All language subtitles for Chapter_10.ENGlish

All right, we have reached the point where our model is pretty much complete.

We got the finished model, finished texturing, finished UVs, finished everything and we even

got a little bit of shading going on.

And now we can move into rigging, which is going to be the stuff we do in this chapter.

So to do the rig, we are going to just, you know, build a rig from the ground up and we're

going to match it to the body of the character.

We pretty much just kind of need the body and then we're going to do some special bones

for some of the stuff like the cloth and probably some stuff for attaching items to the hands

and things like that.

So a little bit of different stuff in there and the rig is going to be fairly simple.

It's going to be a full IK rig.

So no FK on the arms, if you know what that means, just IK and IK on the legs.

That's the way I always animate myself and I think it works just fine.

Doing an FK setup is a little bit beyond scope and this is also just the ability to

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do a simple rig where you can start getting some animation done on your own models.

Okay.

So to start off, I am going to just isolate the body here and then we're going to start

placing some bones.

So I'm going to create a new bone here.

I might jump into this setup here and just have a more simple matcap here.

We're going to random.

Yeah.

I think that's pretty good.

I just like having something a little bit more simple.

And then we are going to create an armature.

We're just going to create a single bone here.

Then we got that going on and I'm going to move this one up to the pelvis here and we

need to turn on ghost so we can see through and the idea is that this is going to be kind

of the point of, not rotation, but the origin point basically and you should be able to

take this bone and move it anywhere and then the rest of the body will flow.

So you need to have one point on your body where everything kind of follows with that.

And we might also want to create a control bone in the bottom.

Let's do that straight away actually.

I'm going to create a new bone here, just hitting shift A there.

Then we have a bone and then this one is going to be parented underneath this one, but it's

going to be offset like this.

So this is kind of a control bone.

And because we're doing rigging, naming is really everything.

So we'll call this one the main, let's call it main here and then this one will be the

pelvis like that.

And now those are named.

This one will probably be oriented this way and it's kind of just representing the pelvis

as much as possible.

So I'm putting it like that and it's going to allow us to do the legs and stuff from

that point basically.

Okay, very nice.

Then I'm going to start doing the spine here and the spine I'm just going to extrude from

this one.

And that means that now this one is not parented underneath this one, so we need to parent

it.

So we're going to parent this one and we're going to choose to be keep offset.

So that now when this one moves in a post mode, then the other one follows.

That's kind of the idea.

And then when this moves, the whole thing follows.

So that's the initial setup.

And this one is going to be spine.

Let's name it right away.

We're going to call it spine001.

And then when we start extruding more from the stuff here, you can see it'll just name

it correctly here on end.

We're going to create probably, I think two bones in here is enough.

Something like that.

And then a single bone for the chest.

I don't need a lot of flexibility in here, but the chest would be good to have that.

I typically like creating my spine fairly close to the edge out here.

We could do that also, actually, now that I'm thinking about it.

Let's see here.

So I have this one and then let's see, something like that.

Not all the way out, even though that is where the spine kind of would set itself.

But just in terms of rotation, I feel that the deformation usually is a little bit nicer

when you have it a little bit further in, but definitely towards the back of the body.

Your mileage may vary.

It all depends on what you're rigging.

Something like that.

And then from here, I want maybe just two bones and then a single bone for the head.

And we want to find the point of rotation here, right?

So that's going to be something like that.

And then this here kind of goes up there.

The point of rotation is roughly around here, it's where the head rotates around.

And then we got the neck there, can move this one forward a little bit.

Something along those lines right there.

And that's kind of where you would get your rotation, I think actually a little bit further

in.

Something like that.

Cool.

This can also come forward a little bit.

I'm just trying to create that slight curve in the spine here.

Yep, that looks good to me.

Then just want to name this one head as the only one that is the head bone.

And then these other ones can be spine, that's actually fine.

That rhymes.

So that means it's probably true.

Then here we can start extruding things out.

And I want to extrude out a little bone here to where the leg kind of attaches, somewhere

around here.

And this bone is not going to be something that you can move because it's part of the

pelvis.

It's just a little support bone to bring out the right rotation point.

You could also have a floating bone, but I like keeping things connected.

So I'm going to call this one something a little bit different.

I'm going to call it L dot, because it's the left leg, so L dot leg dot 00, like this.

And when 00, that basically tells me that I'm not going to be using it for deforming.

So I might turn the deforming off later on, but not right now.

Then I'm bringing this one down and then that becomes leg 001.

Bring it down to the knee and then this one further down.

Then I want to place this, and it's important you have a little bit of an angle to the leg.

That's going to be important for the IK leg setup, et cetera.

Cool.

So we've got that going on there.

Then I can extrude out the foot here, and I just want one bone and then another one,

like that.

And this is going to be foot.

So I'm going to name this one foot dot 001, copy it, and the other one foot 002, like

that.

Very nice.

So that is the leg there.

Then we need to do something similar for the arms.

This is where it gets a little bit funny.

To have a bone follow the chest, basically, then we need to extrude out from here.

So I'm going to be extruding out somewhere around here to the clavicles, and then the

clavicles are going to be moving the rest of the stuff here.

And then extrude that out, basically, like that.

And I might even move this one into the middle a little bit, just to get some simple deformation.

And then I want, basically, where the arm will be rotating, so that's something along

this line here.

That's probably, it's around finding the right spot, and every model is going to be a little

bit different where the right spot is.

I think something like this actually works quite well.

Then I'm going to call this one the, this one's going to be arm, L dot arm dot 00.

And then this one's going to be L dot arm 001.

And then I can start extruding these things out, bringing it down to the elbow.

Let's see, something like that, and I'm extruding out on E, by the way, there, there as well.

And then we get the hand, and the hand is going to have its own little partial joint

here.

And then I like to actually create finger bones before the fingers start, so you can

get a little bit more flexibility in how the hand deforms.

So I'm going to call this one the L dot hand, that's just what it's going to be called.

And then from this one, I can get out a thumb.

If you want to play stuff inside the fingers, you could actually use this snapping feature

volume, and then you can create stuff, and it kind of just tries to settle itself within

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the volume.

And here we need to have, let's see, oh, is it one, two, three, like that.

Something along those lines for the thumb, and you can see it kind of perfectly places

itself within the thumb, so that's super handy.

Then here we want one bone, two bones, three bones, four bones, and this can come a little

bit further down, this can also come a little bit further down, something along those lines,

and you can see it kind of sits within the finger super easily, and that's because of

that volume snapping, it's super handy.

And for the knuckle there, one, two, three, and they kind of gradually get shorter and

shorter towards the end there.

One, two, three, four, and one, two, three, four, and they got a little bit too, they

got a little bit over there.

Very nice, and they sit comfortably inside the finger here, and you can of course move

them a little bit if you feel the need, I think that I could actually move all of these

just a little bit outwards, so they sit a little bit closer to the edge there.

That's pretty good, pretty happy with that.

Then I could probably pose this one somewhere around there.

And these extra ones, I actually would use these for deforming, to get a little bit of

extra variety in how the hand deforms.

And I did forget to name the fingers, so that's, I'm going to have to do some manual work here.

So I'm going to say L.Thumb.000, and you can actually just take this, then copy it, and

then it will auto-rename it, if you just paste it in like this.

Like that, three.

And then this one will be L.Index, index.000, and then, I wonder if you can do all of these,

will it just work?

No, it definitely didn't work.

So now I need this one to be one, this one needs to be two, oh, this one needs to be

Okay, let's say, oh, accidentally subdivided.

Okay, now this one can be two, and then this one can be three.

So yeah, rename the bones properly.

And middle, and then we can do that, do that, do that.

This one can be ring, ring, copy, paste, paste, and paste.

And then this one can be little, like so, like so, like so, like so.

Then we got all the fingers named there as well.

And the feet, we got those named, yeah, we got foot one and two.

That's great, we got the fingers there.

That's looking good, we got the clavicle there.

And then we got the head there as well.

Very nice.

And then we could do additional stuff, like do a bone for the eyes.

So if we bring in the eyes here, if we just slash everything here,

hide the items, oh, that actually hit the armature,

I'm gonna put that in with the character, hide the items.

Then we have the eyes here, and the eyes technically still have the mirror on,

so I'm gonna, do I need to apply the mirror?

No, I probably don't need to apply the mirror.

So as long as your origin is in one of the eyes,

then I can now say cursor to selected, so I get my cursor there.

Then I can go into my rig, and then I can create a new bone

inside the eye, and just put this one

to selection to cursor, and then I can move it outwards a little bit.

And then I have essentially, that's what I want,

I'm gonna turn off the snapping here.

So I have this pointing in that direction,

and then the eye can get parented to that.

And then I need some kind of bone attachment to this one,

so I could do a, I actually don't need the head bone to go all the way up there.

I'm gonna do this one, and selection to cursor,

and then control P, connect it.

So then, now that's attached there.

And this bone here, we'll call this one the L.I.

I will call it.001,

and then this one will be 00, in that sense.

Cool. We could also obviously do one for the mouth.

I'm not really gonna have any mouth action for this character,

but you could easily attach another bone,

and then do some skinning in that regard.

I will not be doing that right now.

Okay, and then we more or less have the bones placed,

so that is pretty good, and we're gonna tackle these bones first,

and then if we do need to do any additional bones

for some of the assets and stuff, we'll get to that afterwards.

We can always modify and add to the rig.

But let's first test what we got is working.

We also need to do some orientation here,

so right now, if I go into pose mode, I want these bones,

and I say I want to rotate it along its axis,

it's kind of doing this, and it would be nice if the bones

were rotating along their natural axis instead,

and there's a way to do that.

We're just gonna select everything,

then I think it's, I said Shift-N, yeah.

So if we click Shift-N, then we get into this menu

called Recalculate Roll, which is Bone Roll, Recalculate Roll,

Shift-N, and then you can play with different ones here.

So if I do this, for example, then I get some kind of rotation.

If I do this, then I get another one, et cetera, et cetera.

So if I choose this global plus axis,

it's gonna try to align itself like this,

and then now the local x-axis for this one

is not really what I want there, I think.

Because then I get y like this,

and then z like that, hmm.

Yeah, I think I want at least, to me,

x should be like that instead.

So let's try another one, let's try this one here.

Let's see what we get here.

Yeah, so now when I'm in the local rotation for this one,

it's rotating the right way, and the same with this one.

And with this one, that's pretty good.

And the toe also, that works for me.

And this one also for the spine here, that all seems fine.

And that works fine there.

And y is always along the axis here.

Then we got this one, and this one is rotating like that.

And the arm going out like that.

I think that actually works pretty well for me.

Then we got this here.

And then to close all the bones,

we have to take them like this,

and double tap set, then go individual origins.

I'm just testing the bones right now, and then on set.

Yeah, I think that's pretty natural, actually.

Yeah, so set there.

To help with the alignment a little bit,

you can always go into viewport display,

and then under the armature,

and then say viewport display,

and then choose axes,

and then you can kind of see

which way the different axes are rotating.

And this matters, definitely take the time to set this up,

because it will affect how your break behaves overall.

Pretty consistent.

Yeah, I think I like this, that the elbow works like this,

and the knee works in the same way.

So it's something to kind of count on,

as to how it's going to respond.

Okay, that's pretty good here.

Let's see, what are we missing?

I think that's it for the bones,

and then I think we can actually get them over to the other side,

so I'm going to select all the bones here on the left side,

and then including these ones,

so all the left bones are selected,

except for the middle bones, right?

And we're going to say armature,

and then we're going to say symmetrize.

And it's going to take all the bones with the same naming,

with the L dot something,

and flip them to the other side,

and then rename them with R dot something instead,

so now all these bones have the right naming.

And the rotation should be mirrored, as far as I remember,

so if I click X like this,

then we get this mirrored behavior,

which is what we want.

And then Z should be symmetrical,

like that.

And that's basically the way we're going to do it.

Just if our rig is kind of working,

I can move it here,

but then I'm going to do a pose

of something where I just test a few

features here, like that.

Testing some...

I'm going to move this one out, like that,

and take the leg to this,

and then do that.

And then I'm going to take the whole thing,

like this is my pose,

press CTRL, oh actually I also need something

on the torso here, like that, cool. Press CTRL C,

and then I'm going to press CTRL SHIFT V,

CTRL SHIFT V, and that's going to

paste the pose on the same one, but inverted.

And if I undo here, yeah,

they look to be completely in alignment.

And that's exactly what I wanted here.

Yep, they are mirrored, and that means

that the bone orientation works the way it should.

I'm going to select everything and press ALT G and ALT R,

just so that everything goes back into its

normal orientation.

Very cool, that essentially means that the bones for the body

are done. Then we're going to do a little bit of

styling here.

I'm going to do some bone groups,

so go over to the armature setup here, then go into bone groups,

and then go into pose mode.

And then I'm going to create a new bone group, I'm going to create one called

middle, I'm going to create one called

left,

I'm going to create one called right,

I'm going to create one called

utility, oh actually no,

none probably, none.

And then I'm going to give them some color, so middle

is going to get yellow, left is going to get blue,

right is going to get red,

and default is going to get just like a grey

theme color set here.

Then we're going to take all the bones here on the

left side,

these ones, these ones,

except for those ones,

and not that one.

Oh, we're actually missing a bone there, I just noticed.

So this one needs to be armature,

and then symmetrize,

and then we need to parent this one up,

connect it,

there we go, almost missed that one,

that was good, I saw that.

So yeah, we're going to select all the bones

here on the left in pose mode,

except for that one, and that one,

and then the eye as well,

and all this stuff here, and then we're going to

add it to the left group, and that's going to turn them blue,

and that just helps us orient ourselves to see where everything is.

Then we're going to do the opposite

on the other side here,

the eye bone, turn them right,

then they are red now, and then we can

do the same thing with the middle here, all the middle bones,

say middle, like that,

I might also turn this one middle, like that,

and then all the bones that we don't want to deform anything,

we're going to make them

be none, and then also

inside the bone options here, I'm going to

alt-click deform, and that means that

all these bones here no longer have the

deform option, so that means that during

skinning, they will not

try to

skin to those bones,

which we don't want, and this one is also not a deformation

bone, so let's untick the deform bone

here.

Alright, then we got

all that stuff covered here,

so that's really good, and we got everything

working still, and this one can move

those things, and then you can have a point of rotation

there, that's good,

the whole thing can rotate like that,

the legs can rotate like that,

we don't really have a control for rotating

the pelvic region without rotating the top,

that could actually maybe be interesting,

if we wanted to be able to

rotate that one without, I still want

to have a point where I can move everything,

but it can also be good sometimes to

be able to rotate that thing,

you don't have to use it, but if we went in here and just subdivided

this, and then

oh, I just need to get the right

there we go,

just get the right thing here

and move this there, then we can

move this one, and everything moves, but then I can

rotate this one here

wait, what's going on?

Ok, so this just needs to be parented to this one

instead, and

go into parent here, and say keep offset,

then this one moves everything,

but then this one only rotates this stuff here

and that's kinda what I was

thinking, that could be actually quite useful

from time to time, just something to

keep in mind, that if you suddenly need to

rotate all this, then you got that one

Ok,

the only problem is that

we probably don't want to deform anything

to this one, so I'm gonna

have this one

oh, that's a good question, where

we should put this one, maybe we should just put it on top

and then they're in the same location

and then we'll, you know, so

we can do this, we can do that, and then we can

select the other bone, which we can't select right now, but we can

turn it into a, we can give it a

shape essentially, so if we

let's just do that now so we can access it, we're gonna be doing this later

for the other bones, but we're gonna create

a shape here

I think it's just a cube

do we wanna use a cube?

yeah, I think

I think a cube can be good for

the entire thing here

something like

this, just to see

and then I'll delete only faces

like that

and then I'll just press Alt G, then

I'm gonna go over here to the bones

and then I'm gonna go into the hierarchy and then essentially that little

bone we had here before

let's see, so we got the pelvis, we got the mane

where did it actually go?

oh, did it delete itself because we had

hmm, did it actually

delete itself?

nice to see here, oh, that's not what I wanted to do

whoa, what's going on here?

so I'm

removing that one

why?

ok, there's some kind of parenting

stuff here that I'm not quite sure

exactly how it's holding together, so we got that

and that, we got the main bone there

ok, I need to reduce this a little bit

so I'm gonna set this to be

so I'm gonna take this one

and Alt P

disconnect bone

and then

Alt P, clear parent

there we go, so now if I move this one

that's fine, take these two

parent it underneath this one, connect it

then I'm gonna move this one down

just on

huh

ok

let's do a little bit of adjustment here

ok, it seems like a bone actually disappeared because they were exactly on top of each other

so we can't do that, so I'm gonna

create a bone in between there again

and then

that'll just have to be fine

this one is connected there

and this one

is gonna be that bone

and this one

is gonna be Alt P, clear parent

this one is gonna be connected to that one

with a keep offset, so now if we move this one here

everything moves, and that's what we want

cool, and this one is called

just bone right now, I'm gonna call this

pelvis

0,0

and this one is called pelvis

0,0,1, that sounds

good, and then

back to pose mode here

oh, that was wrong, back to pose mode

and then this one is gonna be middle, assign

cool, and this one also middle

and then this one now, so this little bone here, because it's so small that we can't really

grab it, I wanna give it a

a visual aid basically

and the way you do that is you go down to viewport display

no, sorry, on the bone, you go down to viewport display

and then here you can say custom shape, and I'm gonna select this

box down here, the cube, and then

that's gonna be the new display

and you can see it's pretty small, because it's just

scaled relative to the bone

but I'm gonna scale this up by a factor of 10

maybe even 50

and then I can

do the final adjustments kinda here

I'm gonna go to object mode

and then just

ok, so it wants to rotate that way

that's also fine

like that, like that

and then

something along those lines

that's gonna become the new

big control for the whole body

there, and then I essentially

have this control for moving everything like that

and we also have this one, oh, that one needs to be

connected, so now this is essentially the bone

so I'm gonna select the bone here

and select that one, and just ctrl P

keep offset, this one

is connected there

and this one can move

there's something else that's connected

to this area here

perhaps the eyes

alt P

it seemed like the eyes were connected to the bone for some reason

maybe I had done that by accident

but now we have that setup, and we have a control to

move the pelvis, we can move the entire thing

like this, we can move that, that's exactly what

we wanted out of this, awesome

now that has been setup, then we can move on to doing some of the

eye case setup for the different parts

of the body, so let's start with

the legs here, they are kind of the easiest

so let's

create some new bones, so the way it works in Blender

if you're not familiar with the rigging stuff

is that you create some bones, and then you apply

some bone constraints to those bones, and they will become

the eye case setup

so it's just all kind of bones basically

I'm going to take this area right there

and then that's going to become

our eye case

handle, and what I want is

in a way for the

eye case handle to sit

probably somewhere like this

and then I can move

that around and rotate it, and the foot rotates with it

or we could make it so

that the eye case handle is the foot itself

that, and then that can be rotated

that probably makes more sense, I'm going to duplicate this bone here

I'm going to create Alt-P clear parent

so it's just floating in space here

I'm going to call this

lEyeCaseLeg

like that, so that's going to be the

eye case handle there, then I'm going to extrude this bone

out here, and then also Alt-P clear parent

and I'm going to

move it out just a tiny bit, like that

and this is going to be lPT

leg, and PT stands for pole target

and then

those are the two handles there I need

so that's pretty good, and then on this bone here

we're going to go into post mode, and it's going to get

the bone constraint here, so I'm going to say

IK, inverse kinematics

here, and then we're going to

select the armature, then we're going to find

the IK leg here

and the pole target is going to be like that

and

PT, that's the pole target there

so now the whole thing kind of flips over, and that's because

we have to define the chain length, we're going to set it to 2

and then the whole thing has kind of been

rotated, and if that happens you just adjust

the rotation angle here, set it to negative 90

and then it now seems to fit

in the right position, and the IK should start

working here, so you can grab the IK foot here

and then

it's actually lining up pretty good

and we've got an IK happening

now what I want, the behavior I want is for the foot to

actually follow the IK bone as well

so that when I rotate the IK bone the foot rotates

but right now we're getting this kind of secondary motion

on the bottom of the foot, and we need to turn that off

so I'm going to select the L foot bone

that's underneath the IK handle right now

and then we're going to go under bone here, I'm going to say inverse kinematics

no sorry, not inverse kinematics

but relations, I'm going to turn off

inherit rotation, that means that the rotation will just

stick, so now if I move the IK bone

you can see that it doesn't rotate, but it still doesn't

follow the bone

so to do that

I just want to make it so it's a little bit more clear, so I'm going to create a

new cube here

a smaller one here, put it there

like that

and delete only faces

that's our new cube, I'm going to

scale it down, I'm also going to scale this one and see if it affects

oh, it's all fine

I'm going to put these into a collection called shapes

so I can

hide them afterwards, and then here on our bones

I'm going to go to the IK

handle or the IK

bone there

just looking for the right

I think that's the one, right there, yeah

that's the one, and then I go to custom

shapes here

I need to go

custom shape, there we go

then I'm going to select that other cube

right there, and then I can scale these

ones up a little bit, and then I get a handle

and then I can see the bone by itself, just so there's a separation

between those two things, then I can hide the shapes here

and then now when I rotate this one

I want the foot to follow that

essentially

let's see here

I'm going to go to bone constraints

and I'm going to simply add a

child of

component, and just set it to

armature, and then set it to IK leg

and that means that now when I rotate

this one, it's all following

along like I want it to

so the IK controls the leg

but also the rotation of the foot, and that's exactly what I want

very nice

and this one is fine the way it is

it could just use a little

color here, so I'm going to set it to left there

nice, and we're actually going to symmetrize these things

over to the other side, which means we're going to lose the colors

I forgot about that, so we'll just have to redo the colors, but that takes like one second

so that was the IK for the leg

so we got that running, and now we can do stuff like this

kind of where the IK is

following there, but we can't do this

we kind of want this thing to follow that, so we have like a master control

so we're going to grab the

IK bone here, select that one

CTRL-P, keep offset, so now

if I move this one, the IK follows, but if I move this one

the IK stays, so you have that flexibility

a little bit, right, we can also do something

like this

so lots of fun controls in that sense

cool, and I've definitely found

this to be the nicest setup for

all these things, in terms of like

what works best, and it's a method

and a variation of the rig

that I just tried so many times, and this definitely is

the best configuration

for most purposes, I feel

then we're going to be doing the arm here

so for this one, we want to be doing an IK from

here

so let's see, we need to get

those duplicates as well, so we're going to duplicate

the hand here, and just place it there

CTRL-P, clear parent, and then we're going to rename it

and it's going to be

L.arm.IK

oh, not.IK, L

IK arm, like that

keep a good naming convention

and that's the hand there

and then we're going to extrude out a pole target

we're going to move that one as well, so we're going to clear parent

bring it out, and we might as well parent it underneath

these ones immediately, so keep offset

and here I have the IK

parent it underneath this one immediately

and then this bone here

we're going to pose mode, it's going to get the

oh, did we name this one?

we didn't name this one, so we just got to call it

PT underscore arm

like that

then this here in pose mode, it's going to get

the bone constraint

it's going to get the inverse kinematics

select the armature, select the IK arm

select the armature

and select the PT arm

like that, and we get that same flippity-flip

where we select the chain length, which is 2 for the arm

the chain is also off, so we set that

back to where it needs to be

and that seems to be positive 90

it's usually positive 90 or negative 90

or something like that, it also happens sometimes that it's

negative, or 180 or something

ok, we got that

settled in right there

that's pretty nice

then we just need to do the same thing where

we have the hand moving here

so I'm going to set a custom shape for this one

I'm going to go down here, custom shape

and reveal these two

select the cube 1

and then set this to 5

it could be a little bit bigger

let's see here, 10

that's quite...

actually that's fine, I think that's pretty good

and then I want this bone here

to not inherit any rotation

from the IK bone

so I'm going to say inherit no rotation

so this way it moves like this, and then I want this

hand here to have a child of component

and that's going to be following the

the IK arm

like that, and then now

this one rotates the hand as well

pretty neat

that's exactly what we wanted there, and this one just needs to get

into the bone group, assign left, so we know

we have a good control of the different things

we can hide the shapes, so that's

essentially IK working on our arm there

and then we just need to symmetrize everything again

so I'm going to go into

selection here, select all this stuff

we didn't do any IK

on the other side, we could do one for the eyes

as well, that would make

sense, we would essentially need

a point for these eyes

to always point at

let's make a little constraint

like that as well, so we are

going to create a new bone here, I'm going to just duplicate

this one, and it's going to be

in the same height as these ones here

like that

and I'm going to call this one the

eye

target

and then the eyes are always going to be

looking towards that, so I'm going to take two bones

like this, and pushing them forward

like that

that's going to be the individual eye aims

basically, so we are going to call this one

left eye

aim

and right eye

aim, and all this stuff here is going to be

clear parent, but then these two

things are going to be underneath this one

keep offset, so now if I move this one

sorry, if I go into pose mode and move this one, the two other ones

follow along with it

and then this bone here

will get a

track 2

and then we will set the target

to be the armature

and then the aim for the left

eye

where is the left eye aim

l.i

underscore aim

l

l.i underscore aim

and then we just need to track it along

with the right one here, so I'm going to say Y

and then

that's the one where

like that, yeah

so Z and then Y, and then essentially this one

decides where this one looks

then we want the same thing on this one, so track 2

say Z, then Y

then armature, and then r.i

r.i

underscore aim

and then when I move this one, the other one should be following along, so essentially

when I move this one, both eyes kind of follow

so this becomes like a thing we can place somewhere

and then everything follows that

we could also create a little control for

that one, so I'm going to go into object mode here

a little circle probably

and I'm just going to give it a little bit less

like 18 or something

and I'm going to rotate it

kind of like this

and put it into the middle

make it a little bit smaller

do something

oh, individual set here

do something kind of

like a pair of glasses-ish thing

and then now this one can get

that custom shape

so I can go to custom shape here and say circle

and I get that

then I can just increase the size a little bit

until it makes sense

maybe three times as big

yeah, then I have this one to grab

and make the eye look in different directions

and that's what I wanted, and this one can go inside of shapes

cool, then I got that

so that's super neat

then, do we need anything else

in terms of custom controls? No, I think our

body is pretty much

done, we have the eye case

here, we got these ones here, the only thing we need

is we need this stuff to be parented to

this one as well, so keep offset

in that sense, so now we can move this one and everything

oh, that one did not follow

that one needs to be

keep offset, like that

yep, then everything has been set

then we can just symmetrize these features

across, so we're gonna

just grab basically all

the side here, all of it

like this, yep

like that, then we're gonna say armature and

symmetrize, and it

replaces the stuff on the other side, so you don't have to worry about that

but then now it also has a setup of

IK and all these things, and it's working

it's just the wrong color right now, so we'll

take that, set it here

oh, and we do have a wrong rotation

on the hand that can happen, so that's

something to also just keep in mind here

but no worries, the fix is pretty simple

we just gotta go into the IK here and then

oh wait, what's going on here

right, it's the inverse

the inverse needs to be set, so I have to select the bone here

then I gotta say clear inverse

I think

and then, nope, what's going on here

gonna undo that

then

ok, we're gonna remove the

thing, and then replace this one, that's right, sometimes that's an issue

with the child of constraint

that's just something to be wary of

nope, R.hand

like that, R.hand

IK, sorry

R.IK.arm

and then, yeah, now we got

that thing settled back

with the foot it worked fine, that's probably because the position was

more neutral

great, then we just gotta color these

we just gotta color these here

and

got these there

add them to the bone group here, right

let's see if we're missing anything

bone groups, bone groups

these ones are there, and then the last thing is just add

everything that's not supposed to deform anything

to the non-deforming list, so I'm gonna select all these bones

like this, this, that, that

that, that

that

that there, and the big one in the middle there

and these ones

then we're just

gonna go to bone here, and say alt-click deform

and that has been removed from all the

deform lists, they're all not

taking part in deforming the

body when we actually get into

skinning the entire body

ok, I think the right

approach would now be to try to skin

the body to this thing before moving on to

some of the other RIK features

alright, let's get into actually skinning

the body and the eyes kinda to

our RIK, so to achieve this

we gotta select our body

and we're just gonna do one object at a time, so we're gonna select our body

and select our RIK, so that our RIK is active

then we're gonna press ctrl-p, and we're gonna say

armature deform with automatic weights

and it's gonna go ahead and do some stuff

and now it should technically

be skinned, so if we start moving things around

let's grab this arm here, everything is

following along here

so I'm just gonna go into object mode here

and just do this, and then

I can start seeing

the stuff in motion here a little bit, I'm gonna go to this mode

and we already have some pretty interesting deformation

going on right there, it's like

it's almost feeling a little bit alive

in the way that that is portrayed there

and then I can bring up the shoulder here

do something like that

then we're getting our deformation

and there's definitely some room for improvement

of the way that it's skinned

like what should it drag with it, and what shouldn't it drag with it

all in all, it's

already kinda

working pretty well here

so that is super

awesome to see, and we can start doing

much more neutral pose

getting hands down

just see how that looks on the

mesh here

anything like that

see what we get here

we're definitely getting a lot of

stretching from this side that maybe is not super

desirable

definitely want the

shoulders to take less of the arm

there, but that's ok

and

and so on

let's see what we got there, it's resetting all the bones

then we can check out the legs here

we got that going on here

and there's also some

kinda decent deformation here and there

on the legs, it doesn't actually look too bad

and we're getting that leg out there

and then we can

try the pole target

see what that looks like

get that there, get the foot rotating

all kinds of things like that

yeah

it's not too bad, also a little bit too much

action it's taking from, but it's

not bad at all

cool

we can get this back here, we can try

this is obviously gonna move all this stuff here, but it feels

kinda good, so we have this one moving the hips here

this is where we start getting into the funny things

see how that behaves, so it's just a process of testing

how the different stuff is affecting the rig here

that actually seems pretty good

also pretty good, and this one is

kinda stretching where I would want it to stretch

so that's good, we definitely have some funky action

with the face here, the face is kinda

being controlled in

slightly different positions than

what's potentially, I think it's because the eye bones are

getting a little bit of that control

ooh that looks funky

that's a very good face actually, right there

I might just

copy that for later

and save it

and then we get

equally something quite good right there

also save that for later, just a little sidestep

ok nice, but that's all stuff that we can

fix

and we want to do that

cool, ok we're gonna reset all the bones here

just so we got a neutral position again

and I also want to test just the neck here

ok

it seems to respond, I'm kinda looking at the back neck

a bit more here

this seems fairly decent, and then we want to test the fingers

and I'm hoping for

something good

take the one finger at a time here

yep, that is exactly what I want

yep, and then if I

grab this one here

actually the fingers just work

perfect

really, absolutely perfect, that's great

and then we get these ones here

and we get some rotation

on the thumbs there as well, that is awesome

anything else to check here

nope, I think that's

pretty much it for checking, then we can start getting into

the formula thing, one thing we could have added to our rig

is adding

another bone in between here, that essentially would

let us twist

the arm bone, and

it's something akin to kinda doing this

and then

rotating

but then the linkage wouldn't work anymore

so we'd want an extra bone in here just for rotating

the upper front arm a little bit

so that when you're kinda rotating your hand

like this

then it kinda affects a bit more

of the arm over there

but I think for such a simple character

it's a little bit overkill

but there's many ways you could do it, you could also do it with a blend shape

when you rotate this essentially that activates a

blend shape here or something like that

or when we have rotation

here which you don't really have ever

then you could have

something going on there as well

because you kinda only want to rotate it around the X

there

so you could say that if you wanted to

you could do something like that just to

make it less bad

but we won't get into that, I think that's too much detail

for such a simple character

but it's something you could think about adding

figuring that out for the exploration

ok, let's get into fixing some of these

different stretching stuff here, so to fix it

we need to go into the thing called weight painting

so I'm gonna select a model, ctrl shift here

and then I'm gonna go into weight painting

and here we can do the weight painting

but to actually define the different

areas, we wanna

collect the bones first, then the model

then ctrl shift and then weight paint

and then now you can ctrl click on the bones

and you see the weight distributed on each separate bone

you also wanna turn on X so that you get

mirroring when you are weight painting

that'll hopefully

make it a lot easier, that's important

because otherwise you'll have some asymmetric behavior

so the first thing was kinda how

much this stuff is taking control

of the chest pieces here and I think what I'm gonna do is just

let it be a little bit more influenced on this one

overall, so the weight is set to 1

the radius is set here, then I'm gonna start

just painting it a little bit, you can see we're getting some

symmetry but it's not perfect symmetry

you know

and the symmetry could maybe be made better by going

to topology mirror here, then we're getting

perfect symmetry-ish, so I get this to

really take control of this

area, I want the

chest bone to control that

as much as possible and then we can

blur out the sides here a little bit more

blur out the sides

like that, and then this one here

I wanna put the weight

or I could use the smudge, the smear tool to kinda

bring it over there a little bit more

so it doesn't quite take

I don't really want it to deform

that much of this stuff here, that's a little bit too much

it's a little bit too much

then I could blur it a little bit

you can see how

you can see how that feels

if I go to post mode here

and I think I'm gonna set a keyframe, so I'm gonna turn on the keyframing

thing here and just

move it like anywhere

oh, I need to remove this one

move it over here

and then I move it a little bit here and then I'll reset it

and then essentially now we got this little

movement, so I'm gonna make it go a little bit higher up

get a more of an extreme position

kinda like that

and then turn off the keyframing

and then when I go into

weight painting here, I'm gonna select the bones, select the body, weight painting

then I can flip between

all this stuff and just see

what it looks like, I'm gonna turn off this stuff here

actually here

and then off with this

back into post mode, then turn on this

and then weight paint

there we go

then I can always turn this off to see everything

and as you can see we're getting quite a lot of

deformation here

what we would need probably is for

this bone here to also rotate up

right, that's kinda how that would be done

then it looks a little bit less bad

so let's just say that we

wanna maybe bring in a little bit more weight

on this one

so this one should come up with it

or it should

let's set this one to

zero here

or should we give it a bit more

it's a fine balancing act

usually, you wanna figure out what works

and it's gonna be a compromise because none of it is gonna look really good

the best thing you could do would probably be to introduce some blend shapes

that help

with those areas of stretching

but this is a pretty

this is pretty close actually

especially when we go into this section here

I think that can be forgiven

it's quite a lot

of deformation right there

let's see here

weight painting

maybe we can smear that out a little bit

just see how we

well maybe it just needs a little bit more

so we

just blur this out

let's try this one

and let's try a little bit more weight

just

smear it

and

maybe

smear it

and then blur it a little bit

yeah it's a little bit better

this is gonna be very hard to deal with

it's gonna be near impossible

but

maybe

the right posing and stuff can

make that work

let's see what we can get here

we can get some twists here as well

yeah

like that

and this all depends on like which

where you're starting off doing your

deformation like if you had a T pose then it would be easy to do

poses like this definitely with the hands above the head

but I'm keeping it down here

and then I'd rather correct this with a

blend shape but that's kind of

beyond the scope a little bit

let's see if we get this one there

and

then I guess the elbow here

that also helps with it

getting that in there yeah okay

I think that looks pretty good and then the behavior should be

similar on the other side already awesome

then we need to deal with the head here so I'm just gonna go

back then we go into this

this and then weight painting then we have the

head here and there we can literally take all of it

and just set it to one

essentially

all this with the jaw as well

all the stuff here all the stuff inside

all that stuff there

and all this stuff here that's really not gonna move

the ears are not gonna move

all this stuff

like that and then we can just

blur everything a little bit here and there

and then this

we'll get a zero weight on this stuff here

we don't want anything to be affecting this

really

nope

not the ears either like that pretty good

and then same with the eye bones

this is really gonna just

not affect anything

like that

none of this at all

this one there

these ones obviously they don't connect to anything because they have deform

and that one is now zero because we have mirror on it

and these ones also no deform

so that's good oh and these ones could also just get

zero weight on this here

nice and that means that if I

went here and selected

a bone like that and then

deformed it the whole face would now

follow along with it and that's kinda what I wanted

and we do get a little bit of stretching there

could introduce some

bit of additional weighting there

just to make that

yeah that feels pretty good

that feels pretty good

and then this one also looks pretty good

and this one that also looks pretty good

then we have the pelvis here

this one doesn't have anything that's good

this one's kinda doing that

which is not too bad

I think

this one's doing that that's actually pretty good but this one is getting a little bit

too high up so if I

am selecting this one

then that one is definitely

a little bit too

violent there so I'm gonna set the weight

down here or maybe just this much actually

that might help a little bit so I'm gonna

bring this down here just to

control this a little bit more

like that

like that

and then

maybe just blur it a little bit

again just bringing it slightly

back here

it does kinda deform in on itself here

and that's kinda unavoidable

I can minimize it at least

let's try this here

let's see what we get here

it's especially difficult on these characters

that look a little bit more realistic than the

deformation is not gonna be

amazing here

so the back is also suffering

a little bit there

gonna grab that one and just bring it

upwards and bring

this one

upwards as well

kinda get that going on

see how that deforms that one, not too bad

and then something like this

how does that deform

you know what, I think that actually

that actually works pretty well

ok, I think that's

that one, let's see this one here

yeah, that seems pretty good

this one, also pretty good

I think we kinda got

the body there, nice, then I'm just gonna

get the eyes, and the eyes are really simple

because they just need to be fully

parented, so I'm gonna select these ones

and say Ctrl-P, and then I'm gonna say with empty groups

this time, so now

in the eyes, we have all these vertex groups

for each bone

the body also has that, but for the eyes

they're essentially just empty, and then I can find

the right bones here, and they'll be

left eye, so left eye 1

that one, and then

if we're going to edge mode

here, I can just select the eye, Ctrl-L for selecting

the entire eye, and just say assign

and then now, if I move

this thing here, you can see that the eye

moves, and that one over there

apparently also moves

with the thing, I guess it's

because, it seems like something

is going on here

no, it seems right actually

is it because it mirrored?

I guess it's because it mirrored

so if I go on, oh right, it's because

the eyes are mirrored, they have a mirror modifier

on them, and the mirror modifier copies the vertex groups

of the other one, and it respects

the names basically, so you can see here

it mirror vertex groups, example R

to L, so it mirrors them, and then

now we can apply the mirror

and then it works, but we don't have to, we can also just

keep it with the mirror like this, and it still

totally works, and then we can even do

one eye like this, then we have it look like

like that essentially

awesome

that is great

and then we can go back to our

armature here, and just

reset everything

and then our character can essentially be

animated, at least this part of the

character can be animated

the body itself, then all we need now

are the items, and we're gonna get on that

in the next chapter

so that's it for now