All language subtitles for 16. Pose and Weights_1_und

So now it's time to test the armature a little bit more, find and fix some problems that would occur eventually and

create the final pose for the character, so it's ready to render and

as we saw before

the belt here caused a little bit of a problem there, so if we now

CTRL tab for the pose mode on the armature and try to move the leg a little bit down

we can see that we are dragging the belt, which should not happen, so

let me release this and

we'll have a look at the belt itself, so CTRL tab to exit the pose mode, select the belt and now we can go to

the weight paint mode, so CTRL tab and choose weight paint here

and basically you'll need to

check through these vertex groups for some of these bones whether there is some weight applied, so

obviously this belt should have some weight from the spine bones, as you can see here the spine is 0.1,

have a weight there and

the pelvis bones, so if we check the pelvis left and right

this is correct, but we need to look for some of the bones on the foot there that are dragging this down and

we don't need to click through all of these vertex groups since they're named after the bones, so we can just

look for the

left foot here, so let's click that and let's check whether there's some weight applied there

not really, so let's continue

and I can see here on the toe there's some weight applied, so

that's really not great right here and basically that happened if you look this from the side

the toe is quite in the front there and belt as well, so maybe there wasn't any bone and

some of the weight got applied here, so we can easily fix this by

either

painting the weight away, so I can show you how to do that, first of all I would toggle x-ray

so we better see the weight on on all sides of the belt and then we can check the actual drawing tool and

here in the advanced option you can see that

there's a checkbox for front faces only and if you uncheck that you can basically paint through the whole object and right now

you just reduce the weight to zero and

paint over this part here, you can see how

the weight

disappears there and

you can make this interactive, so if I go to the object mode and then again to the pose mode and

drag this feet a little bit down you can see how only this part of the belt is dragged and here we still have a

lot of the weight painted, so let me go back to the weight paint mode and

you can paint over this and see how it returns to its place, so that's what we want

there's the other way how you could do that so for example if I don't want the belt to be affected in any way by

the feet

we can just go to the edit mode

go to the vertex groups and

just

remove, click remove on the vertex group and if I do this on the right toe as well, so let's find the toe R

vertex group and

click remove, that means we are removing all of these vertices you have to have you have to select them of course before that

so we are removing all of these vertices from this vertex group and

from this one as well, so if we now tab out you can see this no longer moves towards the foot because we removed all

of the vertices from these weights

so

that's about the belt and

I really like how

all the rest of the model behaves basically

there is a little bit of an overlap here, but we'll fix that by

giving some volume

to the cloth there

so all in all this works great, and we can test out some other things

you can of course test the fingers as well, you can see there are separate

controls for fingers here that you can rotate

but there's another interesting way that they work if you scale them up and down these controls you will curl the fingers

so

this is one of the great things that

Rigify does for you where you can just

create the bones and all of these controls get created for you

and maybe this is the right moment to talk about some of these controls that Rigify offers

so here on the right panel if you don't have it visible just press N to slide it out

you can see there are buttons for rig layers and here basically you are enabling and disabling

visibility for this control, so if you feel like

this is cluttered, and you have a bunch of these gizmos there you don't want to have there, or you don't want to see them

just enable or disable some of these layers, and then if you select some of these red

controls which are inverse kinematics controls

there are some more options here and basically you can rig the hand with the forward kinematics and forward kinematics means

that if you move some bone

basically it just controls the angle between

itself and the parent bone

if you're using inverse kinematics

then it means by moving the bone you are modifying the angles on

other parent bones as well

so here for example if I move this up

you can see we are modifying this angle as well and this so by moving one bone

we are actually controlling

these angles in a backward way. That's why it's called inverse kinematics

let me go back and

you can easily switch from inverse kinematics control to forward kinematics by sliding this control here

so right now if you slide this all the way to one you are

we effectively disabled the influence of this inverse kinematics control and

the hand now works in the forward kinematics, and you can control this by selecting these

green bones and

here you can see you have separately move some of these and

basically they work in a forward way, so

you move the angle on the parent bone, and it moves all the other bones, and then you can go down on the bones and

position them separately

so let me just slide this all the way back and

here you can see the forward kinematics bones or the forward kinematics controls are still in the position

we left them so with this slider here

you can change the influence between the forward and inverse kinematics and same applies for legs as well

so let's go back to fixing the armature once again and

There's just one more issue. I think all of this is

rigged quite nicely

But when we move this

Basically the pendant goes inside the body so we can try something to fix that

Let me press ctrl tab to go out of the pose mode and normally you would probably want the pendant to behave

Physically correct, so it would have its own bone structure with some physics and some gravity and stuff like that

But that's really out of the scope of this illustration first of all I think we can

Join these two objects and re-parent them to the armature so the weights get painted once again

So we don't lose this connection right here, so let's just try that

For a second I will shift click these two objects press ctrl J

and now shift click the armature

ctrl P and

Do the automatic weights there

And now if we go to the weight paint mode

We can check these vertex groups once again

and I suspect we'll have to apply some of the weights for some of these spine bones, so

let's just check and

the spine one

Should control this area right here

We can double check by selecting the body and go to the weight paint mode

And you can see the spine zero one is painted here in the back and a little bit on the belly

Then it goes up like this, so I guess we can fix

Some of these quirks by painting some weights for these two vertex groups

So let's go to the weight paint mode for the talisman once again

Let's now try to apply

Some of that spine zero zero one weights

I will use F to increase the radius and let's modify the weight to

Something like 0.5. I don't want to go all the way to 1

Let's just click some weights here

Be careful you can see how this moves

up, so I

Guess I like what we've done to the talisman object itself

That it gets moved by the spine bone, but here. This is a too much so we can reduce the weight here

And try to ease it out a little bit and then switch to the spine zero two

And apply some of those as well, and maybe then we can reduce the

Effect the spine one has on this rope

And I think this could work quite well, let's see what it does I

Will go to the object mode, so the armature control tab for the pose mode and let's see

What we have done here. I think this is a little bit better, so

Looks great

Doesn't behave physically correct, but you get my point here. I'm just trying to

Make it as good as possible without adding

Unnecessary complexity since the result of this should be just a static illustration in my opinion

This is a great result for the short amount of time it took and here you can see how you can

Use the armature and the pose to basically make the character taller

altogether so

there's a lot of flexibility in that and

Imagine what would you have to do if you would need to move the mesh manually or something like that and now?

I want to go back, so let's select all by pressing a click pose clear transform and all

So this is the rest pose we had before

Now our character is ready, and we can do some small adjustments like I mentioned here in the back

Where I want to give some volume to this cloth you can remember we remove the solidify modifier there

I wanted a small amount of geometry for the weight painting as possible and

Sometimes it can get weird when you try to apply weights to double-sided geometry with automatic weights

This way we have already this piece of cloth weighted and now if we go in the edit mode by pressing tab and

press alt e

extrude along normals

we can extrude some of the geometry and

This way these new extruded vertices have same

weights as

Those that we are extruding from so now if we check the pose

this still works and

We don't have any issues here in the back of course it can break if you do like two wild stuff there and

Remember this character

Doesn't have like long legs or something so if you do some aggressive movements here

It starts to break very soon, and we can now extrude some of this cloth here as well

So I will tab in press alt e and extrude along normals

we can go the other way and

Let's make sure to select all and press shift n. So we have correct normals

Okay, and now it's time to do the pose so I will go to the texture paint

Mode but go back to the object. I just wanted to have the image editor here so I can load up the reference

so let's just

load up our reference image, but not the illustration one, but the final render and

And

This is the pose we are going for right here, so

Let's select the armature

Ctrl tab for the pose mode will need to rotate the camera a little bit

So we have the angle right as you can see here, so I think the correct angle is something like this

Okay, and now we can select

This bone here and move it towards the front because he a little bit leaning forward

We can now rotate this on the X so R X and rotate

Maybe not so much in the front so G and Y and go back a little bit

So he is hunching a little bit here now. We can let the arm go down a little bit so

Move it like this

R

Y twice and rotate the inverse kinematics controller and

If you go to the X-ray

You will see that there are some adjustment bones like this that you can use to freely

adjust

your mesh and

It's very useful when you do some steep angles or something like that or when you want to do some animation stretches

You know some cartoony stuff

But here we can use it to actually

Make an elbow go a little bit outside

And then make this closer to the body

like this

And it's a little bit more rotated like that we can see he has

The thumb bent inside and the fingers as well a little bit

So, let's do that and as I mentioned before we can use these controls so select one of these finger controls press S to scale and

Bend them just a tiny bit

like this

And I will rotate this a little bit maybe

We can move them closer together like that

And scale this one as well

Okay and rotate this bone with a little bit to the front so

Yeah, just try to find some pose that you really like you can adjust the position of the shoulder here and

Try to find something that works for you based on the reference

Okay, and now the front arm so we can take the control

Bone and move it towards the front and of course changes rotation. So our

Y twice so we are rotating around this axis

Then if we rotate from the top, we'll see that we'll need to rotate it like this

And move some of these outside

Okay

Looks great so far. I want to keep the palm open, but just for some visual interest

We can maybe bend these fingers just a tiny bit

And

Maybe play with the position of the head. So if we

rotate it a little bit and

towards the front

so it basically

kind of looks like

In the direction of the extended hand

So it looks like he's really reaching out to those wisps or something

Maybe move this to the side a little bit

And

Okay, I really like this and to be honest I like this pose even more than the original one

So I will go with this. Of course, you're free to play

With the pose come up with something you really like and I'll meet you in the next chapter