 --> 00:19:07,999
It's coming into itself quite naturally.
272
00:19:08,002 --> 00:19:13,999
And if you're just careful with attaching your muscles the right places.
273
00:19:14,002 --> 00:19:18,999
So I'm going to attach this there.
274
00:19:19,002 --> 00:19:20,999
Get that in there.
275
00:19:21,002 --> 00:19:22,999
Get that in there.
276
00:19:23,002 --> 00:19:24,999
Get that in there.
277
00:19:25,002 --> 00:19:28,999
That seems to work out.
278
00:19:29,002 --> 00:19:32,999
Okay, let's see here.
279
00:19:33,002 --> 00:19:35,999
Like that.
280
00:19:36,002 --> 00:19:38,999
Yeah, I think that works out pretty good.
281
00:19:39,002 --> 00:19:40,999
Then I could just duplicate this one maybe.
282
00:19:41,002 --> 00:19:42,999
And then use that.
283
00:19:43,002 --> 00:19:45,999
Actually, I'm going to delete this here.
284
00:19:46,002 --> 00:19:50,999
Go into this one and duplicate this one in there.
285
00:19:51,002 --> 00:19:52,999
Soft selection.
286
00:19:53,002 --> 00:19:59,999
And then use that as the deltoid also.
287
00:20:00,002 --> 00:20:01,999
Use that as a deltoid muscle.
288
00:20:02,002 --> 00:20:02,999
Like that.
289
00:20:03,002 --> 00:20:04,999
I'm going to turn on connected only.
290
00:20:05,002 --> 00:20:09,999
So if I use soft selection, it will only affect what is connected here.
291
00:20:10,002 --> 00:20:16,999
Not the other muscles around.
292
00:20:17,002 --> 00:20:23,999
Yeah, something along these lines.
293
00:20:24,002 --> 00:20:27,999
And if it gets a little bit unruly, you could use the soft smoothness tool here.
294
00:20:28,002 --> 00:20:29,999
Just to smooth this out.
295
00:20:30,002 --> 00:20:34,999
And then you can continue from there on.
296
00:20:35,002 --> 00:20:37,999
I don't want huge massive deltoids.
297
00:20:38,002 --> 00:20:40,999
I think rather like longer.
298
00:20:41,002 --> 00:20:44,999
Still strong ones, but not a lot of bulk.
299
00:20:45,002 --> 00:20:48,999
Something like that.
300
00:20:49,002 --> 00:20:52,999
And this one could actually have another one.
301
00:20:53,002 --> 00:20:56,999
If you take a look at some of the reference here.
302
00:20:57,002 --> 00:20:59,999
Then we kind of get these.
303
00:21:00,002 --> 00:21:01,999
Let's see where we have that.
304
00:21:02,002 --> 00:21:02,999
It's this deltoid actually.
305
00:21:03,002 --> 00:21:04,999
You can see a tiny bit of a shadow there.
306
00:21:05,002 --> 00:21:06,999
It actually crawls all the way up here.
307
00:21:07,002 --> 00:21:10,999
And attaches itself to the underside of the scapula as well.
308
00:21:11,002 --> 00:21:12,999
So I want to get that in as well.
309
00:21:13,002 --> 00:21:17,999
By simply just like duplicating this one I think.
310
00:21:18,002 --> 00:21:22,999
And putting it in there.
311
00:21:23,002 --> 00:21:23,999
Kind of like that.
312
00:21:24,002 --> 00:21:26,999
And then we can sculpt it in a little bit there.
313
00:21:27,002 --> 00:21:29,999
And the other one will kind of attach itself.
314
00:21:30,002 --> 00:21:30,999
There's actually three heads.
315
00:21:31,002 --> 00:21:34,999
We could also squeeze this one in.
316
00:21:35,002 --> 00:21:38,999
And then maybe not that one, but the other one.
317
00:21:39,002 --> 00:21:40,999
Bring it to the front here.
318
00:21:41,002 --> 00:21:42,999
Scale it that way.
319
00:21:43,002 --> 00:21:48,999
And then you kind of got this thing going on a little bit.
320
00:21:49,002 --> 00:21:54,999
Where now we've got these three heads.
321
00:21:55,002 --> 00:21:59,999
Like that.
322
00:22:00,002 --> 00:22:03,999
And that's already creating those separations.
323
00:22:04,002 --> 00:22:06,000
That the muscle might have by itself.
324
00:22:07,000 --> 00:22:10,999
They will look more right just from the get-go.
325
00:22:11,002 --> 00:22:12,999
Like when we get into sculpting.
326
00:22:13,002 --> 00:22:13,999
Very cool.
327
00:22:14,002 --> 00:22:14,999
Okay.
328
00:22:15,002 --> 00:22:15,999
Nice.
329
00:22:16,002 --> 00:22:21,999
Then I think I'm going to grab another one.
330
00:22:22,002 --> 00:22:25,999
To create kind of these big back muscles.
331
00:22:26,002 --> 00:22:27,999
I might be able just to reuse these ones.
332
00:22:28,002 --> 00:22:29,999
I think I'm going to try that.
333
00:22:30,002 --> 00:22:34,999
So I'm going to create a back muscle like this here.
334
00:22:35,002 --> 00:22:37,999
And this is the latissimus dorsi.
335
00:22:38,002 --> 00:22:43,999
And it also needs some shaping here.
336
00:22:44,002 --> 00:22:46,999
Like that.
337
00:22:47,002 --> 00:22:48,999
Like that, like that.
338
00:22:49,002 --> 00:22:53,999
And then it kind of comes up like this here.
339
00:22:54,002 --> 00:22:58,999
Yeah, I think this actually might be working just fine.
340
00:22:59,002 --> 00:23:00,999
But then we don't need this so much.
341
00:23:01,002 --> 00:23:05,999
So maybe I can delete this here.
342
00:23:06,002 --> 00:23:11,999
And then just close this one off.
343
00:23:12,002 --> 00:23:16,999
And once again, if it's like a bit too unruly.
344
00:23:17,002 --> 00:23:18,999
Then I could use the smooth tool here.
345
00:23:19,002 --> 00:23:22,999
And just like bring all the stuff a little bit closer together.
346
00:23:23,002 --> 00:23:30,999
And then I get that kind of flexibility again.
347
00:23:31,002 --> 00:23:35,999
Because the topology just fixed itself out a little bit.
348
00:23:36,002 --> 00:23:43,999
Something along those lines here.
349
00:23:44,002 --> 00:23:44,999
Nice.
350
00:23:45,002 --> 00:23:46,999
Oh, this one is not in the middle I see.
351
00:23:47,002 --> 00:23:49,999
So we're just going to move that one back into the middle there.
352
00:23:50,002 --> 00:23:53,999
There we go.
353
00:23:54,002 --> 00:23:59,999
Yeah, something like that.
354
00:24:00,002 --> 00:24:05,999
And it'll probably sit itself technically underneath here.
355
00:24:06,002 --> 00:24:09,999
And then kind of wrapping the scapula a little bit.
356
00:24:10,002 --> 00:24:11,999
But not as much here.
357
00:24:12,002 --> 00:24:12,999
Maybe something like that.
358
00:24:13,002 --> 00:24:15,999
Because there's actually supposed to be space for some muscles in there.
359
00:24:16,002 --> 00:24:18,999
Which we could go ahead and create that as well.
360
00:24:19,002 --> 00:24:22,999
So I'll create these with some.
361
00:24:23,002 --> 00:24:26,999
Just taking these, just stretching them out.
362
00:24:27,002 --> 00:24:31,999
Like that.
363
00:24:32,002 --> 00:24:33,999
And then placing these ones in here.
364
00:24:34,002 --> 00:24:37,999
So it's a very like, know your anatomy, check out some reference.
365
00:24:38,002 --> 00:24:41,999
It's also a really good way of understanding your anatomy.
366
00:24:42,002 --> 00:24:44,999
Like being able to place the muscle groupings like this.
367
00:24:45,002 --> 00:24:50,999
I think it really helps me at least to confirm that I actually know what I'm going to be sculpting eventually.
368
00:24:51,002 --> 00:24:52,999
So you can also think of it like that.
369
00:24:53,002 --> 00:24:59,999
It's a bit more like doing an echo shape, those kind of anatomical models.
370
00:25:00,002 --> 00:25:01,999
So it's quite good.
371
00:25:02,002 --> 00:25:04,999
And it makes sure that I'm not just surface treating.
372
00:25:05,002 --> 00:25:11,999
You know, we're just sculpting on a muscle without being able to connect them and relate them to the proper places.
373
00:25:12,002 --> 00:25:13,999
That kind of stuff.
374
00:25:14,002 --> 00:25:16,999
Cool, so we got that going on.
375
00:25:17,002 --> 00:25:23,999
And then I will need probably, let's see what we want to do.
376
00:25:24,002 --> 00:25:26,999
We could do the serratus here.
377
00:25:27,002 --> 00:25:35,999
But I think that maybe this one could also be a little bit further down here.
378
00:25:36,002 --> 00:25:37,999
Yeah, for the teres major and the teres minor.
379
00:25:38,002 --> 00:25:40,999
That sounds good.
380
00:25:41,002 --> 00:25:42,999
I'll do the back actually first.
381
00:25:43,002 --> 00:25:46,999
So I'll do the glutes, so the ass muscles.
382
00:25:47,002 --> 00:25:49,999
I think I'm going to do a new one for that one.
383
00:25:50,002 --> 00:25:52,999
Subdivision surface.
384
00:25:53,002 --> 00:25:53,999
Let's see here.
385
00:25:54,002 --> 00:25:58,999
And that's pretty good.
386
00:25:59,002 --> 00:25:59,999
Do a subdivision.
387
00:26:00,002 --> 00:26:04,999
And then we can bring that in.
388
00:26:05,002 --> 00:26:05,999
Like that.
389
00:26:06,002 --> 00:26:08,999
Do a mirror here.
390
00:26:09,002 --> 00:26:13,999
Bring in the glutes.
391
00:26:14,002 --> 00:26:20,999
Let's see.
392
00:26:21,002 --> 00:26:24,999
Something like that.
393
00:26:25,002 --> 00:26:28,999
Kind of.
394
00:26:29,002 --> 00:26:32,999
The glutes are actually quite large.
395
00:26:33,002 --> 00:26:34,999
You know, just on their own.
396
00:26:35,002 --> 00:26:37,999
Obviously some people have larger glutes.
397
00:26:38,002 --> 00:26:39,999
But they're quite large.
398
00:26:40,002 --> 00:26:40,999
They're quite a large muscle.
399
00:26:41,002 --> 00:26:44,999
It's the muscle that helps you stand upright.
400
00:26:45,002 --> 00:26:48,999
It's a very human muscle.
401
00:26:49,002 --> 00:26:53,999
And so that's kind of funny.
402
00:26:54,002 --> 00:26:58,999
That it helps you stand up, but it's also what makes it nice to sit down.
403
00:26:59,002 --> 00:27:00,999
Something to think about.
404
00:27:01,002 --> 00:27:03,999
There's probably some philosophy in there.
405
00:27:04,002 --> 00:27:06,999
So that's the glutes we got there.
406
00:27:07,002 --> 00:27:09,999
And that is actually.
407
00:27:10,002 --> 00:27:13,999
Yeah, I think that works out pretty well.
408
00:27:14,002 --> 00:27:14,999
Like that.
409
00:27:15,002 --> 00:27:16,999
The legs might be a little bit short.
410
00:27:17,002 --> 00:27:19,999
We'll figure that out once I get everything together.
411
00:27:20,002 --> 00:27:24,999
But I'm already starting to feel like there's some proportional things that would be good to change.
412
00:27:25,002 --> 00:27:26,999
But that's okay.
413
00:27:27,002 --> 00:27:33,000
Then I think I'm going to use the glute here.
414
00:27:34,000 --> 00:27:34,999
Wrong way.
415
00:27:35,002 --> 00:27:35,999
I want to rotate it.
416
00:27:36,002 --> 00:27:43,999
And then I'm going to use that as a grouping of quads.
417
00:27:44,002 --> 00:27:51,999
Just putting it in like this kind of.
418
00:27:52,002 --> 00:27:55,999
Then I can adjust them a little bit.
419
00:27:56,002 --> 00:27:59,999
Like that.
420
00:28:00,002 --> 00:28:00,999
That's pretty good.
421
00:28:01,002 --> 00:28:08,999
I also have this other grouping of muscles that sits in here.
422
00:28:09,002 --> 00:28:13,999
And I usually just take these and rotate them until they kind of fit what I want in terms of like shape.
423
00:28:14,002 --> 00:28:15,999
I don't want to make it perfect at all.
424
00:28:16,002 --> 00:28:21,999
I'm just saying, okay, I want that mass to be there somehow.
425
00:28:22,002 --> 00:28:28,999
There's another set of muscles that sit in here.
426
00:28:29,002 --> 00:28:29,999
Like that.
427
00:28:30,002 --> 00:28:34,999
And I understand that this maybe can be a little bit of a confusing process if you don't know exactly where the muscles are attaching.
428
00:28:35,002 --> 00:28:38,999
But I recommend that you figure that out.
429
00:28:39,002 --> 00:28:42,999
That's an important part of it.
430
00:28:43,002 --> 00:28:48,999
It's like how do they attach different places.
431
00:28:49,002 --> 00:28:49,999
Let's see here.
432
00:28:50,002 --> 00:28:52,999
Maybe I can adjust this in a little bit.
433
00:28:53,002 --> 00:28:59,999
I get this to kind of just connect there.
434
00:29:00,002 --> 00:29:01,999
Cool.
435
00:29:02,002 --> 00:29:05,999
Then maybe I can use these glutes to...
436
00:29:06,002 --> 00:29:07,999
I'm going to recenter the origin here.
437
00:29:08,002 --> 00:29:08,999
Like that.
438
00:29:09,002 --> 00:29:11,999
I'm going to make sure that they mirror across.
439
00:29:12,002 --> 00:29:16,999
I can use these as calves.
440
00:29:17,002 --> 00:29:24,999
Or even do that.
441
00:29:25,002 --> 00:29:25,999
Like that.
442
00:29:26,002 --> 00:29:32,999
Then I have some idea of some calves here.
443
00:29:33,002 --> 00:29:37,999
Let's see.
444
00:29:38,002 --> 00:29:43,999
And usually they are higher on the outside.
445
00:29:44,002 --> 00:29:49,999
If you're looking at calves like this, then that's kind of the calves peeking out from behind.
446
00:29:50,002 --> 00:29:54,999
It's higher on the outside and lower on the inside.
447
00:29:55,002 --> 00:30:01,999
That's kind of what I'm trying to mimic here a little bit.
448
00:30:02,002 --> 00:30:04,999
The form is a little bit higher there and a bit lower over here.
449
00:30:05,002 --> 00:30:12,999
Not amazingly clear, but that's kind of the idea here.
450
00:30:13,002 --> 00:30:15,999
Something along those lines.
451
00:30:16,002 --> 00:30:20,999
I'm just going to do a quick test with just this on.
452
00:30:21,002 --> 00:30:25,999
It's starting to feel kind of human, especially when you're seeing it from further away.
453
00:30:26,002 --> 00:30:29,999
You're feeling those forms, the overlaps of muscles already.
454
00:30:30,002 --> 00:30:33,999
That's kind of what I'm going for.
455
00:30:34,002 --> 00:30:35,999
I'm putting in the critical stuff for me.
456
00:30:36,002 --> 00:30:37,999
That's not stuff like the feet.
457
00:30:38,002 --> 00:30:38,999
That's not really super critical.
458
00:30:39,002 --> 00:30:41,999
The feet are also pointing straight forward, which is not super natural.
459
00:30:42,002 --> 00:30:45,999
But it's easier for rigging and placing the bones and stuff.
460
00:30:46,002 --> 00:30:48,999
That's why they are like that.
461
00:30:49,002 --> 00:30:49,999
Okay, cool.
462
00:30:50,002 --> 00:30:55,999
Then I need the gut and stuff like that.
463
00:30:56,002 --> 00:30:57,999
Let us try to put that in.
464
00:30:58,002 --> 00:31:00,999
I think I'm going to grab this pectoral muscle here.
465
00:31:01,002 --> 00:31:07,999
And use that for the abdominal muscles here on the side.
466
00:31:08,002 --> 00:31:10,999
I can put them in like that kind of.
467
00:31:11,002 --> 00:31:14,999
And then they can be in this situation.
468
00:31:15,002 --> 00:31:17,999
There.
469
00:31:18,002 --> 00:31:24,999
I just want to make sure that I got the volume in the way that it suits itself.
470
00:31:25,002 --> 00:31:27,999
Yeah, I think that actually works pretty well.
471
00:31:28,002 --> 00:31:31,999
I can do something similar for the abs here.
472
00:31:32,002 --> 00:31:34,999
I'm just going to simplify them with some smoothing here.
473
00:31:35,002 --> 00:31:36,999
Like that.
474
00:31:37,002 --> 00:31:41,999
Getting them on the front here like that.
475
00:31:42,002 --> 00:31:48,999
And for the abs, I'm just going to use kind of like a band.
476
00:31:49,002 --> 00:31:52,999
So it's going to be kind of like this.
477
00:31:53,002 --> 00:31:54,999
A strip.
478
00:31:55,002 --> 00:32:02,999
Maybe like a band strip like this.
479
00:32:03,002 --> 00:32:05,999
Yeah, something like that.
480
00:32:06,002 --> 00:32:10,999
I might bring this up a little bit more.
481
00:32:11,002 --> 00:32:11,999
Let's see here.
482
00:32:12,002 --> 00:32:12,999
Like that.
483
00:32:13,002 --> 00:32:13,999
Like that.
484
00:32:14,002 --> 00:32:15,999
So that is bulging out quite a lot.
485
00:32:16,002 --> 00:32:17,999
But that's also not super unrealistic.
486
00:32:18,002 --> 00:32:21,999
That's pretty common.
487
00:32:22,002 --> 00:32:27,999
But I could also raise this up just to indicate that curvature in the rib cage there.
488
00:32:28,002 --> 00:32:32,999
That might be a nice thing to keep in mind when everything gets merged together.
489
00:32:33,002 --> 00:32:35,999
Just to have a little bit of that definition there.
490
00:32:36,002 --> 00:32:42,999
That could definitely be useful.
491
00:32:43,002 --> 00:32:45,999
Nice, nice, nice.
492
00:32:46,002 --> 00:32:50,999
And this could actually come even further down.
493
00:32:51,002 --> 00:33:00,999
And this is going to kind of create that natural athletic fold that you see right here.
494
00:33:01,002 --> 00:33:04,999
So that will be something for reference right there.
495
00:33:05,002 --> 00:33:06,999
So this kind of shape there.
496
00:33:07,002 --> 00:33:08,999
So that's kind of the abs and the side stuff.
497
00:33:09,002 --> 00:33:17,999
And the pelvic region coming together and creating this almost cut between leg area and torso.
498
00:33:18,002 --> 00:33:22,999
So that's the stuff that's going to happen here.
499
00:33:23,002 --> 00:33:23,999
Okay.
500
00:33:24,002 --> 00:33:27,999
There's definitely some other muscle groupings here and there that would be good to put in.
501
00:33:28,002 --> 00:33:31,999
Right now I'm just looking for spaces that will cause trouble.
502
00:33:32,002 --> 00:33:36,999
I could put something in here just to have a little bit less of an area.
503
00:33:37,002 --> 00:33:43,999
So I think I'm going to maybe take this one and just put this stuff in here.
504
00:33:44,002 --> 00:33:50,999
Just so I have some kind of muscle-ish definition right there.
505
00:33:51,002 --> 00:33:53,999
Yeah, that seems pretty good.
506
00:33:54,002 --> 00:34:04,999
And then I need these two to not overlap as much.
507
00:34:05,002 --> 00:34:06,999
Like that.
508
00:34:07,002 --> 00:34:09,999
Seems pretty good.
509
00:34:10,002 --> 00:34:19,999
And then these neck muscles here.
510
00:34:20,002 --> 00:34:21,999
There's the sternomastoid glide here.
511
00:34:22,002 --> 00:34:24,999
They sit here.
512
00:34:25,002 --> 00:34:31,999
And then let's see here.
513
00:34:32,002 --> 00:34:35,999
Connect these here.
514
00:34:36,002 --> 00:34:40,999
And they can actually connect probably around there or something.
515
00:34:41,002 --> 00:34:43,999
And, you know, I think the whole head area needs to be adjusted.
516
00:34:44,002 --> 00:34:55,999
It's such a specific area and how it looks that probably this is not doing it the best of justice.
517
00:34:56,002 --> 00:34:59,999
But it's still good to block it out.
518
00:35:00,002 --> 00:35:00,999
Like that.
519
00:35:01,002 --> 00:35:01,999
Okay.
520
00:35:02,002 --> 00:35:03,999
And then there's a lot of mass in here lost.
521
00:35:04,002 --> 00:35:06,999
If we start to merge all this stuff here, there'll just be tons of gaps here.
522
00:35:07,002 --> 00:35:11,999
And that would actually cause some trouble.
523
00:35:12,002 --> 00:35:20,999
So I think that I'm going to take this mass here from the calves and just put that in as well.
524
00:35:21,002 --> 00:35:22,999
Just to fill the area out a little bit.
525
00:35:23,002 --> 00:35:27,999
And that's where this method becomes a little bit, you know, unorthodox.
526
00:35:28,002 --> 00:35:34,999
Because you get some errors like that or some potentially annoying bits like that.
527
00:35:35,002 --> 00:35:43,999
But what I gain is that I gain a really good sense for where my muscle groups are.
528
00:35:44,002 --> 00:35:45,999
And I keep those things in mind.
529
00:35:46,002 --> 00:35:51,999
And that's what I want, right?
530
00:35:52,002 --> 00:35:52,999
That's why I'm doing it.
531
00:35:53,002 --> 00:35:59,999
And stuff like that.
532
00:36:00,002 --> 00:36:01,999
Okay.
533
00:36:02,002 --> 00:36:02,999
Not too bad.
534
00:36:03,002 --> 00:36:03,999
Not too bad.
535
00:36:04,002 --> 00:36:13,999
Still think that my proportions are a little bit short-legged in comparison to the concept.
536
00:36:14,002 --> 00:36:17,999
But I think we can solve that once we merge everything.
537
00:36:18,002 --> 00:36:20,999
We can still change the proportions a lot here.
538
00:36:21,002 --> 00:36:22,999
Okay.
539
00:36:23,002 --> 00:36:30,999
Then I think we just need to put in some bicep stuff.
540
00:36:31,002 --> 00:36:33,999
We can put that in like...
541
00:36:34,002 --> 00:36:40,999
Yeah, probably just like that.
542
00:36:41,002 --> 00:36:43,999
And then in a tricep.
543
00:36:44,002 --> 00:36:45,999
So it's going to be a little bit more bulky.
544
00:36:46,002 --> 00:36:49,999
That's maybe the wrong one to use for that.
545
00:36:50,002 --> 00:36:57,999
Actually, calf muscle here could work.
546
00:36:58,002 --> 00:37:09,999
And just squeezing that out.
547
00:37:10,002 --> 00:37:16,999
Like so, like so.
548
00:37:17,002 --> 00:37:18,999
Cool.
549
00:37:19,002 --> 00:37:20,999
Got that thing placed.
550
00:37:21,002 --> 00:37:26,999
Then the one other muscle to potentially place is the one that kind of cuts here.
551
00:37:27,002 --> 00:37:36,999
So that'll look a little bit like this here.
552
00:37:37,002 --> 00:37:42,999
So it's called the brachioradialis, I think.
553
00:37:43,002 --> 00:37:47,999
And it's the muscle that sits right here.
554
00:37:48,002 --> 00:37:54,999
It kind of blends the upper arm and the lower arm together.
555
00:37:55,002 --> 00:38:00,999
And I think having that as a very clear separator is usually a good thing.
556
00:38:01,002 --> 00:38:01,999
Like that.
557
00:38:02,002 --> 00:38:03,999
Yeah, I mean, it doesn't have to be much bigger right now.
558
00:38:04,002 --> 00:38:04,999
So that's pretty good.
559
00:38:05,002 --> 00:38:06,999
Okay.
560
00:38:07,002 --> 00:38:08,999
This is looking pretty good.
561
00:38:09,002 --> 00:38:14,999
I think that's actually all I need for the blockout.
562
00:38:15,002 --> 00:38:16,999
I have a bunch of intersections.
563
00:38:17,002 --> 00:38:18,999
So that's looking pretty good.
564
00:38:19,002 --> 00:38:24,999
And that means we can move on to the next stage, which is the actual sculpting phase.
565
00:38:25,002 --> 00:38:27,000
So that's it for this chapter.
45485
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