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Create a 3D Low Poly Character (even if you've never opened Blender) — Transcript

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0:00Welcome to my character modeling in
0:02Blender series. In this series, we're
0:03going to make my character you see right
0:05here, Lovechan, completely from scratch
0:07using low poly modeling and texturing
0:10techniques. Low poly modeling is a
0:12fantastic way to get into 3D modeling
0:14and Blender. And my hope is that more
0:16experienced users will also have plenty
0:18to learn from when we start talking
0:20about UV unwrapping, texturing, and
0:22rigging later on. Because not only is
0:24Blender completely free to use, this
0:25series is going to be totally free and
0:27we're not going to be using any paid
0:29add-ons to accomplish our modeling or
0:31texturing tasks whatsoever. This series
0:33is designed for more intermediate users
0:35of Blender. However, if you're brand new
0:37to Blender, you do not know the hotkeys
0:39or how the 3D viewport works or anything
0:41like that, do not worry. I actually have
0:43a playlist on this channel for people
0:45who are just starting out in learning
0:46Blender, and I will link that below as
0:48well. So, definitely check that out if
0:49you're new to learning Blender. And then
0:51when you're done with that, you can hop
0:52right into starting the first videos in
0:54this series. There's also going to be a
0:56Gumroad version of this course which
0:57will be linked below. This version
0:59includes downloadable versions of all of
1:01the videos in this series as well as
1:03downloadable versions of our final
1:05character rig. So, that's the completely
1:07textured, modeled, UV unwrapped, and
1:09rigged Love Shine character that we're
1:10going to make in this series, as well as
1:12this low poly base drawing you see here,
1:14which you can use as a guide to make
1:16your own low poly characters that you
1:17can draw and then make 3D using
1:20everything that you've picked up and
1:21learned throughout this series. So, none
1:23of that is required, but it's a really
1:24good bonus for those who are very
1:26serious about learning 3D modeling,
1:27character modeling, and Blender. And for
1:29this series, I would recommend you use a
1:31Blender 4.0 0 or above version just to
1:34make sure you have access to see
1:35features like geometry nodes which we
1:38will be using later on in this series.
1:40You can download the latest version of
1:41Blender from the blender.org website or
1:44you can just download it from Steam. But
1:46yeah, with that intro out of the way,
1:48let's jump right into Blender. Let's set
1:50up our Blender scene for this course to
1:52make sure we have the right color
1:54settings and that our model will be
1:56looking as intended as we continue to
1:58create it throughout this course. So,
2:00this is the default Blender scene. When
2:02you open Blender, this is always what
2:04you're going to see, right? Uh there's a
2:06few things though that by default we
2:09don't want. So, first thing we're going
2:11to want to do is to go to this render
2:13tab and make absolutely sure our render
2:16engine is set to Eevee because we
2:18really, really don't need what Cycles
2:20does. Cycles is like a ray trace based
2:22renderer, which is not what we're going
2:24for with this style at all. So,
2:25definitely make sure you're using Eevee.
2:28Also make sure that ambient occlusion is
2:30disabled, which it is right now. It's
2:32not checked. Make sure that bloom is
2:33disabled, which it already is. Make sure
2:36that screen size reflections are
2:37disabled and motion blur is disabled.
2:39And the final thing, and this is super
2:42super important, is that you go to color
2:44management here and click on view
2:47transform. Uh right now it's set to
2:50Ajix. I think that's how you pronounce
2:51that. This is the new default for
2:53Blender. Blender's default view
2:56transform. um which is not ideal for us
2:58whatsoever. We really don't want to be
3:00using this. This is for photorealistic
3:02rendering. This is not for stylized
3:04stuff at all. So, click on view
3:06transform and set that to standard.
3:09Standard will make it render much more
3:11like a game engine does. Um and it'll
3:14make sure that the textures we're
3:15creating in other software will look
3:18exactly the same in Blender. There's no
3:20like weird desaturation or hue shifting
3:24happening. It'll make sure it's a one
3:25one by setting our view transform to
3:28standard. We can also delete our cube by
3:30clicking on it right here and pressing
3:32delete. Just for fun, we don't really
3:33need to do that. I'm sure the first
3:35thing we spawn in the next tutorial is
3:36going to be a cube anyway, but why not?
3:39Just have a clean slate to start from.
3:41Now, the only thing we need to make sure
3:42we're doing is saving and saving
3:44constantly. Go to file and save as,
3:48which will let you pick where on your
3:50computer you would like to save your
3:51Blender file. In my case here, this is
3:53my documents folder. I'll make a new
3:55folder for it. I'll call this low poly
3:59character. Ideally, put this folder in
4:02somewhere that's automatically backed up
4:03to the cloud, like a one drive folder or
4:06a Dropbox folder if you can. It's not a
4:08requirement, but that's really nice to
4:10have. Then, double click your folder and
4:12name your blend low poly character.
4:17And there you go. All you have to do is
4:19hit save as. And now every time you
4:21press Ctrl+S or you go to file save, you
4:25are going to constantly be saving. And I
4:27would recommend you press Ctrl+S
4:29constantly. Save after every video you
4:31complete. And after every video
4:33complete, you can even press Ctrl + Alt
4:36+ S to save a new version of your file
4:38if you want to be able to go back to
4:40your files, which is super useful. So
4:41I'll show you that right now. So if I
4:43press Ctrl Alt S, that will save
4:45incremental. Now, if we see the name of
4:48our file at the top of Blender here,
4:50it's called low poly character 1. If I
4:53press Ctrl + Alt + S again, now it's low
4:55poly character 2. And if I go to file,
4:58open, you're going to see that we have
5:00three different blend files there. So,
5:02if we ever want to like go back to an
5:04older version cuz it's like, oh, I don't
5:05like how I modeled this or I think I
5:08messed something up and I need to like
5:09get it from an older version of my save.
5:11That's an excellent way to save cuz
5:13that's what professionals in this
5:14industry use. they are always saving
5:15incrementally or they're backing up all
5:17of their data to the cloud which
5:19automatically creates incremental saves
5:21for them. So now that we have our scene
5:23all set up and ready to go here, we need
5:25to add our image references for our
5:27character. So to do that, we're going to
5:29have to download our file here. And to
5:32download our file, all we need to do is
5:34go to the link that is in the
5:36description box below this video. So go
5:38right below this video and check the
5:40description box for that link right at
5:42the top. or you can look at the pinned
5:43comment. After clicking on that link,
5:45it's going to take you to this page
5:46right here, and it's going to say, if
5:48you're not signed into Patreon already,
5:50it's going to say locked uh join for
5:52free. If it says that for you, all you
5:54need to do is sign in, which is free.
5:56Making account on Patreon is totally
5:57free, and click join for free. Now,
5:59you'll be able to access this download,
6:03and you can see the full post now. And
6:06if I click on low poly love
6:08resources.zip, zip either right here or
6:11here. That will download everything we
6:13need onto my computer. It's going to ask
6:14me where I want to save this. And I'm
6:16just going to save it to my downloads
6:18folder. And we can see that the download
6:19has started. So that's all you have to
6:21do. So click on the link below, create a
6:23free account if you don't already have a
6:24Patreon account and join my Patreon for
6:27free as a member. You don't have to pay
6:29any money. Just join for free and then
6:31you'll be able to download this. And you
6:32can download this on my Kofi page as
6:34well. Once you have downloaded this file
6:36and you can uh put it anywhere on your
6:38computer, doesn't really matter. All you
6:40need to do is right click on it and
6:41press extract all. You're going to see
6:43this little thing pop up here. Press
6:45extract. And now we're going to have a
6:47folder with all of our stuff we need in
6:50it. So there's a bunch of files in here,
6:52but the ones we really only care about
6:54are Love Chan front view and side view
6:55for now. So I'm going to save myself
6:57some time and rightclick right here and
6:59press copy address. Then I'm going to go
7:02back to Blender. And now I want to spawn
7:04in those image references. So to do that
7:08I press shift plus A to open the add
7:10menu. Remember we talked about that
7:12earlier. How to add things to Blender.
7:13You press shift plus A for add. Then we
7:15want to go to image then reference. So
7:19after you do that, you're going to want
7:21to paste in the address we just copied
7:24right here, which is the address bar. So
7:26I'm going to click on this, press
7:27backspace. Then I'm going to press CtrlV
7:31to paste in the address we just copied.
7:34V is paste if you didn't know that.
7:36Press enter here. Then I'm going to want
7:39to import our image references here. So
7:42I will just double click on this love
7:43chan side view. Then I'll press shift
7:46plus A again. Go to image reference and
7:49double click on this love chan front
7:51view. Now we have our references in our
7:54scene. Now, we have to line up our
7:56references and make sure they're scaled
7:58properly for 3D modeling. Now, to scale
8:01them properly, however, we're actually
8:02going to need to enable an add-on we're
8:04going to use later on anyway. And that
8:06add-on is called Rigify. To enable
8:09Rigify, all you need to do is go to edit
8:12preferences and click on this add-on
8:14section right here. And then when you're
8:16done with that, click on this little
8:18search bar and type in RI
8:21ify. So that is rigging rigify. Click on
8:25that little check box. And now we have
8:27that add-on enabled. And what that does
8:29for us is when we press shift plus a to
8:31go to the add menu, we now have a new
8:34option under armature here called human
8:36metarig. So click on that option to have
8:39our human metarig in our scene for us.
8:42So we don't actually need to use this
8:44human meta rig, but it's really nice for
8:46scale reference because this is a human
8:48being at the end of the day and we kind
8:49of want it generally human being sized.
8:52So now all we have to do is select both
8:55of our references here, which I will do
8:58by click dragging them like so and
9:01making sure they're both selected, which
9:03we can see in our outliner. They are
9:04both selected. Then I actually want to
9:06go to the front view here, which I can
9:08do by clicking this little Y right here
9:11in the top right of our 3D viewport. Now
9:12we're in front orthographic view, which
9:14is perfectly flat. There's no
9:16perspective, which is perfect for us.
9:18Then I want to, and I just saved.
9:20Remember to save. Now I want to reset
9:22our transformations here. So I'll press
9:24Alt S, Alt G, Alt R. We press R. We're
9:27going to see that we're rotating along
9:29the wrong axis. We want to be rotating
9:32along the X axis. So I pressed R and
9:35then X. So again, with both of these
9:37selected in the outliner, press R, then
9:39X, then punch in 90,
9:44and press enter. Now we want to get our
9:45scale correct. And we can do that by
9:47pressing G, scaling this down, pressing
9:51G and then Y, excuse me, G and then Z to
9:54move this up. Then we can press S to
9:57scale this up again. And that's getting
10:00pretty darn close actually. So I'll move
10:02this down. Pressing G and Z like that.
10:07Uh, but it's a little hard to see if my
10:09foot is being aligned here. So we're
10:11going to fix that by making these
10:12transparent. To do that, all you need to
10:14do is click on them. You can either
10:16click on the 3D viewport or the
10:17outliner. The outliner is a little
10:19easier. Then click this little opacity
10:21check box and set it to 0.5. Then click
10:25on your other reference and click this
10:27opacity checkbox and then make the value
10:300.5.
10:32Now we can kind of see where we're at a
10:35little bit easier cuz we want to zoom in
10:38here and make sure that our feet are
10:41aligned with the ground plane. That's
10:43really important. So, we're going to
10:44click on both of these empties by
10:46clicking the first one and then shift
10:47clicking the second, then pressing G and
10:50then Z. And now our foot is perfectly on
10:53the ground plane. I don't think it's
10:55actually centered though because the
10:57ground plane is actually indicated by
10:58this red line you see here. And the
11:01Z-axis is indicated by this blue line,
11:04you know. So, that's kind of our center.
11:06So, we actually want to move our
11:08reference on the Xaxis a little bit more
11:11like that. Just so that it's nice and
11:14aligned. GX.
11:17Yeah, something like that. It's not. And
11:20actually, that is pretty well aligned
11:22with the top of the head, which is
11:24perfect. We don't even need to do that,
11:25but that's nice to have. All right. So,
11:27then I'm going to middle mouse on out of
11:29that and select our topmost image
11:31reference. Uh, which I believe uh no,
11:35that's the wrong one. So, I'm going to
11:36right click to cancel and press on this
11:38one. Click on that one. Press G. And
11:40then press Y. Move this back. Then I'm
11:44going to click on our other image
11:45reference. Then press R. And then uh
11:50uh press Z. I had to figure out which
11:53axis that was for a second there. So,
11:54this we actually want to rotate this on
11:56the Z-axis. All I want to do is again
11:59select it, press R, press Z, and then
12:02press 90 because we want this rotation
12:05perfectly on this axis. Now I'm going to
12:08press G, and then I'm going to press X
12:11to move this back a little bit. So we
12:14have some breathing room here. Now, if
12:17we go to our front view, looks like this
12:19is really nicely aligned. If we go to
12:21our side view, this is not super nicely
12:24aligned because we can tell just by
12:25looking at this. This is generally where
12:28the top of the head is supposed to be.
12:29Top of the head on our reference is like
12:31right here. So, that's not ideal. And to
12:33fix that, we can just press G and then Y
12:36to just move it along the Y- axis and
12:39kind of line it up like so. Again, this
12:42does not need to be perfect, but we can
12:44see here that, oh, look at this. The the
12:46Y is perfectly aligned with the foot
12:49right there. So that's great. The top of
12:51the head is basically aligned with the
12:54um top of the head for the Rigify rig
12:56here, which is awesome. So by middle
12:58mousing on out of this, we can see that
13:00things are looking pretty good. So in
13:03this tutorial, we fixed the color
13:05management right here so that things are
13:07going to line up perfectly color-wise
13:09when we start importing our textures and
13:11applying them to our model. We also
13:12learned about saving in Blender and
13:14saving incrementally. And we also got
13:17our references set up on both axes and
13:20spawned in our meta rigs that will have
13:23be totally ready to start modeling our
13:25character in the very next video. So, if
13:27you're serious about learning how to
13:29make your own characters in 3D using
13:31Blender, check out the Gumroad version
13:33of this course, which is linked right
13:34below. It includes the final fully
13:36textured and rigged Lovechan model that
13:38we're going to create in this series.
13:39Downloadable versions of all the videos
13:41in this series as they're released, a
13:43low poly turnaround drawing that you can
13:44sketch your own characters onto, which
13:46you can then 3D model using everything
13:48you've learned in this series. And it
13:49also includes a bonus video series that
13:51introduces you to the fundamentals of
13:53using Blender with even more content
13:55coming soon. To learn more, click the
13:56link in the video description below.
14:00Now, we can click on this Rigify rig and
14:02just press H. That's H on your keyboard
14:04to hide it because we don't need that
14:06right now. Now, let's model our
14:08character starting with the feet. So,
14:10this is is not actually going to be very
14:12difficult. All we need to do is press
14:15shift + A, then go to the add menu,
14:18mesh, cube. Click on cube. And then from
14:22there, we are not going to want to edit
14:24this object in object mode. We actually
14:26want to edit this in edit mode. So to
14:29enter edit mode in Blender, just make
14:31sure you have your cube selected and
14:32then go to the top left of your viewport
14:34and click edit mode. Or if you're like
14:38me and that's super annoying, you can
14:39just press tab. So tab to switch back to
14:42object mode and switch to edit mode.
14:45Spam tab.
14:46So when you are in edit mode, which we
14:48can see we are in by looking at the top
14:50left of our viewport here, there are
14:52three different selection modes that you
14:54need to be aware of. The default in
14:56Blender is this one all the way on the
14:58left called vertex select. That's what
15:00these little edges on our model are.
15:02These are all vertices. So, if I click
15:05on one and press G, I can move it around
15:07like that. All the models we're going to
15:09be making here are going to just be made
15:10up of a series of vertices, edges, and
15:14faces. That's all you need to worry
15:15about. So, that's what a vertex is. It's
15:18all these little points on our cube or
15:20any 3D model that make up the model.
15:22Right? There's also this one right here,
15:25which is edge select. Edges are exactly
15:27what you think they are. They're the
15:29edges that make up your model, right?
15:31So, if I click on this edge right here,
15:32and then I'm press G to move it. Our
15:34entire edge of our cube is moving like
15:37so. And I can press right click to
15:38cancel that. Or I can press G and then
15:40left click to confirm that, but I'll
15:42undo that right now. And the final
15:44selection mode is right here. And this
15:47is face select. So, every 3D model
15:50consists of a series of faces as well.
15:52And you could think of the face of a 3D
15:54model as its surface area almost, right?
15:57Uh that's kind of confusing to describe,
15:58but it's a lot easier if you just start
16:00clicking on your cube here and you're
16:01like, "Oh, it's it's literally just like
16:03every face of my cube. Every side of my
16:06cube is a face, right?" So you can click
16:08on these, you can press G to move them,
16:09press R to rotate them, like so. There
16:12are going to be reasons to use all three
16:14of these constantly. Sometimes you just
16:16want to move one verticy. Sometimes you
16:19just want to move an edge along an axis
16:22or something like that. And sometimes
16:23you just want to shift select multiple
16:25edges and move a bunch of them. There's
16:28a ton of reasons to use all three of
16:30these. You're going to be switching
16:31between them constantly. So
16:32understanding what they are and how they
16:34work is super important. That is the
16:36very very short version. But yeah, let's
16:38get into modeling. So you might have
16:40noticed when we have our cube selected
16:42and we press tab to go into edit mode
16:43like so. If we switch between edit and
16:46object mode, we're going to see that a
16:47bunch of new options appear here. If you
16:49don't see these names, just make sure to
16:51drag this little section out. You can
16:52see if I drag this all the way to the
16:54left, it becomes abbreviated, which we
16:56don't want. So, hold left click and just
16:58drag this out so you can see the full
16:59list of names here. So, when we're in
17:02edit mode, there's a bunch of operators
17:04in here that are just used for modeling
17:07specifically, right? For this series
17:08though, we only really care about four
17:10of these options. One is our default,
17:12which is selection box. That's just how
17:15we select things. That's our default for
17:16a reason. It's very useful. And we can
17:19switch between the different selection
17:20modes by pressing W. So, there's also
17:22select circle. You can see there.
17:23There's a selection lasso, which will do
17:25this if you hold left click. And there's
17:27also a tweak. But personally, I always
17:29use box cuz I like being able to hold
17:31leftclick and have that option available
17:33to me. The other ones we care about are
17:35going to be extrude region, bevel, and
17:38loop cut. So, let me show you what loop
17:42cut does first. Right. So, if we click
17:44on loop cut, you're going to see that we
17:45can't select our object. Like, we can't
17:48select faces, we can't select vertices,
17:49we can't select edges like we used to,
17:51right? That is because we're using one
17:53of these tools in this section. And the
17:54way that loop cut works is is it lets
17:56you create an edge loop around your
17:58model. So, if I press leftclick here,
18:01you're going to see it creates an edge
18:02loop on the top of our cube. I can undo
18:04that with Z. And if I press and hold
18:07leftclick here, it's going to create an
18:08edge loop on the side of our model. So,
18:10an edge loop is literally, it's what it
18:12sounds like. It's a loop of edges that
18:14kind of wrap around your model in a
18:16quote unquote circle and they're
18:18connected to each other. So, I'm going
18:19to undo that by pressing Ctrl +-Z. Then,
18:22I'm going to go to our next tool here,
18:23which is bevel. But before I use bevel,
18:26I'm actually going to press W. So, I go
18:28back to my selection box, making sure
18:29I'm on face select. Then, I'm going to
18:31click on this face here. Now, if I press
18:34bevel, you're going to see that there's
18:36this little circle icon that appears.
18:38Right? If I hold left click on the
18:40circle icon, you're gonna see that our
18:41faces here become beveled. So, this is
18:45really good if you want your model to
18:47catch a highlight. So, if you're
18:48modeling like a crate or something like
18:51that, but you'll see when we start
18:52modeling Lovechan here that her torso is
18:54actually kind of just a beveled cube.
18:56Notice how this part in the top is
18:58beveled. This part in the bottom is
19:00beveled. It's kind of just a cube shape
19:03that we kind of reshape into a torso,
19:05right? So this tool is super useful both
19:08for hard surface modeling but also for
19:10modeling characters like this. And the
19:12last tool I want to talk about is
19:14extrude region. So I'm going to press W
19:17to go back to face select here. Then I'm
19:19going to click on this face. I'll click
19:21on the top face of this cube actually.
19:22Then I'll click on extrude region. And
19:25what this does is by holding leftclick
19:28we are creating a new set of faces here.
19:31Right? So, if I hold left click and move
19:33this up, we have made a new set of faces
19:37on our model here. So, I'm going to show
19:40you what what would happen if we didn't
19:41do that by pressing Ctrl +-z and then
19:43just pressing G to move this. See, if we
19:45just move this, we're not actually
19:47creating a new set of faces. We're just
19:49modifying the existing ones. But by
19:51using extrude region, we can extrude
19:54from our existing mesh a new part of the
19:57mesh. Right? So, this is super useful if
19:59we want to continue our mesh. We'll
20:01probably use this on her arms, maybe her
20:03hair, for example. It's just a really
20:05useful tool to have. Yeah, I'm going to
20:08undo that with Z. So, we just have a
20:10cube here. And now, let's get to
20:12modeling the foot. Uh, because we've
20:14already made these front and side views,
20:16all we need to do is kind of model and
20:19line up our cube to match the foot in
20:22our front view and side view. Right. So
20:25to do that, I'm going to select make
20:27sure I'm in edit mode first of all, not
20:29object mode. We want to do all of our
20:30editing of this in edit mode. So I'm
20:33going to scale this down by pressing S.
20:36Scale that on down. Then I'm going to go
20:38to the front orthographic view by
20:40pressing one on my numpad. I can also do
20:42that right here if I want to. Now I
20:45actually want to see my reference behind
20:48my cube or in front of my cube. I want
20:50my cube to be transparent. That's the
20:51word I'm trying to say. of. And to do
20:54that, you can just click right here to
20:56do this toggle X-ray button. The
20:58shortcut for that is alt z, by the way.
21:00So, I'm going to click on that right
21:01now. Now, we're just going to try to
21:03line this up with the right side of her.
21:05Um, we only need to model the right side
21:08of her for now. We don't need to worry
21:09about the left because we're just going
21:11to mirror all of these and save
21:13ourselves a ton of work later on. So,
21:16I'm going to make sure I'm in vertex
21:17select by going up here to vertex
21:21selection. Then I'm gonna box select
21:24these vertices and then press G plus X
21:28so that it lines up perfectly here. I'm
21:32gonna drag select box select these
21:34vertices. Press G plus X and kind of
21:37just line this up. Box select these top
21:40two. Press G + Z. Like so. Then I'm
21:45going to go to the side view by clicking
21:46up right here, which I could also do
21:48numpad 3. Now I'm going to do something
21:50a little weird. I'm going to box select
21:53these vertices. Press G + Y. Move these
21:57over like so. So, it's actually falling
22:00off the side a little bit there. And
22:01I'll box select these vertices and press
22:03G + Y and move them to the front here.
22:07Now, remember that loop cut tool we just
22:10used? We're going to use it immediately.
22:12So, I'm going to click on loop cut here.
22:14Then, I'm going to hover over my cube
22:16until this little yellow line appears.
22:18You can see it there. Then I'm going to
22:19hold left click and move it down to this
22:22line on our shoe here. Then I'm going to
22:25go back to select box, select both of
22:27these verts. Vert is just short for
22:29verticy, by the way. Then I'm going to
22:31actually I'll just select one by one.
22:33I'll select these vertices right here.
22:35Press G plus Y. Then I'll select these
22:38vertices right here. Box select these
22:41vertices right here. Press G + Y. And
22:44keep in mind, I'm box selecting for a
22:46reason. Because if I just clicked on one
22:47of these vertices, I'd only be selecting
22:49one of two because remember, go to front
22:52view here. This is a box. That's not one
22:54verticy we're moving when we're doing
22:55this. We're moving two vertices. So,
22:57it's important to box select so you
22:59actually get all of them. Um, so yeah,
23:02still not lining up though. And to fix
23:04that, we will once again use loop cut.
23:06So, I'm going to once again hover over
23:09my model till that little yellow line
23:10appears. Then I'm going to press left
23:12click. Then I'll go back to my select
23:14box by pressing W. I'll left click and
23:17drag over this vert. Press G + Y. Move
23:20it in. Hold left click on this vert.
23:23Press G plus Y and move it in. And I'll
23:27hold left click on these verts. Press G
23:30+ Y and move them in. Then I'll go back
23:33to my front view just to make sure
23:35things are looking good on the Y-axis.
23:37And we can see that I drew the shoe kind
23:39of at an angle like this. I don't think
23:42that actually looked good in 3D. Like if
23:45I try to recreate that here, I could,
23:47but it didn't look very great. So, I'm
23:49just going to leave this perfectly
23:51upright right there in the front view.
23:53I'm fine with that. Um, then I'm going
23:55to middle mouse out of our view here.
23:57Then I'll turn off X-ray by clicking
23:58this little button at the top right of
24:00our viewport here. And we have modeled
24:02our shoe. We are now ready to start
24:04modeling the legs. And this is actually
24:06super super simple. So, all we need to
24:09do to model the leg is press shift plus
24:10A, go to the mesh menu here, and click
24:14on cylinder. Now, your cylinder is not
24:17going to look like this. It's going to
24:18look something like uh this when you
24:22spawn it in. Um, the reason why that is
24:24the case is because Blender has an add
24:27menu. And by default, when you spawn in
24:29a cylinder to Blender, it's going to
24:31have, I think, 25 vertices and a cap
24:33fill type of engon or triangle fan,
24:36which just is telling Blender, hey, do
24:39you want to fill in the top and bottom
24:41of the cylinder with verts or faces or
24:44anything like that? Um, and for our
24:47purposes here, we actually don't want
24:49that. So, we're going to set the cat
24:50fill type. So if after you spawn on your
24:53cylinder, just make sure to expand this.
24:54Then click on cap fill type and set this
24:56to nothing. And for our verts here, we
24:59only want five verts cuz this is a super
25:01low poly model, right? So we're going to
25:02click on vertices and press five and
25:05then enter. That is our super chunky
25:08leg, which is perfect. So now I'm just
25:11going to press tab, go to the front view
25:13here, and just scale this down with S.
25:17Move it with G. Scale it down with S.
25:19And we're going to go to X-ray once
25:21again by pressing Alt Z or clicking this
25:23button at the top right of our viewport.
25:25Then we're going to move this G. Uh
25:30scale it with G. Uh excuse me with uh S
25:34plus Z. So it's kind of lines up there.
25:38But it doesn't need to be perfect cuz
25:39now we're just going to grab verts. So
25:41going to box select these bottom birds.
25:42G + Z to move them up. Then I'll scale
25:46them with S + X.
25:50Then I'll move them with G plus X. And
25:53this does not need to be perfect. Do not
25:55worry about getting this perfect at all.
25:57G plus or excuse me, S plus X to scale
26:01them on the X axis. Perfect. Then I'm
26:04going to select these ones at the top
26:05here. Press S plus X. Scale them up a
26:08bit. G plus Z to move them up. We
26:12actually want them to be slightly over
26:13the shorts here. So, kind of moving a
26:16little bit beyond the shorts. Then I'm
26:18going to see what this is looking like
26:19in the right view. So, I'm going to go
26:21to the right view by pressing this
26:22little X button right here. Or I could
26:24have just pressed numpad 3. Now, you're
26:27going to see that this doesn't quite
26:29line up in the side view. And we got to
26:30fix that. So, box select these bottom
26:33verts right here. And then press G + Y
26:36to move them. Then G or excuse me, S
26:38plus Y to scale them down. Then G plus Y
26:42to move them. Go to the top box. Select
26:45S+ Y to scale them up. Then G + Y to
26:49move them over. Like so. That is good
26:52enough. Now, we can see that there's
26:54this little like divot in the leg right
26:56here that we don't have enough geometry
26:58to represent. So, to fix that, we're
27:00going to make a loop cut in the middle
27:02of the leg. So, we're going to click on
27:03the loop cut tool, hover on over our
27:06model until that little yellow line
27:07appears, that hold left mouse and kind
27:09of release left mouse right here where
27:12this little divot kind of hits its peak.
27:14Then, we're going to go back to the
27:15select box tool by pressing W. Then, I'm
27:18going to box select these two vertices
27:21right here. And I'll press G plus Y to
27:24move them in like so. Now, we're going
27:27to go double check our front view. And
27:29yeah, this is looking pretty good. And
27:31I'm going to press Ctrl S to save.
27:33Constantly be saving. And I'm going to
27:35middle bomb us out of this view. And
27:38I'll turn off X-ray by going to the top
27:41right of my viewport and clicking this
27:43or just pressing Alt C. And you're going
27:45to see that our leg is now done.
27:47Congratulations on getting this far.
27:49You've already learned how to import 2D
27:51references, the fundamentals and tools
27:53of 3D modeling in Blender. Plus, you've
27:55already modeled the legs. In the very
27:57next video, we're going to model the
27:59waist and more. But in the meantime,
28:00make sure to subscribe to the channel
28:02and ring the bell to make sure you don't
28:03miss out on any tutorials we upload. And
28:06if you're serious about learning how to
28:07make your own characters in Blender,
28:09make sure to check out the Gumroad
28:10version of this course, which is linked
28:11in the top of the description box below.
28:13Thanks for watching, and I'll see you in
28:15the next video.
28:17So now, let's model her waist. So to do
28:20this, all I want to do is press shift
28:22plus a mesh cube. So shift plus a to add
28:26menu, go to mesh, then click on cube
28:28there. Now that I have a cube in our
28:31scene, I'm going to press Alt + Z to go
28:34into X-ray view. Then I press edit to go
28:36into edit mode. Then I'm going to scale
28:39this down with S. I'll go to the front
28:41view here, the front orthographic view
28:43that is by pressing one on my numpad,
28:45which I could also do by pressing
28:47negative Y up here. Then I'll press G +
28:51Z to move this up. Then I'm going to
28:53scale it down again with S.
28:56G + Z to move it up. And that's looking
29:00pretty good. So now I want to do
29:02something a little weird. So I actually
29:05want to place a loop cut in the perfect
29:07center of this model because we're
29:09actually going to mirror this model
29:11model using a mirror modifier. We want
29:14to do that because this part of Lovechan
29:17here is essentially perfectly
29:19symmetrical. And by mirroring this
29:21model, we don't have to like do the
29:23exact same work twice. and it'll ensure
29:26that our model is perfectly symmetrical,
29:28which will make our lives a lot easier
29:29when we're texturing, UVing, etc. So, to
29:34add a loop cut here, I'm going to go to
29:35the loop cut tool in edit mode. Then,
29:37I'm going to click right here to place a
29:39loop cut right in the dead center. Then,
29:41I'm going to go back to my select box by
29:42pressing W. And I'm going to go to face
29:46select by pressing three on my keyboard.
29:48So, you can actually switch between
29:49selection modes in edit mode by pressing
29:511, 2, and three. One is vertex select,
29:55two is edge select, and three is face
29:58select. And we want to be on three,
30:00which is face select. So now I'm going
30:02to box drag like this. And delete half
30:06of our cube. And again, making sure
30:08we're in X-ray mode. So we actually
30:09delete the whole thing. Press delete on
30:12my keyboard. And then go to faces. And
30:14I'm going to turn on screencast keys.
30:16They are not on. There we go.
30:18So, now that half of our cube is
30:20deleted, I'm going to go to add modifier
30:23search and then type in m ir
30:27to see that we have the mirror modifier
30:31here. And again, this modifiers tab is
30:33just the blue wrench icon. So, just make
30:35sure that's the modifier tab you're on.
30:37So, click on the blue wrench and then go
30:39to add modifier, search mirror. So, now
30:42we have the mirror modifier. We're going
30:44to go back to our 3D view by middle
30:47clicking out of that view and pressing
30:49Alt + Z to see that our cube is now
30:52perfectly mirrored. So, because I'm on
30:55face select here, I can just click on
30:57this face and start moving around. And
30:58you'll see that oh, I actually have
31:01Okay, that's that's an interesting thing
31:02to point out. Uh, so this is called
31:05proportional editing. So, if you're
31:07trying to move one part of your model
31:08and it seems like things are dragging
31:10along with it, you're going to want to
31:12turn this off. This is a really great
31:15useful feature for Blender, but
31:17sometimes it can get turned on
31:18accidentally like I did here because the
31:20shortcut for that is O. So just click
31:22right here to turn that off cuz we only
31:24want to be moving one face at a time. So
31:26now you can see that we're only moving
31:28one face at a time. But with
31:29proportional editing on, we're moving
31:30like the whole thing, which we don't
31:32want right now. So going to leave that
31:34off. Going to undo that movement. And as
31:36you can see, every move I make on this
31:40right side of the cube is getting
31:41perfectly mirrored to the our left side,
31:44right? Uh, and that's why this mirror
31:46modifier is so powerful for saving time
31:48and keeping things perfectly
31:50symmetrical. So, that's awesome. We're
31:52going to go back to the front view by
31:53pressing one on our numpad here. Then,
31:56I'm going to go to the X-ray view once
31:57again by pressing Alt + Z. Now, I'm
32:00going to try to line up our cube with
32:02our reference here. So, I'm going to go
32:04back to making sure I'm on the select
32:06box tool right here. Then I'm going to
32:08press one on my keyboard to switch to
32:10vertex select. Going to box select these
32:12verts. Press G + Z to move them down.
32:16Box select these verts. G + X to move
32:20them over. Then I'm going to press click
32:22on just these verts or box select just
32:25these verts and press G plus X to move
32:27them on in. Now, this isn't lining up
32:29like I want it to. So to fix that, I'm
32:31going to make another loop cut right
32:33here. And again, it's looking like, oh,
32:36it's only doing a loop cut on half of
32:37the model. But because we're using a
32:40mirror modifier, it's going to be
32:41perfectly mirrored on the other side,
32:42which is super awesome. So I'm going to
32:44go back to select box by pressing W, box
32:46select here, G plus X. And there we go.
32:50It's looking pretty good. Though this
32:51part still looks a little questionable.
32:52So I'm going to place another loop cut
32:54right here.
32:56Press W to go to select box. Box select
32:59right here. G plus X. And there you go.
33:04We also want to make this hole right
33:06here, but we're going to do that after
33:08we go to the other view to make sure
33:09that's looking good. So, I'm going to
33:11press three on my numpad to go to this
33:13view. And we can see things are
33:14definitely not lined up properly. Uh, so
33:17I'm going to box select all these, press
33:19G plus
33:21G+ Y to move them in. Select these top
33:24two. G+ Y to move them in. Select these
33:26top two. Box select these top two. G+ Y
33:30in box like these G+ Y and move them in
33:33like so. Now to finish this off, I'm
33:35going to go back to our front view by
33:37pressing one on my numpad. And I'm going
33:40to make sure that I have nothing
33:41selected by pressing Alt + A, which is
33:43deselect all in Blender. Then I'm going
33:45to go to loop cut. So in order to make
33:48this hole in the shorts right here, I
33:50want to loop cut right here. And it's
33:53going to mirror on the other side
33:54perfectly because we have this mirror
33:55modifier, which is fantastic. So, as
33:57soon as I see this line right here
33:59towards the center, I'm going to hold
34:01left click and drag that over to right
34:04here. Then release. Then I want another
34:07loop cut right here. So I can kind of
34:09make this shape only affect this area.
34:11Cuz if I didn't add a loop cut here, it
34:13would kind of delete like all of this.
34:14This is which is, you know, we don't
34:16want that. So to place another loop cut
34:18here, I'm going to wait for this line to
34:20appear. Then hold left click with the
34:21loop cut tool and drag up like so. Then
34:24I'm going to go back to select box, go
34:27to face select by pressing three. Then
34:29I'm going to box select this area right
34:31here and then press delete faces. And
34:34now if I middle mouse on out of our view
34:38here and press alt z to turn off x-ray.
34:41This is looking pretty good. This looks
34:43almost exactly as I want it. Except
34:46there's one issue and that there's holes
34:47right here, right? Uh which you don't
34:49want in shorts. So to fix that, all I
34:53need to do is making sure that I'm on
34:55edge select by pressing two. I'm going
34:57to select this edge right here by
34:59pressing left click. Then I'm going to
35:01rotate around and press and hold shift,
35:05then select this edge. So left click
35:08this edge, then turn around, hold shift,
35:11click this edge, then press, excuse me,
35:14press control + E, then go to bridge
35:18edge loops. So, with both of these edges
35:20selected, press Ctrl + E, go to bridge
35:22edge loops, and now those edge loops are
35:25connected and sealed, which is awesome.
35:27So, I'm going to select this edge,
35:29rotate around, shiftclick on this edge,
35:32and press Ctrl + E. Bridge edge loops.
35:35And now you can see our shorts are done.
35:37So, that was super quickly. We have the
35:39waist modeled now. So, now let's model
35:42her torso. So, to do this, I am going to
35:46spawn in a cube. So, shift + a mesh
35:51cube. Then I'm going to press edit.
35:53Press tab. Go into edit mode and scale
35:55this down. Front view orthographic by
35:58pressing numpad one. Then press G + Z to
36:01move this up. S to scale it down. G + Z
36:04to move it down. Then press Alt Z to go
36:07into X-ray view like so. Then I'm going
36:11to kind of want to line up this cube
36:12with this part of her torso right here.
36:14So, I'll go to face select by pressing
36:17three. Then I'll box select right here
36:20using my select box tool. Then I'll
36:22press G plus Z to move this down. S to
36:24scale it in. Select this part right
36:27here. G plus Z to move it down like so.
36:30Then S to scale it in. So now that we
36:32have this part of her torso lined up
36:34like this, we're going to press E and
36:36then move this up. Then we're going to
36:39press S to scale this out like so. So it
36:42kind of lines up with this part. Uh,
36:44then we're going to press G to G plus Z
36:48to move it down like this. Then we're
36:50going to press E again to extrude that
36:53up. Now let's go to the right view by
36:55pressing three on our keyboard. And
36:56we're going to see that we have a little
36:58bit of a disaster on our hand. That's
36:59fine. We can fix this. So we will be in
37:03face select here. Select these faces.
37:05Box select G + Y. Move those over. Box
37:08select these faces. G + Y. Just these
37:11faces. G plus Y. Move them over. Then go
37:14to vert select by pressing one. G+ Y.
37:16Move this over. Vert select G+ Y. Vert
37:19select G+ Y. And vert select G+ Y. There
37:24we go. Now I'm going to go to face
37:25select. Select these top faces right
37:27here. And then press E to extrude.
37:29And then press left click to confirm. S
37:32to scale these out. Like so. Then go
37:35back to vert select by pressing one G +
37:39Y. Then I'm going to go back to face
37:41select here. Box select this face like
37:44so. Then I'm going to press E. Move this
37:47on up. S to scale it on in. Press one to
37:51go back to vert select. G + Y.
37:55That's looking pretty good. I think I
37:57want another loop cut here. So, this
37:58kind of lines up. So, I'll go to loop
38:00cut. Uh, wait for this to get
38:03highlighted. Hold left click. Drag up.
38:05Release. Go to W. Sure. on vert select.
38:10Select these verts. G + Y. Like so. Then
38:15I can see this isn't lining up
38:16perfectly, but that's fine. You don't
38:18need these things to line up perfectly
38:20with your concepts at all. Uh it just
38:22needs to be like close enough basically.
38:24So I'm going to go to front view by
38:26pressing one on my numpad. Then I'm
38:28actually going to delete half of this.
38:30So I'll go to loop cut, place a loop cut
38:33in the dead center of our cube, like so
38:34here. Then I will press three on my
38:38keyboard and press W to make sure I'm in
38:40select box and face select. And I'll box
38:43select all of these. Press delete faces.
38:46Then I'll go to add modifier search.
38:48Then click on mirror. And just to save
38:51us time so that this is all perfectly
38:52mirrored. And then I'm going to press
38:57one to so that I'm on vert select. Then
38:59click on these verts. G + X to move them
39:02over. Select this vert G plus X to move
39:05it over. And that's looking pretty good.
39:08I'll select these verts. G plus
39:11Z to move them down a little bit. Go
39:14back to this view. G Z to move them up a
39:18little bit. Doesn't need to be perfect,
39:19but that's looking pretty nice. So, go
39:21to my 3D view here. Press Alt Z. This is
39:23looking pretty awesome. It's just this
39:26part that we need to add still. So to
39:28add that part, all I'm going to do is go
39:32to face select by pressing three here.
39:34Click on this face and then I'm press E
39:37to extrude up. And I'm going to go to my
39:39front view, alt C to make this
39:42transparent, uh, aka X-ray. Then I'm
39:45going to go to vert select by pressing
39:48one with my select box tool. Then I'm
39:50going to click on just this ver. So I'm
39:52not going to box select. I'm just going
39:53to click on this vert. So because I only
39:56want the vert in the front. Then I'll
39:57press G plus Z to move this down like
40:01so. Now if I come out of this view,
40:04press Alt Z. This is looking pretty
40:07nice. That looks like our torso except
40:09this looks a little weird. Fix this. All
40:12we need to do is go to press three to go
40:14to face select. Click on this face.
40:17Click on this face. Then press delete
40:20faces. And we also don't want this face.
40:23Obviously this looks weird. So press
40:24delete faces. And look at that. We have
40:28modeled our torso here. Now, let's model
40:31her arm. So, this is actually going to
40:33be very, very simple. Um, to do this,
40:36we're going to press shift plus a mesh.
40:38And yes, once again, we're going to
40:40spawn a cube. Then, we're going to go to
40:42edit mode, front orthographic view,
40:45scale this down, and try to move it in
40:47place. Alt C to go to transparent mode
40:49here. Back to that front view. Select
40:51this face. Actually, I'll select
40:53everything and just rotate it with R and
40:55S to scale it down to kind of get that
40:58close enough. Then I'm going to box
40:59select so I can get this bottom face cuz
41:01I'm in face select with select box. Move
41:04it all the way to the bottom. Get this
41:06face. Rotate it. Move it like that. Then
41:10I'm just going to add some loop cuts
41:11here. So I'm going to go to loop cut,
41:13drag this down. Loop cut, drag this
41:16down. Going to go back to select box on
41:19vert select. Move this over. Move this
41:22over. Move this over. Move this over.
41:25And move this over. And kind of just
41:26line things up in the front view. Like
41:29so. Now, my reference for the side view
41:32is kind of bad and useless. I'm going to
41:34be super honest with y'all. You're going
41:36to notice as you draw on your own
41:37character references. Like you'll just
41:40draw things that as you get into 3D,
41:42it'll just not make sense or it won't
41:45line up the way you expect it. And I'm
41:47just placing more loops here. Um, you
41:49can probably just guess what I'm doing
41:51at this point because it's it's kind of
41:52repetitive in a good way. Um, so I'm
41:55going to box select here, move this up.
41:56But yes, so now this is looking like
41:58basically perfect in front view already,
42:00right? This is looking nice. Um, but we
42:05like go to our side view here. It's kind
42:07of useless because this is kind of in
42:09perspective, which is not super useful
42:11for us. It's kind of useful for topology
42:13reference, but that's about it. So, I'm
42:16going to go to uh back to our 3D view
42:19and press alt z to see how this is
42:21looking. And this is looking pretty
42:22good. Um the only thing that I can tell
42:25by looking at this is that I actually
42:27might want this in a little bit more.
42:29So, I'll go to face select pressing
42:31three here. Select this and this side.
42:35And then scale on the yaxis in a little
42:37bit. Select this and this side and
42:41scale. H. Actually, no, that's fine.
42:46Yeah, that's fine. I I'll actually scale
42:48this out a little bit in general so it's
42:50a little more square. So I'll just
42:52select all by pressing A, press S, and
42:54then Y just to scale that out in
42:57general. Then I'll move this a little
42:59bit to the side cuz I can just tell by
43:00looking at this in 3D that kind of
43:02intersects in a weird way. So I'll just
43:04with everything selected in edit mode,
43:05push G then Y gy.
43:12And that, my friends, is looking pretty
43:15good. We've modeled our arm. Now, let's
43:17model the hand. Once again, this is
43:19pretty simple stuff. Shift plus a mesh
43:22cube. Tab to go down mode. S to scale it
43:26down. Front view orthographic. G to move
43:29the cube over. R to rotate the cube. Alt
43:32Z to go into X-ray mode. Scale. Rotate.
43:36Move. Rotate. And move. So now I'm going
43:41to try to line up these verts here.
43:43Making sure I am in vertex select with
43:45select box like this. Move box select
43:49move, etc., etc.
43:52Then from this point on, we're going to
43:54do something a little different. Um,
43:55I'll move these back a little bit. Why
43:57not? But now I'm going to press three
44:00while with select box active to switch
44:02on over to face select. Then I'm going
44:04to box select this face right here and
44:07press E to extrude from this point. Now
44:10I actually want to press Alt Z to exit
44:13my X-ray mode because I want to do
44:15something a little different here. We
44:17want this to kind of converge to a point
44:21right here. Right? And to do that we
44:23need to merge these vertices uh first
44:26the front verts and then the back verts
44:28on this cube. So to do that I am going
44:31to go to vertex select right here.
44:33making sure I am not in X-ray mode. I'm
44:35in, you know, just plain plain no X-ray
44:39view. I don't know what to call it.
44:41Opaque mode, whatever. Um, so select
44:44this vert right here. Then shift select
44:46this vert. Then press F3, which we have
44:50not done yet. This is like how you
44:51search to do commands in Blender, which
44:53can be very helpful sometimes.
44:55Press F3 with those two selected, and
44:57then type merge. Then you're going to
44:59see this option, mesh merge at center.
45:02Click that option. Then click on this
45:06vert right here. And shiftclick this
45:08vert right here. Press F3 again. And you
45:11should see merge at center right there.
45:13But if you don't, just type merge again.
45:14And you'll see mesh merge at center.
45:17Click that. Then press Alt Z again. Box.
45:20Select these verts and kind of line them
45:22up and make sure things are looking good
45:24here. Looks pretty good to me. Going to
45:26go exit out of X-ray by pressing Alt Z.
45:29And that's looking pretty nice, but is
45:31not aligned correctly. So, I'm go to the
45:33side view by pressing three. Alt C for
45:36transparent, then alt C, so it's opaque
45:38again. Press G + Y to move this over.
45:43That's looking pretty good, though. It
45:44looks a little flat to me. So,
45:46personally, I'm going to select our arm
45:49again, press tab to go into edit mode.
45:51I'm going to scale this on the Yaxis a
45:54little bit more. Again, you don't need
45:57to do this, but I want to because I
46:00think it'll look a little better. And
46:02I'm going to go back into object mode by
46:03pressing tab. I'm going to click on this
46:05object. Press tab to go back into edit
46:07mode. Press A to select all and S Y to
46:11scale on the Y-axis. Just make this a
46:13little wider cuz I think that looks a
46:15little nicer. There we go. So, now we
46:18have our hand and arm modeled. Now,
46:21let's model the neck, which is honestly
46:23kind of hilariously easy. So, shift plus
46:26a mesh
46:28uh cylinder. And this is going to have
46:30like uh what is it like 20 by default.
46:32It's going to have more vertices than
46:34three, but we want three vertices on
46:36this cylinder. So, click right here
46:37where it says vertices and type in
46:39three. Then for cap fill type, set it to
46:42nothing cuz we don't actually need that
46:44filled and scale this way down. Then go
46:47to the front view here. GZ to move it
46:50up. Alt Z S
46:54GZ down scale like so. Then go to side
46:59view with numpad 3
47:02g y g y then s y scale up on that axis
47:09gy front view with one. It's looking
47:12pretty good. Press alt c to see what
47:14they're looking like here. That's
47:16looking nice. I will go to the front
47:18view. Alt C box select all these bottom
47:21ones and then move them down.
47:24GZ Z to move them down a bit and alt C
47:28again. And we might do some things to
47:30hide this a little bit more in future.
47:31But that's our neck. It's very very very
47:34simple. You don't actually need more
47:36than this for this kind of uh art style.
47:38And this is exactly what they do in Mega
47:40Man Legends, which is what this art
47:42style is very inspired by. So there you
47:45go. That is the neck. In the next video,
47:48we're going to model her face.
47:49Congratulations on getting this far.
47:51You've already modeled most of Love
47:53Chan. In the next video, we're finally
47:55going to be modeling the face. Remember
47:57to check out the Gumroad version of this
47:58course, which is linked in the video
48:00description below, and get it today if
48:01you want the absolute best value and
48:03bang for your buck on it. Please comment
48:05below and like the video if you find
48:06this series helpful. And subscribe and
48:08hit the bell so you get notifications
48:09and you never miss new content arriving
48:11on this channel. It helps a ton. Thank
48:14you so much for watching and I'll see
48:15you in the next video.
48:18Let's model her face. Now, this can be
48:22very complicated, but it's really not
48:26too bad if we simplify it out. This is
48:28one of the hardest things to model in
48:293D, but we're going to do some things
48:31here to make our lives a lot easier,
48:34including clicking on our reference here
48:35in object mode, lowering this opacity
48:38down a bit, like so. And we're also
48:41going to be using a new tool called the
48:43knife tool. But before that, let's look
48:46at what we're going to be making here.
48:48This is what we're going to be modeling,
48:49right? And we can see here that this
48:52model is actually not too complicated.
48:55And we really only need to worry about
48:57one view at a time. Modeling this front
48:59view right here and modeling this side
49:02view right here. And there's a very
49:05limited amount of vertices we have to
49:07worry about here. So, just to start out
49:09with, we're only going to be worrying
49:10about modeling this front view, which,
49:12you know, it's got some faces. It's got
49:14a nose, but it's really not too
49:16complicated once you break it down. So,
49:18to do that, I am going to spawn in a
49:21plane. Shift A, mesh plane. Then, I'm
49:24going to go into edit mode. Rotate this
49:26plane along the X-axis 90°. Confirm
49:29that. Go to the front view or the
49:30graphic. Scale it down. GZ to move it
49:33up. Then, I'm going to press Alt Z to go
49:36into X-ray. G Z C move it down and scale
49:41it down like so.
49:44Now I am going to immediately use the
49:48loop cut tool. Put a loop cut there. Go
49:50to select box face select and delete
49:52half of our face here. Then I'm going to
49:56go to modifiers. Add modifier search.
49:59Type in mirror or in my case here
50:01mirror's right there. Then I'm going to
50:03go to
50:05vertex select. Select this vertex. Move
50:08it up. This vertex and move it to the
50:12side a little bit. Then I'm going to
50:14want to use a brand new tool here called
50:16the knife tool. This knife tool lets you
50:20create new edges from existing EP edges.
50:23You're basically cutting into edges,
50:25which is why it's called the knife tool.
50:27So, I'm going to click on knife here.
50:29And when I do that and click on an edge,
50:31you're going to see this little
50:34uh green square appear. I guess I've
50:36never really thought about it, but it's
50:37a green square. So, I'm going to click
50:40on this edge and this green square will
50:43appear. Then, I'm going to drag it over
50:46and click right there to confirm that
50:48green square. And again, we're going to
50:50go back to our reference here. We're
50:52going to see that this face is kind of,
50:57you know, there's there's edges right
50:58here. There's edges that go here. Edges
51:01go here. Edges go here. And we want to
51:02replicate this as closely as we can. And
51:05I'm actually going to put this on my
51:06other monitor so I can reference it. So
51:09now that we have this edge here, I'm
51:11going to go to select box. Move this
51:13down so it matches our reference uh more
51:16closely. Move this over like this. Move
51:19this down so this matches our reference
51:21more closely. And keep in mind in this
51:24by using this course, by purchasing the
51:27course, you can download this 3D model
51:29which you can reference yourself. Um, so
51:31at any point if you get stuck, you can
51:33always download and reference the 3D
51:35model included with this course. So now
51:37that that's pretty close to our
51:40reference here, I'm going to go to the
51:41knife tool, click right here, bring this
51:44into the center, kind of where her nose
51:46is, like that. Then I'm going to cut
51:50right here by clicking right here and
51:52clicking this vert like so. Then
51:55pressing enter. So you just click click
51:57enter to confirm. That's how the knife
51:59tool works. So, I'm going to click here,
52:01click here, click here, enter to
52:04confirm.
52:05Click here, click here, enter to
52:08confirm. Then click here,
52:11click right here, and then enter to
52:14confirm. Now that that's all set up and
52:18good to go, this is looking pretty close
52:21to what we have here. Though, I will
52:23also add a few edges right here just to
52:26match what we have in our reference. So,
52:28now that that's all set up, I'm going to
52:31move some verts around. I'm going to
52:32move this down on the Z-axis a little
52:35bit. Going to move this in a little bit.
52:39Move this down on the Z-axis a little
52:41bit. And move these up on the Z-axis
52:45like so. And move this to the side a
52:48little bit. So, this is looking great.
52:49This is looking really close to my
52:51reference. But there's a problem. And
52:54our problem is if we move out of the
52:58front view here, this is perfectly flat.
53:01So we totally nailed this view. Like if
53:03we go to the front view here, this looks
53:05like really similar. But the problem is
53:08go to the side view, it's totally flat,
53:12right? Whereas if we go to the side view
53:13of this, our reference, it's not flat.
53:15It's 3D. So now our job is to match what
53:18the side view of our reference looks
53:20like here to the side view in uh our
53:24scene. So to do that, I'm going to
53:26select the nose and just press G and
53:28then uh Y to move that out. Press this.
53:32Select this. G then Y to move that out.
53:35Select both of these. G Y to move them
53:37out. Then I'm going to go to uh numpad 3
53:40on my keyboard. And then I'm going to
53:42try to line these up with our face here.
53:45Uh, oops, number three. My bad. That
53:47wasn't the correct graphic view. So, now
53:50I'm going to move these over by pressing
53:51G plus Y. This over by pressing G + Y.
53:57Like so. Move this in.
54:00Uh, rotate these like this.
54:04This down.
54:06This up.
54:08And put this
54:11maybe even a little further up. kind of
54:14just move things around like that. And I
54:17can see just by looking at this, like
54:18our nose is supposed to be, you know,
54:20there's a point out and we have this
54:22triangle shape. Not the case with this
54:24right now. So, we have to move this
54:25back, move this down,
54:29move this up. And I can see that there's
54:31two verts here, which we don't want. So,
54:33to fix that, I'm going to select this
54:35verticy. Then, I'm going to select this
54:37verticy. Then, press F3 to go to the
54:40search function and type in merge. So
54:43now I've typed in merge. I'm going to do
54:45merge at last. And that's looking pretty
54:48good now. It's kind of what we want it
54:50to look like.
54:52Again, I'm just referencing my 3D model
54:54here of the final love chan. And this is
54:58looking pretty good. Pretty close. You
55:00can see that this is way over. This is
55:03also way over on my reference here. Like
55:07these are way over. And doesn't actually
55:09go that far back. uh because that just
55:11gets filled in with hair later on,
55:14at least on mine. Yours might vary. You
55:16can always change that up. Um and yeah,
55:19now I'm going to go to the solid view
55:20and try to recreate this, you know, this
55:24pattern here where we have the under jaw
55:27and these like edges right here. So I'm
55:29just comparing, okay, where are their
55:31edges on my reference, which I can see
55:33like here, edge, edge, edge. And now I
55:36just want to recreate that on my 3D
55:38model here. And to do that once again
55:40going to use the knife tool. Select
55:42press alt a to deselect all. Then I will
55:46make an edge by clicking this verticy.
55:48I'll click here and I'll click here.
55:50Press enter to confirm. Then I'll click
55:52here. Click here. Press enter to
55:55confirm. And I'll click here. Then here.
55:58Press enter to confirm. Alt A to
56:02deselect that. Now, it looks like there
56:05might be another an extra edge we don't
56:07need right here. Yes, there is. And to
56:10remove that, I'm going to go to a select
56:11box. Then I'm going to go to edge select
56:14by pressing two. Select this edge. And
56:16then I'm going to press delete. And then
56:18dissolve edges like so. Cuz this can
56:22just be a quad like that. And we're
56:25looking pretty good. I'm going to go to
56:26the side view here and compare my
56:27reference against my current model. And
56:31I can see just by looking at my
56:32reference, this should be further down
56:34more. So I'm going to select this vert,
56:36drag that down a little bit. Drag this
56:39over. I press alt, excuse me, I can
56:42press yeah, alt z to
56:45uh see how it's looking compared to my
56:47image reference. And it's looking pretty
56:49good. It's lining up nicely. Love to see
56:52that. And this is looking pretty good as
56:55well. I'll move this over cuz I can see
56:56my reference does. Going to go to the
56:58front view by pressing one. And it looks
57:01like things got a little misaligned at
57:02our front view, but that's fine. Just
57:05box select, move over. Box, select, move
57:07over. Box, select, move over.
57:10This move it over. And it's looking
57:14pretty. I don't want to do that. I want
57:15to make sure I'm along the Z-axis.
57:19This wants to actually Let's Let's press
57:22Alt Z so we can actually see this looks
57:24like in solid view.
57:26All right,
57:28that's looking pretty nice. It's looking
57:31pretty nice. This I can probably put
57:33back a little bit. Then I just want to
57:35rotate around my model really and just
57:36see how things are looking. The nose
57:38looks a little little small here. So
57:42move this a little bit. Maybe
57:45some move this down and back a little
57:48bit. So it's kind of a little more
57:49pointy cuz I like how I like that look.
57:52It looks nice.
57:54This is totally up to you. Totally
57:55personal preference from this point on.
57:57Whatever you want to change and modify,
57:58it's totally up to you. Just going to go
58:01by eye here. And looks like this is a
58:04little bit further up in my reference.
58:06Maybe
58:08these are definitely
58:10These are definitely further up. And
58:12what's awesome is because this is we're
58:14using a mirror modifier, this is going
58:15to be perfectly mirrored on the other
58:16side. It looks like I messed up. And
58:19this vert, there's a little hole here
58:21because this vert got moved
58:24uh a little bit in along the x-axis. So
58:27to fix that, I could just move it in
58:29like this. So I press G and then X and
58:32just kind of wait until the merge kicks
58:34in. So that's that's how to fix that.
58:36And this is looking pretty nice,
58:38actually.
58:39I'm liking how this head looks. It's
58:42lining up. It's looking nice. And I
58:44think it matches up with our reference
58:46quite nicely. So, our reference here
58:49looks spot-on. Let's go to the front
58:51view. Reference here looks great. It
58:54looks very, very similar. I'll actually
58:56move this up a little bit cuz I think
58:57that looks a little bit better. So,
58:59yeah, that's how you model a head.
59:01That's how you model a face. Remember,
59:03you can always find references for 3D
59:05models online. There's a really good
59:07resource called uh 3D modelers resource
59:12or rather the models resource. And if
59:16you want excellent resources, this is
59:18just a website. It's a great website.
59:20And for our purposes here, if you search
59:22Mega Man Legends, for example, you're
59:26going to get so many excellent,
59:29excellent 3D models in this art style.
59:32Um, and just click on them and then go
59:34to Megaillian Legends 2 in our case
59:36here. Or you can click on this one, go
59:38to Mega Legends one, and you have all
59:40these amazing 3D models you can download
59:43and look at the topology on. Just
59:45download these, import them into
59:46Blender, and you'll have amazing,
59:47amazing references. So, that's our face
59:50all modeled. And in the next video,
59:52we're going to model the hair. The
59:54Gumroad version of this series just got
59:56updated to include a 3D modeling guide
59:58PDF. Not only does it include this
1:00:00guide, but it also includes our final
1:00:01Love Chan model that we'll create in
1:00:03this series, downloadable videos, a
1:00:05short video series that introduces you
1:00:07to the fundamentals of using Blender,
1:00:08and more. Price of the Gumroad version
1:00:10will increase after this series is
1:00:12completed in full. So, if you want the
1:00:14absolute best value on it, tap that link
1:00:16below today.
1:00:19So, now let's model her hair. And this
1:00:21is definitely where a lot of people can
1:00:23get stuck and frustrated. But don't
1:00:25worry, we are going to be doing this in
1:00:27a way that is as simple as it possibly
1:00:29can be. We're going to split this into
1:00:31chunks and we're going to be making sure
1:00:33that we're looking at lots of
1:00:34references, um, which helps with hair so
1:00:37much. So, if you're trying to make your
1:00:39character's hair and you're getting
1:00:40stuck, one, that's totally normal. Two,
1:00:43make sure to be looking at 2D
1:00:44references, look at 3D references, how
1:00:46other people build out their hair
1:00:48topology and all that stuff. And make
1:00:51sure to split your hair into chunks,
1:00:52right? Like this is the hair we're going
1:00:55to be making today. Uh, this is what it
1:00:57looks like in 3D. And notice how, you
1:01:00know, this is a chunk of hair. We'll
1:01:02even hide the face here. This is a chunk
1:01:04of hair. This is a chunk of hair. This
1:01:07is a chunk of hair. And we're going to
1:01:10model our hair in a way that this is
1:01:12going to be symmetrical. So we only have
1:01:13to model half of this. This is going to
1:01:14be symmetrical. So we only have to model
1:01:16half of this. Only this part after we're
1:01:18done modeling it will be asymmetrical.
1:01:21So we'll have to model this after we
1:01:23apply our mirror modifier. Right? But
1:01:25it's not too too complicated really.
1:01:28There's pretty few triangles on this
1:01:31total. And we're going to start by
1:01:33modeling this right here, which is going
1:01:36to be the top cap of her head and her
1:01:39hair rather. So, let's get started here.
1:01:42So, first, let's start by spawning in a
1:01:47cube. So, press shift plus a mesh cube.
1:01:51Tab to enter edit mode. S to scale it
1:01:53down. GZ to move it up. And the first
1:01:57thing I'm going to do is actually delete
1:01:59this bottom face. So, I'm going to go to
1:02:00face select by pressing three. Turn on
1:02:02screencast keys cuz it's off.
1:02:05So, now you can see the keys I'm
1:02:06pressing. Now, I'm going to press delete
1:02:08right here. Faces. And there we go. So,
1:02:11now I'm going to go into the side view.
1:02:13Actually, no, I'm not. I'm going to go
1:02:15to the front view here and go to loop
1:02:16cut and add a loop cut in our cube right
1:02:19here. Like so.
1:02:22Now that we have this loop cut in the
1:02:24center of our model, all we want to do
1:02:26is go to select box, then face select,
1:02:29alt C to make this transparent. Go to
1:02:31front view and delete half of these
1:02:34faces. Then add a mirror modifier. There
1:02:37we go. Alt C again to put that back to
1:02:40normal. Then I am going to want to look
1:02:44at my reference again and see how this
1:02:48is actually set up. And we can see that
1:02:51this essentially, it's weird to think
1:02:53about, this is a box shape. And there's
1:02:56this line of edges here that's slightly
1:03:00raised in the center that goes down
1:03:02towards the right side here. And you
1:03:05know, you can think of this as being one
1:03:07plane. This is being one plane. This is
1:03:09being a plane. This is being a plane. So
1:03:11we're going to do the same thing here.
1:03:13Right? So to do that, I am going to add
1:03:17a loop cut right here. Press enter to
1:03:20confirm.
1:03:22And I think we'll leave it like that for
1:03:26no, we'll we'll we'll do a loop cut
1:03:28here. So we'll do a loop cut uh right
1:03:30here. And a loop cut along this part of
1:03:31the box as well. Select box. Go back to
1:03:34the select box tool and press alt A to
1:03:37deselect all. Then I'm going to go to
1:03:39select vert by clicking right there. And
1:03:42shift click these top three verts. Press
1:03:43G Z to move them down.
1:03:47Then I'll select these verts. G Y to
1:03:52move them in. Select these. G Y to move
1:03:55them in. Then
1:03:58we'll do this.
1:04:01Let's just go to the side view now and
1:04:02then press Alt Z. So now we actually
1:04:05want to line up our cube with the hair.
1:04:07Right. So, I'm going to select all by
1:04:09pressing A. Then I'm going press G to
1:04:11move this down. Then I'm going to select
1:04:13this front vert here. Uh, press G to
1:04:16move it down. Select this vert. G to
1:04:18move it down.
1:04:20Select this vert. G to move it over. And
1:04:23I'm kind of just going to look at my
1:04:24reference here and try to line up the
1:04:27way I built this out. So, this is again
1:04:30why references are so incredibly
1:04:32valuable. Uh, so and as I can see here,
1:04:35there's these top faces here. Top face,
1:04:38top face. And I kind of just need to
1:04:40align my box like this. Right? So, by
1:04:45looking at these two and comparing them,
1:04:46I can see that this should be up more.
1:04:48This should be going down.
1:04:51Kind of line up our reference a little
1:04:52bit more.
1:04:54Can move both of these up. Actually,
1:04:57this up. Move this up. Maybe even over.
1:05:02We'll see about that. Press Alt C to see
1:05:04what this is actually looking like here.
1:05:06Actually move this over with GY.
1:05:11Very good.
1:05:13Looking nice.
1:05:16This over this in.
1:05:19And kind of just go by what you're
1:05:22seeing here. Don't feel like you need to
1:05:24follow me perfectly. This is just one
1:05:27way of doing it. This is not the
1:05:28definitive way of doing this. So, press
1:05:31G Y to move that in.
1:05:33All right, that's looking pretty good.
1:05:37G G.
1:05:40Just moving things around like so. And
1:05:44now this is kind of already looking just
1:05:46like our hair uh does in our reference,
1:05:49which is really awesome. Move this up a
1:05:51little.
1:05:53Kind of just eyeballing this. I'm just
1:05:56going by vibe. kind of see how this will
1:06:00look, get the flow right. So, that's
1:06:04about it really. That is the top of our
1:06:06head. I'm going to go to the front view
1:06:08here. Um, oh, I've I made a mistake. I
1:06:11spoke too soon.
1:06:13So, there's one other issue here. And if
1:06:15we go to the top view here, you can see
1:06:17this is like a totally flat plane, which
1:06:20we don't want. We want to move these in.
1:06:22So, uh, and then you can see by looking
1:06:24at the front view of our head here,
1:06:26these are these verts are kind of moved
1:06:28in and caned to the side like this. Uh,
1:06:30so if we go to the top view, you can see
1:06:32that's like, you know, it's moved in a
1:06:34little bit. So, it's not perfectly flat
1:06:36there. So, going to go to the front view
1:06:38and compare both front views. And this
1:06:41in, move this in, move this in,
1:06:46move this out,
1:06:48move this out.
1:06:52this out.
1:06:54Move this out.
1:06:57Move this out. Move this up a little.
1:06:59The back. And we'll go to the back view
1:07:02in our 3D reference. Like so. Just to
1:07:06see what that's looking like, which
1:07:08seems to be caned down a little bit like
1:07:10that. So, go back to orthographic view
1:07:13by clicking right. Oops. Clicking right
1:07:16here.
1:07:18Trying to line it up a little bit. This
1:07:20is our back view. It's a little
1:07:21confusing because our reference isn't
1:07:22getting flipped there, but trust me,
1:07:24this is the back view. And just move
1:07:27this out. Move this out a bit so it kind
1:07:30of lines up with our reference. And this
1:07:32is me looking at my own reference, but
1:07:34you can using any reference you found
1:07:37online or on the 3D models resource
1:07:39website. Uh, anything at all is super
1:07:43super valuable to have when it comes to
1:07:44modeling hair in particular because it
1:07:46can be very challenging. So, go to the
1:07:48front view on both of these. And I can
1:07:51see right now that these are looking
1:07:53pretty gosh darn similar, which is
1:07:55awesome. Move this down a little bit.
1:07:58And that is the top of the hair. So, as
1:08:02you actually might have noticed, we go
1:08:03to our front view and press Alt Z.
1:08:06You're going to see that the bottom of
1:08:07our hair here actually should be ending
1:08:10about right here, but it's ending right
1:08:13here cuz this is where the bang should
1:08:15be starting. So, we're going to fix
1:08:16that. Just little proportional error by
1:08:19going to vert select right here, box
1:08:21selecting all these verts, and pressing
1:08:22G + Z to just move them up about right
1:08:27here, we'll say. Then we'll press uh
1:08:30just box select these. Move them in. And
1:08:33we'll just kind of just line this up
1:08:35with our reference a little bit more.
1:08:36So, box select, box select, box select,
1:08:41like so. Alt C to confirm. And that's
1:08:44looking pretty good. That's good enough
1:08:46for now. Now, we're going to want to
1:08:47model her bangs. So, to do that, we
1:08:50actually want to merge both of these
1:08:51models together so that we can actually
1:08:53do this in a clean way. And to join two
1:08:56models together in Blender, all you have
1:08:58to do is click on one in object mode,
1:09:01then shiftclick on the other and press
1:09:04controll + J for join. So, to join two
1:09:08objects in Blender, click on one,
1:09:09shiftclick the other, controll + J. Now,
1:09:12this is one model, which is really
1:09:15useful for our purposes here. So, I'm
1:09:16going to go to the front view, pressing
1:09:18numpad one, enter mode, press enter to
1:09:21go into edit mode. Then, I'm going to go
1:09:23to vertex select, and I'm actually going
1:09:25to move these up a little bit. So,
1:09:27that's kind of uh cuz I notice these are
1:09:30a bit low uh and should for topology
1:09:33purposes be a little bit higher. So, I'm
1:09:34going to click on both these verts,
1:09:35press G plus Z to move them up. Gonna
1:09:38come out of my camera view here and
1:09:40collect these two verts. Just one. Then
1:09:42alt C so I can see what I'm doing. Then
1:09:44press G plus Z. Just move them up kind
1:09:48of about right here and C to move that
1:09:50down a little bit. Like so. That's a lot
1:09:53better. So I'm going to press Alt Z to
1:09:56get out of X-ray view. Press one to go
1:09:58to the front view. Now I'm going to
1:10:01model in our bangs. So to do that, all I
1:10:05need to do is press two to go into edge
1:10:07select. Then I want to click on this
1:10:09edge right here. Want to shiftclick this
1:10:12edge right here. And then I'm going to
1:10:14press E to extrude these edges out and
1:10:17create some new faces here. Then I'm
1:10:19going to go to the side view by pressing
1:10:21three and just move these forward a
1:10:22little bit. And go back to the front
1:10:24view by pressing one. I'm going to click
1:10:26on this edge right here. Press E to
1:10:28extrude out. Then M to merge at center.
1:10:32Press one to go to vertex select. Then
1:10:35kind of move this around. Move this down
1:10:38a little bit. Give that some more
1:10:39character. Move this over here. And I'm
1:10:43going to press Alt Z. And I actually
1:10:45don't need both of these verts here. I
1:10:48only need one. So I'm going to click on
1:10:49this vert. Then shift click on this
1:10:51vert. Press M to merge at last. There we
1:10:55go. It's looking pretty nice indeed.
1:10:57Looking pretty cool. So, the only other
1:11:00thing I want to do to our bangs here is
1:11:02add some volume over here. So, press Alt
1:11:03C to get out of X-ray view here.
1:11:07Now,
1:11:09I am going to
1:11:11I'm going to notice something important
1:11:13here, which is that these two verts are
1:11:15actually combined on my reference here.
1:11:18So, I'm going to replicate that here by
1:11:20clicking on this vert, shift clicking on
1:11:22this vert, and press M to merge at last.
1:11:25So, that these two verts are now one,
1:11:27which is pretty cool. Uh, and now I'm
1:11:30going to press two on my keyboard.
1:11:32Uh, just click on this edge. Then shift
1:11:35click on this edge. So click and shift
1:11:37click this edge. Then press E to extrude
1:11:41from this region. So now I can see that
1:11:45in my reference here. I'm going to go to
1:11:47vert select. Click this up. I can see
1:11:50that these are both one. So because this
1:11:52is only a triangle, not a quad. So I'll
1:11:54click on this vert. Then shift click on
1:11:56this vert and do M merge last.
1:12:00And that's looking great. Go to the side
1:12:03view on both these. Make sure this is
1:12:06looking good.
1:12:10Move this a little bit down like so.
1:12:16G. See? Move that over.
1:12:20That doesn't need to be perfect.
1:12:22Perfect.
1:12:23Uh,
1:12:27yeah. And that's looking pretty good. We
1:12:29now have our bangs in place. So, I'm
1:12:32going to move this out a little bit.
1:12:35Like so.
1:12:37That's looking pretty nice. Now, I'm
1:12:39going to turn around and try to fill in
1:12:41this right here uh with an with a
1:12:44triangle. So, I'm going to go to edge
1:12:47select by pressing two. Click on this
1:12:49edge. Shift click on this edge and press
1:12:52F. So F is fill. So if you have like an
1:12:55empty space that you want filled in with
1:12:57a triangle or face, just click on edge
1:13:00and click another edge. I think you can
1:13:01click up to four edges while doing this.
1:13:03And then press F to fill in those edges.
1:13:05So that's looking pretty nice. Now I'm
1:13:09going to just turn around until this
1:13:11area right here where we can see our
1:13:13jawline and this part of our bang here.
1:13:16So I'm going to click on this edge, then
1:13:18shift click on this edge, and press F to
1:13:20fill those edges in. And we are looking
1:13:23good. So now let's model in the back of
1:13:26her hair here. So as we can see in our
1:13:28reference here, it's kind of just a few
1:13:32spikes. So it's like spike A, spike B,
1:13:36spike C, and this is just mirrored
1:13:38anyway. Well, they're they're all
1:13:39mirrored. So we really only have to
1:13:41model spike A and half of spike B here.
1:13:44So to do that, all I'm going to want to
1:13:47do is click on. So I have this selected.
1:13:51Go into edit mode. Click on this edge.
1:13:53Then press E to extrude. Face select by
1:13:56pressing three. E to extrude again.
1:13:58Press M. Then merge at center. Now we
1:14:02already have one of our spikes very
1:14:04quickly, which is awesome. Um, so I'm
1:14:06going to go to vert select G. Drag this
1:14:09down. I'm going to move this vert uh a
1:14:13little bit more in. So G + Y to move it
1:14:16in. G + Z to move it up like that. G to
1:14:21move it over. And that's looking pretty
1:14:25good. Doesn't need to be perfect,
1:14:26though. So, now that I've done that, all
1:14:29I want to do is model in this third
1:14:31spike. And to do that, this is going to
1:14:34look a little weird. First of all, I'm
1:14:36going to go to object mode, click on
1:14:38this, and hide it because it's super
1:14:39annoying and in our way. Then, I'm going
1:14:41to go click on this, go to edit mode,
1:14:43edge select by pressing two. Then I'm
1:14:45going to extrude from here. Then I'm
1:14:48going to face select, click on this
1:14:50face, extrude out from this face like
1:14:53so. Then I'm going to press M to merge
1:14:55at center again. And this looks a little
1:14:58odd, but then I'm going to go to vert
1:15:01select, click on this. Then I'm going to
1:15:03press N, go to item, and where this uh
1:15:08you see this X value, click on that, and
1:15:11set it to zero. That will just ensure
1:15:13this is on like the perfect center of
1:15:15our model here. So that's fantastic. And
1:15:18we want to do the same here. So click on
1:15:20this vert X0.
1:15:24Click on this vert gy.
1:15:27And it still looks odd because this is
1:15:29like not where it should be. I'm just
1:15:32going to move that down.
1:15:35So these two verts should actually be
1:15:38combined. So I'm going to click on this
1:15:39vert. Shift click this vert. Hem to
1:15:41merge at last. There we go. Look at
1:15:45that. So, there are our hair spikes. G
1:15:48plus move this out a little bit. Kind of
1:15:52just moving this around to taste. Don't
1:15:53feel like you have to follow me exactly
1:15:55here at all. Go to the side view. Move
1:15:57this in
1:15:59these down.
1:16:01And this is kind of like a reference,
1:16:03but also not really. It is a little
1:16:05different honestly cuz you're not
1:16:08usually going to have these things be
1:16:09one to one with your reference. Up there
1:16:13undo that. Move this in. And now we have
1:16:17the back spikes of our hair in place
1:16:20here. Now in the next video, we're going
1:16:23to model in the bottom.
1:16:26So now let's model the rest of the lower
1:16:28hair. So to do that, we actually don't
1:16:30want to have all this stuff in the way
1:16:32cuz we need to kind of view the bottom
1:16:34of the model. So to quickly hide
1:16:36everything and make sure we're just
1:16:38seeing the bottom of the model, we want
1:16:40to click on our model here and press
1:16:43slash on our keyboard. And that's the
1:16:45slash that's like right next to the
1:16:46shift key above the control key to the
1:16:49left of the arrow key. So just press
1:16:51slash. Okay, that one on your keyboard
1:16:53with this selected to isolate your
1:16:56model. And if you want to unisolate,
1:16:57just press slash again. So click on a
1:17:00model, press slash to isolate your
1:17:02model. So that's the only thing that
1:17:03you're actually seeing. So now that
1:17:06that's taken care of, we want to be
1:17:08modeling the lower hair here. And
1:17:11there's a few proportional changes I'm
1:17:12going to want to make. I'm going to go
1:17:13to edit mode, click on a vert here, and
1:17:16kind of move this one in. On this vert,
1:17:18and move this down a little bit like
1:17:21this. Doesn't need to be perfect, but
1:17:24have to be kind of close. Actually, this
1:17:27needs to go way down. My apologies. This
1:17:28needs to go way down. Um, this actually
1:17:32goes all the way down here. So, I'm
1:17:33going to click on this vert, shift click
1:17:34this vert, press M, merge at last,
1:17:38which, yep, that is indeed how that's
1:17:40supposed to look. I'll move this down GZ
1:17:43a little bit. So, that's all taken care
1:17:46of. Now, it looks like this should be up
1:17:51a little more. Should be a little bit to
1:17:52the side.
1:17:54And now that I see that I need a
1:17:56triangle here, I'm going to extrude from
1:17:58this vert, not this vert. And then shift
1:18:00click this vert. M. Merge it last. Go to
1:18:04edge select by pressing two. Click on
1:18:06all these edges and press F to fill in
1:18:08those edges. Then I'm going to want to
1:18:11create another triangle like right here.
1:18:14Do that. Going to go to vert select.
1:18:16Click on this vert. E to extrude from
1:18:18this vert. E to extrude from this vert.
1:18:20And then shift click this vert. M. Merge
1:18:22at last. Press two to go to edge select.
1:18:25Click on this edge. Shift click this
1:18:27edge. F to fill them in. So, that's
1:18:29looking pretty cool. That's about how we
1:18:31want it to look, which is awesome. I'm
1:18:34going to go to edge select and extrude
1:18:38from right here. From this extrusion,
1:18:40I'm going to press edit, go to Well,
1:18:43it's already in mode, but I'm going to
1:18:46go to vertex select right here. Then I'm
1:18:48going to shift click this vert, press M,
1:18:50merge it last. Then I'm going to move
1:18:52this fur down. Kind of try to line it up
1:18:58like this.
1:19:00And
1:19:02move this down. And we want to connect
1:19:04these verts together. These two. So I'm
1:19:07going to shift click this vert. Press M.
1:19:09Merge at last. Those two verts selected.
1:19:13And now I can see that we want
1:19:16this vert on the jawline to connect with
1:19:19this. So, I'm going to actually cut in a
1:19:21new edge by using the knife tool. Click
1:19:24right here. Click right here. Press
1:19:26enter. Go to select box. Vert. G to move
1:19:30this over. Shift click this vert. M.
1:19:32Merge it last. Kind of just going like
1:19:36this. Really studying my reference to
1:19:38make sure this is looking correct.
1:19:40Uh, I actually don't want a vert here.
1:19:42So, I'm going to shift click. Oops.
1:19:43Going to click this vert. Then shift
1:19:45click this vert. Merge at last.
1:19:48That's looking pretty good.
1:19:51G to move this over. G to move this
1:19:53over.
1:19:55Move this over. And
1:19:58move this over like so. All right,
1:20:02that's looking pretty good. Now, I'm
1:20:03going to go to the side view on our
1:20:04model by pressing three. We're going to
1:20:06see that we're getting pretty close
1:20:08here. I'm going to go to side view on my
1:20:10reference here. Make sure things are
1:20:11looking correct. They are. Fantastic.
1:20:14Press G to move this over a little bit.
1:20:17Now I want to extrude from this edge. So
1:20:20I'm going to click on this edge and edge
1:20:21select which I got to by pressing two. E
1:20:24to extrude from this edge. Go to vert
1:20:26select by pressing one. Click on this
1:20:28vert. Shift click this vert. Merge at
1:20:31last. G to move up this vert like so. On
1:20:37this edge speed extrude. Go to vert
1:20:40select by pressing one. Click on this
1:20:41vert. This vert. M. Merge at last. G.
1:20:44Move this vert. Move it up like so.
1:20:49Then I am going to want to
1:20:53G. Move this up a little bit.
1:20:56Oops. Press two. Click on this edge. E
1:21:00to move it out. And rotate around. G to
1:21:04move it out this way. And click on this
1:21:07part. Move it out like so. Move it out
1:21:11like that. Back to my side view. Then
1:21:16looks like there's a hole right here
1:21:19that I need to fill in. So I'm going to
1:21:21press E to extrude from this part. Shift
1:21:24click this vert. Mge it last. Two to go
1:21:28back to edge select. Click two of these
1:21:31edges. F to fill them in. So let's click
1:21:34one edge. Shift click the other. Then
1:21:36press F. Then for the top of this right
1:21:39here, it looks like now that this is
1:21:42filled in, I want to try here. So, I'm
1:21:45going to move this over a little bit.
1:21:51And I think I want to
1:21:53Yeah, I want to combine these. So, click
1:21:56on one bird, shift click the next M,
1:21:58merge it first or last. It doesn't
1:22:00really matter. Move it over a little
1:22:02bit. Then, I'm going to press E to
1:22:05extrude from here. Shift click this
1:22:07part. Merge at it last two to switch to
1:22:10edge select. Click click click F.
1:22:15Then same here. This is kind of the long
1:22:19way of doing it, but whatever it works.
1:22:21Press one to go to vert select. E to
1:22:23extrude.
1:22:25Shift click. This vert M. Merge at last.
1:22:30Two. Click click click fill. All right,
1:22:34it's looking pretty good. And I think we
1:22:37want yet another try here. So, click
1:22:39click F to fill. Click, click, fill. And
1:22:44oh my goodness, our hair is done. We're
1:22:46getting there. We're getting there.
1:22:49So, this is looking good. This is
1:22:51looking good. Go to the front view. Both
1:22:54of these. Make sure this is looking
1:22:56correct. Go to vert select. G to move
1:22:58this out. Click this. G to move this
1:23:00out. Click this. G to move this way out.
1:23:03G this out with this out this in. Just
1:23:07go by I here to make sure this is all
1:23:09looking good. Now that we have most of
1:23:12what we need in place.
1:23:15Cool, cool, cool. Going to rotate out
1:23:17here. Go to the Let's go to the side
1:23:20view. Compare our side views here. This
1:23:23is actually looking pretty close. Pretty
1:23:25cool. I am cuz I don't want this hole
1:23:28here. I am actually going to cut in an
1:23:31edge here. So, I'm going to alt a to
1:23:32deselect all. Go to the knife tool.
1:23:35Click this vert. Click right here. Enter
1:23:38to confirm. Select box. Alt A to
1:23:40deselect all. Click this vert. Shift
1:23:42click this vert. M. And merge at last.
1:23:46Just so there's no weird holes in our
1:23:48model cuz those aren't fun. Um, then
1:23:52double check this is all looking good.
1:23:54It's looking pretty good. Move this up.
1:23:58This move this up. And these are just
1:24:01proportional changes I'm doing. Your
1:24:02mileage may vary because we're all
1:24:04modeling different little bit different
1:24:07models here. Move this up. Move this in.
1:24:12Looking pretty awesome. Pretty cool. And
1:24:16that, ladies and gentlemen, get out of
1:24:19this and press slash on my keyboard to
1:24:22get out. That's our hair. So now let's
1:24:25model her bangs. So, this is going to be
1:24:26really easy, but I am noticing that her
1:24:29neck looks a little weird here. So, I'm
1:24:30going to go to edit mode. I'll isolate
1:24:33by pressing slash on my keyboard. I'll
1:24:35box select these top verts and just move
1:24:37them up and press slash to unisolate.
1:24:40And that is looking a lot better. All
1:24:42right. So, now to model her bangs, we're
1:24:45just go to the front view by pressing
1:24:46one of our keyboard. Go to edit mode and
1:24:49we're going to apply. Oh, not going to
1:24:51edit mode yet. We're going to be in
1:24:53object mode. Then we're going to go to
1:24:55our mirror modifier and apply it. So
1:24:58just click apply right there to apply
1:25:00modifiers so that we can actually edit
1:25:02both sides of our model in edit mode now
1:25:04which is really useful. So to add the
1:25:06bangs here, all I'm going to want to do
1:25:08is press T to open this knife tool or to
1:25:12select the knife tool rather. Then I'm
1:25:14going to click from right here to right
1:25:18here and press enter. And I could also
1:25:22press uh alt h, excuse me. I can go to
1:25:26object mode and press alt h to bring
1:25:28back my reference here. I'm going to
1:25:29hide this skeleton cuz I don't want to
1:25:31see it. I don't want to see a skeleton.
1:25:34Go to front view pressing numpad one on
1:25:36my keyboard. Press alt z to kind of view
1:25:39my reference here. Press alt t again to
1:25:41hide that. Then I'm going to go to edit
1:25:44mode. Select box edge select. And I'm
1:25:47going to press G. Excuse me. I'm going
1:25:49to press E to extrude from here. Going
1:25:52to move this over a little bit. Press M
1:25:54to merge at center. Go to vertex select.
1:25:57Scooch this on over. Actually going to
1:25:59scooch this on over. Scooch this on
1:26:02over.
1:26:04Scooch this on over. And scooch this on
1:26:07over with GX.
1:26:10Then for right here,
1:26:12going to do a lot of the same things.
1:26:14I'm going to press Alt A to deselect
1:26:17all. Press my click on my knife tool.
1:26:20Cut right here. Cut. Have the cut end
1:26:23right here. And press enter. And I'm
1:26:25doing that because alt A to deselect
1:26:28all. So now when I extrude from this
1:26:30edge right here by pressing E, I'm not
1:26:32going to be like extruding all the way
1:26:34over here. It'll just be in this
1:26:35section, which is going to look a lot
1:26:37better for bangs. So press M to merge it
1:26:40center here. Just like here. Press one
1:26:43to go to vertex select. Move this bang
1:26:45over here. Scooch this over a bit.
1:26:49Scooch this down. Scooch this down
1:26:52just a little bit to taste. Add some
1:26:55asymmetry because it usually looks quite
1:26:57aesthetically pleasing
1:26:59in general. This down. This over.
1:27:05And would you look at that? Looking
1:27:07pretty good. Pretty good indeed. So now
1:27:12kind of want to move this in. So I'll
1:27:13press G.
1:27:15So these
1:27:18uh
1:27:20I can also press X symmetry at the top
1:27:22right of my uh viewport here if I want
1:27:25to mirror this on the other axis. So now
1:27:27I'll move all of these except this one
1:27:29cuz it's being annoying. I'll just
1:27:31deselect that and then go under here and
1:27:34move these in with G
1:27:38on this front view in with G.
1:27:44Click on this. Move it in with G. This
1:27:47around G. So now it's asym asymmetrical,
1:27:50which is fine. Nothing wrong with that
1:27:53in a 3D model. It can look a little bit
1:27:55more aesthetically pleasing. And right
1:27:58there are our bangs. I'm also going to
1:28:00want to add a mirror modifier to
1:28:02everything that is not mirrored in our
1:28:04scene yet. So I'm going to exit edit
1:28:05mode. Click on our foot. Go to the
1:28:09modifiers tab right here. Add modifier.
1:28:11Mirror. Click on the hand. Add modifier
1:28:14mirror arm mirror leg
1:28:19mirror. And look at that. Our model is
1:28:23done. The 3D modeling section is now
1:28:26complete. And in the next video series,
1:28:29we're going to talk about doing our UVs
1:28:31and textures on our character, which is
1:28:35probably the most anticipated part and
1:28:36most requested part. So, I'm really
1:28:38excited to get into that. I'll see you
1:28:40in those videos really soon. So, make
1:28:41sure to like the video, comment below if
1:28:43you enjoyed it, and subscribe and turn
1:28:44on the notification bell to make sure
1:28:46you never miss out on future Crush
1:28:49Academy videos. When I was going to
1:28:50animation school back in 2021, I cannot
1:28:53tell you just how much I absolutely
1:28:56hated UV wrapping. I despised it. When I
1:29:00watched all the videos we had explaining
1:29:02how UV wrapping worked and how it's just
1:29:04like wrapping a gift, and I heard that
1:29:06over and over and over again, it just
1:29:08did not make sense to me. I did not
1:29:10understand it. It felt like I was
1:29:12pulling teeth out. It was torture. I
1:29:15absolutely hated UVN wrapping. I avoided
1:29:18it like the plague. I procrastinated on
1:29:20it as if it was math homework. It was
1:29:22not fun. It was boring. It was
1:29:25frustrating and it did not make sense.
1:29:27But after literally years of
1:29:28frustration, I figured out that wait a
1:29:31second, UV unwrapping is actually not
1:29:33that frustrating at all. It's actually
1:29:35very simple. and I'm about to show you a
1:29:37super quick way we can UV unwrap our
1:29:39models. Let's get into it.
1:29:42So, before we UV unwrap our Love Chan
1:29:45model right here, first of all, we need
1:29:47to talk about what UVN wrapping actually
1:29:49is. And it's kind of impossible to talk
1:29:51about UV wrapping without also talking
1:29:53about texturing as well. So, texturing,
1:29:56right, that is actually typically done
1:29:59after UVs. So if we want to take a
1:30:02broader view here and think about how
1:30:04this process works, we start off with
1:30:06our concept. That's our drawing. That's
1:30:08the illustration that you know kicks off
1:30:10our character model in general. And from
1:30:13our character model, a concept, which is
1:30:15just a drawing or an illustration or
1:30:17whatever or just an idea that you want
1:30:19to make a character out of. Then you
1:30:22make a turnaround drawing. You make this
1:30:23turnaround drawing to make sure your
1:30:25proportions are in check and you're you
1:30:28have a finalized idea of what you want
1:30:30your 3D model to look like. And not only
1:30:33that, you also want to color it so that
1:30:35you have reference for when you get into
1:30:37the texture painting part of this
1:30:39process, which is what we're going to be
1:30:40talking about today, right? So, you make
1:30:43your sketch, you turn around sketch,
1:30:44then you make a colored version of that
1:30:46turnaround sketch that you can reference
1:30:48when you're making your texture. So
1:30:52after those two stages, we get to the
1:30:54stage that we are at right now. And if
1:30:56you're watching a video on UV wrapping,
1:30:57this is also the stage you're at right
1:30:59now. The actual 3D model is done or very
1:31:03close to being done. You made your 3D
1:31:06model out of these chunks which you then
1:31:08made three-dimensional. So after that
1:31:11stage is done, your 3D model is made,
1:31:13then we move into the stage we're going
1:31:15to be talking about today, which is UVs.
1:31:17So, as I have noted right here, UVN
1:31:19wrapping is flattening a 3D model
1:31:22surface onto a 2D image in order to
1:31:25apply textures. That is it. UVM
1:31:27wrapping. All you're doing is flattening
1:31:29a 3D model surface onto a 2D image to
1:31:33apply textures. This process is what
1:31:36allows us to correctly apply images, aka
1:31:39textures, to our 3D models. And we can
1:31:42see by looking at this image right here,
1:31:44this is what Blender's UV editor looks
1:31:45like, which we're about to jump into.
1:31:47And on the right here, we can see that
1:31:49we have our UV selected. And this is
1:31:53what you can see right here. This is the
1:31:55model's geometry that we have flattened
1:31:58onto a 2D plane. So, this is obviously
1:32:01three-dimensional geometry, but we have
1:32:03flattened it onto a 2D plane, which we
1:32:05then painted a texture onto. This is
1:32:08what the final love chan texture that
1:32:10we're going to be downloading today
1:32:12looks like. This is the texture that I
1:32:14made using Photoshop, but you don't need
1:32:15to use Photoshop. You can use any free
1:32:17painting application on the planet.
1:32:18Trust me, Photoshop is not required for
1:32:20this at all. But if we take our UV map,
1:32:25which is right here, and kind of shift
1:32:28it down on top of our texture here,
1:32:31you're going to see some interesting
1:32:32things. So, first of all, let's look at
1:32:34our UV map. This is the 3D model we just
1:32:38made. This is what her waist looks like.
1:32:41The waist we just modeled. This is the
1:32:42arms we just modeled. This is the feet
1:32:44we just modeled. This is Let's see. Uh,
1:32:48this is the nose we just modeled,
1:32:50believe it or not. So, if we shift this
1:32:52down, you see that it lines up with
1:32:54these perfectly. This is the arm model.
1:32:57This is the hand model. This is the
1:32:59waist model. This is the nose we made
1:33:01for our face. This is the bottom of the
1:33:03jaw, believe it or not. And you can even
1:33:05have UVs overlapping like this and it's
1:33:08fine. Um, for especially for this style,
1:33:10it's not a big deal if you have some
1:33:12overlapping UVs like this. And that's
1:33:13really all that UV mapping is. We're
1:33:15just taking our 3D model and we're
1:33:18projecting it to be flat and look
1:33:21something like this so that we can apply
1:33:23a texture to our model. So now we've
1:33:26talked about UVs. Now let's talk about
1:33:28texturing because it's kind of
1:33:29impossible to talk about UVs without
1:33:31also talking about texturing at the same
1:33:32time. texturing looks like this. This is
1:33:36the texture we were just looking at for
1:33:37LoveChan. And the dimensions of this
1:33:39texture are 1024 x 512. And I'm bringing
1:33:42those up for a reason because if you
1:33:44know your maths, you'll know that those
1:33:46are powers of two. So this is a list of
1:33:49all the powers of two that you would
1:33:51reasonably need to care about when
1:33:53you're making a texture. Uh it starts
1:33:56with one, goes all the way to 8K. Um,
1:33:59and the reason why we care about having
1:34:02our textures be powers of two is that
1:34:04while there is not really a
1:34:06one-sizefits-all resolution when it
1:34:08comes to texture sizes, many game
1:34:10engines such as the Unreal Engine and
1:34:12Unity recommend your texture sizes have
1:34:15power of two dimensions. So, you can mix
1:34:18and match power of two dimensions as I
1:34:20did here. So, for this texture here, I
1:34:22decided that 1024, which is right there
1:34:24on our list, by 512, which is right
1:34:26there on our list, was the best size for
1:34:29my texture sheet. However, you can also
1:34:31have things be square. So, if you wanted
1:34:33512 x 512, which would look like this.
1:34:37This is a 512 x 512 texture. This is
1:34:40what a 246 x 246 texture means. These
1:34:43are just texture resolutions. You just
1:34:45want to make sure the resolution the
1:34:47pixel resolution of your textures is a
1:34:50power of two. The reason for this is one
1:34:53simplicity because if you're doing
1:34:55texture related calculations, which you
1:34:57actually do want to do on a semi-regular
1:34:59basis, believe it or not, like
1:35:00calculating UV coordinates, those are a
1:35:03lot simpler to do with power of two
1:35:05dimensions on your texture sheet.
1:35:07However, there's also reasons if you're
1:35:09ever going to be putting this in a game
1:35:10engine that you're going to want to use
1:35:12power of two dimensions. And the reason
1:35:14for that is because power of two
1:35:16dimensions are really useful in game
1:35:18engines because they simplify the
1:35:19generation of mip maps and texture
1:35:21filtering works a lot more efficiently
1:35:23with power of two textures. This is why
1:35:25game engines like Unreal and Unity
1:35:27recommend your texture sizes be power of
1:35:30two in dimension. Let's talk about the
1:35:31process of actually making a texture and
1:35:33what that looks like. So if we go down
1:35:35here, you're going to see that
1:35:37especially if we look at the texture
1:35:39sheets of these characters. This is what
1:35:41we started with on the left here. This
1:35:43is a very basic texture. It's just flat
1:35:46colors. Um, and the reason we want to
1:35:49start with flat colors is to just kind
1:35:50of get a general idea of what our model
1:35:54is going to look like in 3D, how things
1:35:55are shaping up, what colors we want, and
1:35:57to just get an idea of where we're going
1:35:59to be placing things. Then, after you
1:36:02have just this base color sheet, you
1:36:04slowly start to add in detail. You don't
1:36:07do this all at once, but after you block
1:36:09in this basic color rough, you then go
1:36:12to adding detail. So, you can see with
1:36:14Love Chan here, I slowly started to add
1:36:16the detail for her waist. I added the
1:36:18shoe textures. I added the textures for
1:36:20her arm. Her hair went from being just
1:36:22one solid color to having the highlights
1:36:25in her hair as well as the shadow colors
1:36:27as well. And I sketched in her face. I
1:36:30sketched in these shading colors for her
1:36:32jacket. And this is not a process where
1:36:34it's one and done. You're not going to
1:36:37make a UV map, then make a texture, and
1:36:40you're done. You're going to be
1:36:41constantly iterating and going back and
1:36:42forth in this process where you'll see
1:36:44that, wait a second, I actually want
1:36:46this part of my 3D model to be bigger on
1:36:48my UV map. So, you go back to your UV
1:36:50map and say you wanted the size of the
1:36:52hips to be larger, so you got more
1:36:53resolution on your texture sheet. You'd
1:36:55select the UVs on your hips and scale
1:36:57them up. Then you'd go back to your
1:36:59texture sheet in whatever painting
1:37:01software you're using and kind of like
1:37:02draw over them or fix whatever changes
1:37:04you need to make. Then you'll export
1:37:06that texture back to Blender and see how
1:37:07it was looking. And it's an iterative
1:37:09process. You kind of go back and forth
1:37:11and you keep on iterating on this to
1:37:13make sure that things are looking as
1:37:14clean as they possibly can. And slowly
1:37:17over time, you're going to build up to
1:37:18having this detailed of a texture.
1:37:20You're not going to have it all done
1:37:22perfectly on your first try. I would not
1:37:24recommend that. That's why I'm
1:37:25recommending starting with basic colors
1:37:27like this. Then get it in 3D. It won't
1:37:30look very good, but you'll have an idea
1:37:32of where you should be going from there.
1:37:34And from these basic colors, you'll know
1:37:36exactly where you should be adding your
1:37:38details, or at least a rough idea of
1:37:39where you should be adding your details.
1:37:41And just slowly build up to this very
1:37:45detailed texture over time. because this
1:37:47is probably the most time-conuming and
1:37:49difficult part of this process is going
1:37:51from this very basic texture to this
1:37:53very detailed one. But be patient with
1:37:55it and you will get there. It is not
1:37:57complicated. It is just a bit
1:37:58timeconuming and this is definitely the
1:38:01most rewarding and satisfying part of
1:38:02the process too. So enjoy it. Have fun
1:38:04with it because when all that is done,
1:38:06you're going to have your beautiful
1:38:08looking final model that we've been
1:38:10working towards this whole time. So
1:38:12enough with all the blabbing out of the
1:38:13way. Let's actually get into Blender and
1:38:16I'm going to show you how to UV your
1:38:18model. But first, a word from this
1:38:20video's sponsor, me. The Gumroad version
1:38:22of this series just got updated to
1:38:24include a 3D modeling guide PDF. Not
1:38:26only does it include this guide, but it
1:38:28also includes our final Love Chan model
1:38:30that we'll create in this series,
1:38:31downloadable videos, a short video
1:38:33series that introduces you to the
1:38:34fundamentals of using Blender, and more.
1:38:36Price of the Gumroad version will
1:38:38increase after this series is completed
1:38:40in full. So, if you want the absolute
1:38:42best value on it, tap that link below
1:38:44today. So, now let me show you how to do
1:38:46UVs in Blender. And to do that, we are
1:38:49of course going to need the texture we
1:38:51were just looking at of Flowchan here.
1:38:53And to download that texture, don't
1:38:54worry, it's going to be totally free.
1:38:56Just go to the link in the description
1:38:58below for this. So, go below this video
1:39:01in the description box or in the comment
1:39:02section to find this link, then click on
1:39:05it. You will need to join my Patreon,
1:39:06but don't worry. It's joining my Patreon
1:39:08as a member is completely free. And from
1:39:11that link, you just want to click right
1:39:13here and right here where it says
1:39:14Lovechan face texture.png. Lovechan body
1:39:17texture.png. Just click on those to
1:39:19download those textures to your
1:39:21computer. Let's add them to our scene.
1:39:23And to do that, all we want to do is
1:39:25select this last model we just made,
1:39:28which is her head and hair. So on this
1:39:30model with it selected, go to this tab
1:39:33right here, which is called the material
1:39:35properties tab. And where it says
1:39:37material properties, we're going to
1:39:38click right here where it says new. So
1:39:41click right there where it says new to
1:39:43make a new material in our scene. And
1:39:45we're going to call this material love
1:39:47chan body.
1:39:51So I'm going to call this material love
1:39:52chan body. And I'm going to switch the
1:39:54surface from principled BSDF to emission
1:39:57by just pressing E on my keyboard. So I
1:40:00clicked on surface. And you can also
1:40:01just go up here and click on emission.
1:40:02But I like to press E because it is
1:40:04faster. So, now that we have this
1:40:07material on our head, uh, now we want to
1:40:10actually apply our texture to it. And to
1:40:12do that, we're actually going to need to
1:40:14go to the shader editor. So, to do that,
1:40:17I'm just going to switch from my
1:40:18timeline to my shader editor right here.
1:40:21Then, drag this up and zoom in using the
1:40:24scroll wheel. And from here, all we want
1:40:27to do is plug our image texture into the
1:40:30color node of this emission, which is
1:40:32very easy. And there's two ways you can
1:40:34do this. My personal favorite is just
1:40:36dragging and dropping the image into
1:40:38directly into the shader editor. So to
1:40:40do that, all you have to do is navigate
1:40:42to where you downloaded your textures on
1:40:45your computer, be it your downloads
1:40:46folder, your desktop, or wherever you
1:40:48saved them to, then when you're in that
1:40:50folder where you downloaded the textures
1:40:52from Patreon to, drag and drop that
1:40:54texture into your shader editor like so.
1:40:56So click and drag and drop it into your
1:40:58shader editor like that. Then go back to
1:41:01Blender and from the color output of
1:41:04your texture, put that into the color
1:41:05input of your emission like so, which
1:41:07you can also do by pressing shift plus
1:41:09A, then typing image texture, and then
1:41:13going to open right here. But it's just
1:41:15faster to drag and drop into the shader
1:41:16editor. So that's what I'd recommend you
1:41:18do as well. So you're going to see that
1:41:20nothing has actually updated yet. And
1:41:22the reason for that is because we are
1:41:24not yet in the right shading mode. Uh,
1:41:28but before we switch shading modes,
1:41:29we're actually going to switch into the
1:41:30UV editing workspace, which is at the
1:41:32top of Blender right here, because we
1:41:34want to edit UVs, of course. So, I'm
1:41:36going to click on this UV editing
1:41:38workspace, so we can start editing our
1:41:40UVs. Then, from this right panel here,
1:41:44we're going to go to the front view by
1:41:45pressing one on our keyboard. So, we're
1:41:47in the Oopsie. So, we're going to press
1:41:49one on our numpad, excuse me, to go to
1:41:51the front view so that we can do the UVs
1:41:54on our character here. And I'm going to
1:41:55zoom in. So now that I am in the front
1:41:57orthographic view in our right 3D
1:41:59viewport here, I'm going to press Z to
1:42:02switch my shading mode to rendered. So
1:42:04now you can see the material we just
1:42:05made is being applied to our model and
1:42:08it also looks terrible. This is a mess.
1:42:11How do we fix this? Reason this looks so
1:42:13bad is because we have not actually done
1:42:14the UVs on our model yet. So to do that,
1:42:17making sure that our model is selected,
1:42:18we're going to go from object mode to
1:42:20edit mode by pressing tab. Then we're
1:42:22going to select all the faces that make
1:42:25up her face. So we're gonna just select
1:42:28this face, this face, this face, this
1:42:30face, this face, this face, all of these
1:42:32faces right here. We want to make sure
1:42:34that these are all selected right there.
1:42:37So we can go to the other shading
1:42:38preview mode to make it a little bit
1:42:39obvious that all of these faces are
1:42:41selected. I'm going to go back to that
1:42:43shading preview mode. Then we're going
1:42:45to press U on our keyboard. So U on our
1:42:48keyboard brings up this menu right here,
1:42:50which is the UV mapping menu. And with
1:42:53from this menu, we're going to press
1:42:55this button right here, which is project
1:42:56from view. So after we've pressed
1:42:59project from view, we're going to go
1:43:01into this new window on our left here,
1:43:03which is the UV editor. So this is a
1:43:07panel in Blender just like any other
1:43:08panel. You can see it's right here, the
1:43:10UV editor. It's just like the 3D
1:43:12viewport, just like the image editor.
1:43:14just another editor in Blender that you
1:43:15can use to accomplish a different task.
1:43:17And the controls in the UV editor are
1:43:19exactly the same as the 3D viewport.
1:43:20It's middle mouse to move around, zoom
1:43:22in and out with the scroll wheel, shift
1:43:24plus middle mouse to pan around. You
1:43:26know, it's exactly what you would
1:43:27expect. So, I'm going to press A to
1:43:29select all in the UV editor, and then
1:43:31I'll press G to move our UVs over. Then
1:43:35I'll press S to scale them up and try to
1:43:37line them up with our nose here. So, the
1:43:40bottom of our 3D nose model, we're going
1:43:42to try to line up with the bottom of the
1:43:43nose in our texture, like so.
1:43:48And this is actually a bit too big. So,
1:43:49I'm going to scale this down like so.
1:43:55And try to line it up like that. So, the
1:43:59bottom of our nose is where this like
1:44:00shadowed area and the texture is
1:44:02basically. So now that we've done that,
1:44:05I am going to middlemon middle mouse on
1:44:08out of our arthographic view. And look
1:44:11at that. If I go to object mode, we just
1:44:13did the UVs on her face. They're done.
1:44:16We're going to go back to edit mode and
1:44:18select the faces under her jaw. So we're
1:44:20going to click on this face, this face,
1:44:21this face. Shift click on all these
1:44:23faces. Then I'm going to press U on my
1:44:26keyboard and do project from view. And
1:44:28I'm going to go back to the UV editing
1:44:30window. Press A to select all. G to move
1:44:32them over. or S to scale them down so
1:44:33that they're in this shadowed area on
1:44:36the hair right up there. So, just press
1:44:38G to move them over and S to scale them
1:44:40down so they're all in that shadowed
1:44:42area. And we have already done the UVs
1:44:45on her face. It's just that easy. It is
1:44:48just that fast using this technique. And
1:44:50in the next video, we're going to UV
1:44:52unwrap the rest of her. So, stick
1:44:55around. And I just realized I made a
1:44:56mistake because I did not actually
1:44:59select the faces up here. So, I'm going
1:45:00to press select this face. I'm going to
1:45:02select this face as well. Going to press
1:45:05U on my keyboard again. Project from
1:45:07view. A to select these faces in the UV
1:45:10editor. Then press G to move them over
1:45:13into this shadowed area. We just have to
1:45:14make sure they're in this shadowed area.
1:45:16And because it's all flat shaded, it
1:45:18will look exactly as we expect. If we go
1:45:20back into object mode. So, that's how we
1:45:23do the UVs on her face. And in the next
1:45:25video, we're going to do the rest of her
1:45:27UVs.
1:45:29Now, let me show you how I did the
1:45:30remainder of the UVs on Lovechan here.
1:45:32And to show you that, of course, it
1:45:34would be wise to reference what our
1:45:36final 3D model ended up looking like and
1:45:38how I got it looking the way it does.
1:45:41So, this is what our final Love Chan
1:45:43model looks like. You can see I have the
1:45:45UV editor open right here. I just made a
1:45:47new UV editing workspace. And from this
1:45:50model, there's going to be a few really
1:45:51important things I want to point out.
1:45:53First of all, every model that we made
1:45:55that is mirrored, we only need to do the
1:45:58UVs on that one side. Because the model
1:46:01is mirrored, it will automatically
1:46:04mirror the UVs that we do on one side to
1:46:06the other. And whenever I'm doing UVs, I
1:46:08literally just turn off my mirror
1:46:09modifier. So, I click on my object, I go
1:46:11to this modifier properties tab, and I
1:46:13press this little monitor icon to
1:46:15disable the viewing of this mirror. This
1:46:17does not actually disable the modifier.
1:46:19This just temporarily makes it
1:46:21invisible, so it's a little bit easier
1:46:22to do your UVs. So, I'm also going to do
1:46:24that in the shoes here. Turn off this
1:46:27mirror modifier. Turn off the mirror
1:46:29modifier in the arms. Turn off the
1:46:30mirror modifier in the hands. And I
1:46:33think that is about it for this one. It
1:46:34just makes your life a lot simpler when
1:46:36you're only UVing one thing, and you can
1:46:38always enable it when you're done doing
1:46:39the UVs. So, with that out of the way,
1:46:42let's explore how I did the UVs on the
1:46:45feet here by clicking on them in object
1:46:46mode, going to edit mode, and selecting
1:46:49all of our faces on this model. So, with
1:46:52that selected, we're going to notice
1:46:54some things here that are kind of
1:46:55interesting. First of all, I over
1:46:58overlapped the UVs on my model here. So,
1:47:01these UVs and these UVs are totally
1:47:04overlapped like this. And there's a
1:47:07clarification I need to make from the
1:47:09last video where I said that UV overlaps
1:47:12are like fine and kind of a non-issue.
1:47:15That is definitely not always the case.
1:47:17And I apologize for saying it like that
1:47:19because when you are working in a game
1:47:20engine like Unreal or Unity, having
1:47:23overlapping UVs like this can actually
1:47:26cause issues when you're baking light
1:47:27maps. So, in Blender here, I really
1:47:30don't think that's going to cause too
1:47:32many issues that I know of, but just so
1:47:34you know, that can cause issues in
1:47:36certain game engines. That is not always
1:47:38the case. That is not the case with
1:47:39every game engine, but for certain game
1:47:41engines, that can be an issue having
1:47:43overlapping UVs. Now, personally, in
1:47:45this tutorial, if we have a few
1:47:47overlapping UVs, I don't really care.
1:47:48It's not really a big deal. Uh
1:47:50especially if your model's only going to
1:47:52be living in Blender, I wouldn't even
1:47:53worry about it. But that's just
1:47:54something to keep in mind, right? So
1:47:57that's the first thing I wanted to
1:47:58mention out of the way. Second thing I
1:48:00wanted to mention is that this texture
1:48:02map for Lovechan is very very deeply
1:48:05imperfect. And the reason for that is
1:48:07this texture map was made kind of early
1:48:09on while I was still learning how to
1:48:11optimize these UV maps the best I could
1:48:14and learning the workflows and
1:48:16processes. Now, if we go over to a low
1:48:19poly model I made after this, however,
1:48:22you're going to notice some
1:48:23improvements. So, if I go to another UV
1:48:26editing workspace right here, and if I
1:48:28go to the shading rendered preview, and
1:48:31this low poly model, by the way, is
1:48:32available to download in the Gumroad
1:48:34version of the course. You not only get
1:48:35this model to download, which you can
1:48:37reference the UVs on, and they're also
1:48:38fully rigged, but you also get this
1:48:40model in the low poly course on Gumroad.
1:48:43So, definitely check those out today if
1:48:44you want to reference these UVs yourself
1:48:47or if you want to reference the rigs.
1:48:48So, if I go to this model and open up
1:48:50the texture sheet here, you're going to
1:48:51notice that things are packed a lot more
1:48:53tightly together. The hair is not taking
1:48:55up nearly as much as the UV map as it
1:48:58was on this one. The face only takes up
1:49:00a pretty small part of the UV map in
1:49:02this Lovech texture, but that ended up
1:49:04getting much bigger on this one to the
1:49:06point where it's taking up, you know,
1:49:07like 10 or 15% of the whole UV map. And
1:49:09I say this because as you're making
1:49:11textures, as you're making your own 3D
1:49:13models, you're going to slowly get
1:49:14better and better at this stuff and find
1:49:16different workflows and different ways
1:49:18to optimize this space a lot better.
1:49:20It's going to look a lot better. It's
1:49:22going to be a lot more texture
1:49:23efficient. You're going to learn how
1:49:24this process works, and you're going to
1:49:26go back and forth between making the UV
1:49:28map, making your model, and you're going
1:49:30to adjust things and kind of iterate
1:49:32upon them over time. And this is not
1:49:34something you're going to nail at first.
1:49:35You're going to have a UV map at first
1:49:37that you'll slowly realize, oh wait,
1:49:39this I should have did it like this.
1:49:40Should have did it like this. And that's
1:49:42not a bad thing. If those are the
1:49:43realizations you're coming to, that
1:49:44means you're learning. That is not a bad
1:49:46thing. And just know that UV mapping is
1:49:48super annoying. It's not something that
1:49:50most people enjoy doing at all. It's
1:49:52kind of based on math, but it's also not
1:49:54that difficult. It is really not that
1:49:56difficult. And once you get the hang of
1:49:58it, it actually does become pretty fun
1:50:00to do and experiment with. So, with all
1:50:03that out of the way, let's talk about
1:50:05Lovechan here. So, now let's do the UVs
1:50:08on Lovechan's feet here. And you can see
1:50:11on the left we have the finalized
1:50:13Lovechan model in Blender. So, this is a
1:50:15different render window. And on the
1:50:16right, this is where we were in Blender.
1:50:18And I'm keeping these open at the same
1:50:20time just so you have a reference point
1:50:21for how I did the UVs on this model. So,
1:50:25you can kind of reference them and go
1:50:26back and forth. But again, it's going to
1:50:28be a lot easier if you have the Gumroad
1:50:29version of the model. So definitely get
1:50:30the gumroad version of the series today
1:50:33if you want the easiest way to reference
1:50:34this model. But in any case, I am going
1:50:36to go into edit mode by clicking on my
1:50:38feet, going pressing tab. I'm going to
1:50:40also turn on screencast keys. He then
1:50:42I'm going to disable this right here,
1:50:45which is the mirror modifier cuz I don't
1:50:48really want that right now. You can just
1:50:50disable it in edit mode by pressing this
1:50:51one. So honestly, I'll just press that.
1:50:53So I'll go into edit mode, go to my
1:50:55modifiers tab, and click right here to
1:50:57just disable the modifier in edit mode.
1:50:59so I can UV this a bit easier. And with
1:51:02that all out of the way, I have to make
1:51:04sure that I have my Lovech body texture
1:51:06open so I can UV this properly. And
1:51:10again, make sure you're in the rendered
1:51:11view. Press C, go to render view to make
1:51:13sure you're in rendered view while doing
1:51:14this. So, I'm going to select all three
1:51:16faces on the side of my shoe and press U
1:51:19and go to project from view. And of
1:51:22course, that has done nothing yet
1:51:24because this object does not actually
1:51:26have the material that we made for the
1:51:30face and head here. That has not yet
1:51:31been applied to the feet. So, I'm going
1:51:33to click on the material properties tab,
1:51:35go to love chan body. So, we actually
1:51:37have that material visible. It's only
1:51:40going to show up in render view.
1:51:41Remember that. It's only going to be
1:51:42visible in render view. So, with that
1:51:45out of the way, I'm going to select all
1:51:46three of these faces and press U,
1:51:48project from view. With that done, I'm
1:51:51going to press A to select all in the UV
1:51:53editor. G to move them over, S to scale
1:51:55them down. And again, project from view
1:51:58is just a really handy and quick way to
1:52:01unwrap simple shapes like the ones you
1:52:03have in low poly models. However, you
1:52:05have to realize that is not always the
1:52:07best choice. This is not always the best
1:52:09way to unwrap your models in 3D. And
1:52:11other unwrapping methods like unwrap or
1:52:13smart UV project, which you can see
1:52:15right here, unwrap and smart UV project,
1:52:17those can often work a lot better for
1:52:19more complicated models, models with
1:52:21curved surfaces. But for planer models,
1:52:24which is what, you know, this low poly
1:52:26aesthetic has a lot of, you can kind of
1:52:28just get away with having a project from
1:52:31viewbased approach, like 90% of the
1:52:33time. It's really not too big of a deal.
1:52:35So, with all of that out of the way, we
1:52:38now have this kind of lined up on our
1:52:41model here. And what I like to do when
1:52:43I'm unuving is hide overlays. And to do
1:52:47that with a hotkey, that is shift alt C.
1:52:49So, shift alt z. So, shift alt z to hide
1:52:53overlays like that. And that's looking
1:52:56pretty good. So, with that done and out
1:52:58of the way, I'm going to go to the
1:53:00opposite side and press shift alt so I
1:53:02can see overlays again. Click, click,
1:53:04click. And I'll go to the orthographic
1:53:07view here once again. View, view,
1:53:09project from view. Like so. And now
1:53:13we're going to kind of line that up with
1:53:15where this one was. So G. So I'm going
1:53:17to press A to select all. G to move it.
1:53:20And you're going to notice this is
1:53:21actually inverted, right? We want this
1:53:23to be the opposite of what it looks like
1:53:25right now. And to do that, I am
1:53:27literally just going to scale it on the
1:53:30X-axis. So, I'm going to select all,
1:53:32press S to scale, then press X on my
1:53:35keyboard to scale on the X-axis, and
1:53:37then when this little resize thing
1:53:39appears, I'm going to make sure that my
1:53:40scale on the X value is exactly -1. And
1:53:45then I'm going to just line it up like
1:53:48so.
1:53:49Kind of like that. And alt Z to hide my
1:53:53overlay. See how things are looking.
1:53:55That looks fine so far. So, now I'm
1:53:58going to select the back of my shoe
1:54:00here. Press U, project from view. Then
1:54:03I'm going to get my faces again, then
1:54:05move them over into this, you know,
1:54:08nebulous zone because that's kind of
1:54:09what I did in my UV map here. Uh, this
1:54:12is all just like one color. And you kind
1:54:15of can get just get away with that. You
1:54:17can get away with a lot of bull in your
1:54:19UV map. And it's kind of surprising how
1:54:22much people won't notice. Uh, pardon my
1:54:24language. So, if I click on the bottom
1:54:28of my foot here, for example,
1:54:32the bottom of my foot in my final model
1:54:34is literally just black pixels. So, in
1:54:36my model here, I'm just going to select
1:54:37this bottom face, go to U, project from
1:54:39view, select this face, and just move it
1:54:42into black pixels like so. Uh, and that
1:54:45looks perfectly fine. Um, so now we want
1:54:48to actually do the front of our shoe, of
1:54:50course. So, we did the side, did both
1:54:52sides of the shoe. Uh, now we want to do
1:54:55and we did the bottom. Now, we want to
1:54:56do the front. Actually, first I'll do
1:54:58the top of the shoe, which again was
1:54:59just solid pixels. So, I'm going to
1:55:01select this top face. And again, if you
1:55:03can't really see what I'm doing, I'm
1:55:06just selecting this top face here. And
1:55:07then I'm going to U, my camera angled
1:55:10from here. You project from view. That's
1:55:12another thing to keep in mind. Every
1:55:14time you're projecting from view, that
1:55:15is from the perspective. You're
1:55:18projecting your 3D model from the
1:55:21perspective of your 3D camera, which is
1:55:23why this was like kind of at an angle
1:55:24here. Uh, when I projected from view, if
1:55:27I did this at like a really like harsh
1:55:30angle like this and then did you project
1:55:32from view again, it's just going to look
1:55:34like that. It's literally taking a
1:55:36snapshot of the perspective of your
1:55:38camera in the 3D viewport and projecting
1:55:41that onto 2D space. Right? So, I'm going
1:55:45to make sure my camera's all the way up
1:55:46here and do project from view like that
1:55:48because we do not want that in when we
1:55:50are doing our UVs. We do not want a
1:55:52super harsh angle when we're doing our
1:55:54UVs like that because it's going to
1:55:55create really bad distortion in our UV
1:55:58map. So, I'm just going to select this,
1:56:00go back to the shading preview by
1:56:01pressing Z, then going to rendered. I'm
1:56:03going to select this UV and move it into
1:56:05this space like so.
1:56:09And I hope you're starting to realize
1:56:10this is definitely not rocket science.
1:56:12Anyone could do this. It is not that
1:56:14complicated. It is just a bit annoying,
1:56:17but it can be fun. I I do think it is
1:56:19fun sometimes. So, I'm going to select
1:56:21these front faces right here. So, select
1:56:23this face, this face, this face, go to
1:56:24the front view, view, project from view,
1:56:28and sort of grab this and line it up
1:56:31with our shoe here. You can see in the
1:56:32final model right here, I kind of move
1:56:35these faces around a little bit or
1:56:36excuse me, use move these vertices
1:56:38around because again, remember what I
1:56:41just said about you don't want to do a
1:56:42project from view from like an angle
1:56:44like this cuz you get really bad texture
1:56:46distortion your UV cuz it's not going to
1:56:48be a very good projection of your 3D
1:56:50model into a 2D space. That's going to
1:56:52be the same with this right here because
1:56:55you know if in our front view these are
1:56:58perfectly lined up to the perspective of
1:56:59our front view camera. So, these two are
1:57:01fine. This one is problematic, though,
1:57:04because the perspective of this from our
1:57:06FF view camera is at like a I don't know
1:57:0830° angle. It's way off. Um, and you can
1:57:11see just by looking at it that there's
1:57:13this crazy distortion going on here.
1:57:15It's very, very pixelated. Whereas this
1:57:17looks perfectly fine. So, to fix that,
1:57:19we're going to select these three faces
1:57:21again. And what I did here in my UV map
1:57:24is I kind of just squished things over.
1:57:27That's one way of doing it. Again, this
1:57:29texture map is far from perfect. I don't
1:57:31want you to think this texture map is
1:57:33perfect. It's just a jumping off point
1:57:35as you learn how UV mapping works. So,
1:57:38I'm going to press one to go to vertex
1:57:40select in the UV editor. So, just like
1:57:42you switch 1 2 3 to go to vertex select,
1:57:45edge select, and face select in the 3D
1:57:47viewport, you can do the exact same
1:57:48thing in the UV editor. So, I'm going to
1:57:50press one, make sure I'm in vertex
1:57:51select, and kind of slide these verts
1:57:53over with G and then X.
1:57:57And I'm going to just reference how I
1:57:59did this because in I did it in a way to
1:58:02reduce distortion
1:58:03when I did my projection. And then I'm
1:58:05going to grab these and move them down.
1:58:08And look at that. You can watch this
1:58:10distortion become a little bit lower as
1:58:12I kind of move things around in my UVs
1:58:16here. And again, you're not going to
1:58:18find too many great tutorials on doing
1:58:21UVs in Blender, I've noticed, because
1:58:24it's really kind of a thing you need to
1:58:27just do to understand how it works. It's
1:58:29really hard to describe. People are a
1:58:32lot more like stream of consciousness
1:58:33when they're explaining how this works
1:58:34because it is just a weird thing you
1:58:37just do. It's not complicated. There's
1:58:40still a lot of distortion here. Maybe I
1:58:41should move this up.
1:58:43I'll move it down a bit. I'll move this
1:58:47as well. So there's not like horrible
1:58:50horrible distortion.
1:58:53Move that down. Again, the UVs here were
1:58:56not done in an ideal way, but that is
1:58:58totally fine. So I'm going to hide my
1:59:00overlays by playing pressing shift alt
1:59:02z.
1:59:04And that is looking pretty good. You can
1:59:06mess with this more so if you want to
1:59:08get things lining up a little bit
1:59:09better. For example, right here, I'm
1:59:10noticing that I could have lined this up
1:59:12a bit better. So, I'm going to click on
1:59:13this, make sure I'm in vertex select,
1:59:16and move these up in my UV editor. Move
1:59:18them down, rather. And then I'm just
1:59:21going to kind of orbit around my model
1:59:22to see how my seams are looking.
1:59:25And I can see that these are a bit
1:59:27misaligned. So, I'm going to click on
1:59:28this front face, press G or A rather,
1:59:32and then move it up a little bit. So, it
1:59:36kind of lines up, but that's still a bit
1:59:37rough. So, I'm going to scale it down.
1:59:39Then press G plus, excuse me, G plus Y
1:59:44to move it a bit. And that's good enough
1:59:47because something you also have to keep
1:59:49in mind is that this is the feet. Um
1:59:51there's a really easy It's so easy to
1:59:54get perfectionistic when you're doing
1:59:56UVs where it's like, oh, there's all
1:59:57these seams. There's all these errors. I
1:59:59need to fix them and fix them, fix them,
2:00:00and you spend like 3 hours trying to
2:00:02make them perfect. It's not worth it.
2:00:04Like, these are the feet of your model,
2:00:05right? Um unless you're like doing
2:00:07something super professional. you just
2:00:09need everything to be absolutely
2:00:10perfect. A lot of the time it's just
2:00:12like just just just ju just just move
2:00:13on. It does not need to be perfect. Like
2:00:16the feet are such a small thing. If you
2:00:19want to spend time being perfectionist
2:00:20in the head, the face, the hair, other
2:00:23like focal points of your model, that's
2:00:25fine, but don't get lost in the details.
2:00:27Don't get lost in the sauce. Don't worry
2:00:28about it. It's going to be good enough.
2:00:30So, I'm going to say that these feet are
2:00:32definitely good enough for this
2:00:34tutorial. you can spend more time on
2:00:36them if you want, but again, don't try
2:00:38to make them perfect unless you are
2:00:39enjoying it and you want to learn more.
2:00:41So again, I'm going to go to my
2:00:43modifiers tab on my legs here. I'm going
2:00:45to turn off this edit mode preview. Then
2:00:48I'm press tab to go into edit mode, the
2:00:51front view, select my leg here, and I'm
2:00:55going to see that is not unwrapped yet.
2:00:56That's why it's like covering the whole
2:00:58face here. So I'm going to preview how I
2:01:01did this on my final model here.
2:01:04Select the leg. Go into edit mode here.
2:01:08Look at my edit legs geometry. And
2:01:10there's a few more edge cuts here. We're
2:01:11going to get into that later. Don't
2:01:12worry about it for now. And once again,
2:01:16we need to apply our material to our
2:01:18model. So I'm going to material tab, new
2:01:20love body, and I'm going to press tab to
2:01:23go into edit mode, which will
2:01:24automatically hide this leg because of
2:01:26this setting we just turned off in the
2:01:29modifiers tab. So, to unwrap our legs
2:01:32here, I'm going to press U in my
2:01:33keyboard. Go to project from view, and
2:01:36I'm going to slide these on over in our
2:01:39UV map to where the leg texture is.
2:01:42Scale them up. Move them down a little
2:01:46bit like that.
2:01:48Like so.
2:01:52And
2:01:54orbit around my model. Press shift alt
2:01:56z. See what we're looking like. That's a
2:01:59problem that we're going to have to fix.
2:02:02But we're done. Like this doesn't need
2:02:04to be perfect, right? This is totally
2:02:06good enough in my opinion. It's just
2:02:08this where it's like I want to fix that.
2:02:10This is another part of UV editing that
2:02:11I kind of want to talk about. And this
2:02:14is a kind of strange way to solve this
2:02:15problem, but it's something I like to do
2:02:17anyway sometimes because when we are
2:02:20rigging this model, we're definitely
2:02:21going to want more than one edge loop
2:02:23here anyway. So, for my case here, um,
2:02:26I'm actually going to go into edit mode
2:02:28by pressing tab and make sure I have the
2:02:30loop cut tool selected. And I'm gonna go
2:02:34back into by pressing Z. I'm going to go
2:02:36to solid view so I can see what the heck
2:02:37I'm doing. Then I'm going to place an
2:02:39edge loop here. Actually, I'm going to
2:02:41go back to rendered view. Is that right?
2:02:43H, let's do it lower. H, never mind.
2:02:45I'll just do it in rendered view. So,
2:02:46I'm going to place an edge loop right
2:02:48above where this is going right here.
2:02:50And I'm going to place another edge loop
2:02:52right here where this is going. So, you
2:02:56can actually mess with the model's
2:02:58geometry in order to get your UVs
2:03:00looking better. Um, and I'll explain
2:03:02what that means in a second. So, with
2:03:04those two new edge loops above and below
2:03:07our like kneecap here, I'm going to go
2:03:09back to the selection tool. I'm going to
2:03:11press Alt A to make sure I have nothing
2:03:13selected. Oh, I got to make sure I'm on
2:03:14face select. I'm going to press three.
2:03:16Make sure I'm fa on face select. Then
2:03:18I'm going select all these new faces we
2:03:19just made.
2:03:21Then I'm just going to move them up like
2:03:24that. And bada bing, bada boom, we
2:03:26solved our problem. It that seems jank.
2:03:29That seems like wait, you can do that.
2:03:31But you can you can absolutely do that
2:03:33sometimes. So now our legs are are done.
2:03:35Especially because again, when we're
2:03:37rigging this later, we're not just
2:03:39adding this extra geometry for the sake
2:03:41of UVs. This is also going to help us
2:03:44tremendously when we are rigging our
2:03:46model. though. Now, with that out of the
2:03:48way, I am going to move on to the next
2:03:50part of our model, which will be the
2:03:52hand. So, with the hand selected again,
2:03:55material tab, get that love body
2:03:58material on there, which looks very
2:03:59strange right now. And I'm going to look
2:04:02at how I did this on my final model.
2:04:05Yeah.
2:04:07All right. So, I'm going to go to tab
2:04:10and click on these two faces right here.
2:04:13Again, if you want to see what I'm
2:04:14doing, that's what I'm doing. Click in
2:04:16these two faces. And I'm going to press
2:04:18U, project from view. And move this on
2:04:22over like so.
2:04:25The front view in my reference. Let's
2:04:26see how I did this. Yep, that makes
2:04:29sense. That is super duper easy. Think I
2:04:33rotated it a little bit as well,
2:04:37like so. But again, doesn't really
2:04:40matter. It's very stylized. I think I
2:04:43inverted this. Actually, I did.
2:04:45Interesting. So, I'm going to press
2:04:46scale. So, S, then
2:04:50X. So, going to press select everything.
2:04:53S X and then make sure the scale is on
2:04:57negative one on the X axis. Right here
2:04:59in the resize tab. And I'm going to kind
2:05:02of rotate this and move it in place like
2:05:05that. There we go. So, now that that's
2:05:08done, I'm pretty sure this is just solid
2:05:10colors except this part. Yeah, it is.
2:05:12And because again this is flat shaded, I
2:05:14can literally just select this top face,
2:05:16project from view,
2:05:18move it down, just have this flat
2:05:21shaded. So just like this face, have
2:05:23that flat shaded. It's like these two
2:05:24back faces.
2:05:26Press U project from view. Move them
2:05:29over.
2:05:31Avoid having overlapping uh UVs here.
2:05:35But again, not a huge huge deal unless
2:05:37you're doing something very specific
2:05:38here. Select this one. you project from
2:05:41view this over.
2:05:45You can always get rid of overlapping
2:05:47UVs when you're done with your model.
2:05:49That's not too hard. So now I'm going to
2:05:51select this part of our model right
2:05:52here. Do both at once. Ooh, that's
2:05:55terrible alignment.
2:05:58My model is not perfect, y'all. However,
2:06:01no one has noticed this until just now,
2:06:02but you got to think about that. Like I
2:06:04am the only one who notices this, I'm
2:06:06sure. So I'm going to select on this.
2:06:09Then it looks like I really scaled this
2:06:11in a weird way. So I'm going to select
2:06:12these two top verts. Making sure I'm on
2:06:14vert select by pressing one in the UV
2:06:15editor. These down these up.
2:06:19That looks odd.
2:06:23How did I do this again? Oh, so this is
2:06:26upside down. So I'm going to rotate this
2:06:28180°.
2:06:30180.
2:06:32Interesting. I'm going to double check
2:06:34how I did this on my model. This is why
2:06:35referencing is so useful cuz I don't
2:06:38remember this stuff a lot of the time.
2:06:40Interesting. So, it looks like I select
2:06:43I like put the face like here and here.
2:06:45So, I'll kind of replicate that here.
2:06:48This up
2:06:52this down.
2:06:55Hm. Oh, wait. Is this inverted? Let me
2:06:57scale this. So, I'm going to scale this
2:07:01on the Y axis.
2:07:05One.
2:07:07Yes, it is. Right. No, it is not.
2:07:11See, this could be a little confusing,
2:07:13but you really just have to experiment
2:07:14this this stuff. There's not a perfect
2:07:16way of doing it. You kind of just got to
2:07:18mess around and be like, "Okay, how do I
2:07:20replicate what's in my turnaround
2:07:23drawing that I made?" You know, you just
2:07:24got to think about that. And whatever
2:07:27method you'd use to get there is fine.
2:07:28So I'm going to say that's good enough.
2:07:30I'm going to select this face right
2:07:31here. U project from view. And I can
2:07:34select both of these faces and kind of
2:07:35line them up. However imperfectly
2:07:38kind of line them up like this.
2:07:42Just kind of do something like this.
2:07:47Like so. And that looks pretty terrible.
2:07:49So I'm going to just select this face
2:07:50and kind of get it looking less
2:07:52terrible.
2:07:54Hopefully. Zoom in.
2:07:56move these over. And I'm not talking
2:07:58about the hotkeys I'm using because you
2:07:59already know these. These are just the
2:08:01hot keys we use to navigate the 3D
2:08:04viewport. It's all I'm pressing and just
2:08:07moving this stuff around. And don't feel
2:08:09like you need to follow me perfectly cuz
2:08:11you really really do not need to do
2:08:12that. And that's still very jank. So I'm
2:08:15going to see if I can fix this a little
2:08:16bit. Again, does not need to be perfect
2:08:20at all. Go to hide overlays with shift
2:08:22alt C.
2:08:24Select this face three on my keyboard.
2:08:27Just line this up like that.
2:08:30These verts by pressing one box
2:08:33selecting and line those up like so. And
2:08:36that's still not perfect. You can see
2:08:37it's not perfect, but you zoom out and
2:08:39it's like literally who would notice
2:08:41that, you know? Um there's a certain
2:08:43point you get to where it's just like,
2:08:45you know, who cares? Like who cares? No
2:08:47one is going to notice or care about
2:08:49that except you. So in my case here, I'm
2:08:52going to say that hand is good enough
2:08:54and move on to the next part of our
2:08:55model, which I'll say is the arm here.
2:08:58So going to again reference my model
2:09:01here on the left. See how I did this?
2:09:04Click on my arm. And I did some
2:09:05interesting things here. So this is
2:09:08another part of making a texture map
2:09:10that I'd like to talk about, which is
2:09:12kind of about when you're Let me select
2:09:16my model here so I can show you what I
2:09:18mean. Oh, I have I have viewports
2:09:20overlays disabled. So, if you don't see
2:09:22your selection, you're freaking out.
2:09:23Don't worry. Press shift alt C to turn
2:09:25them back on again. If you can't tell, I
2:09:27don't normally use that hotkey. I have
2:09:28it found to my mouse,
2:09:31but that's what it is. So, that's what
2:09:32I'm going to teach you. Um, so for this
2:09:35bottle here, you're going to notice
2:09:36these three shades of red. I used this
2:09:39to shade this arm. So, in my texture
2:09:42map, I just had a light red, a deeper
2:09:44red, and like a super deep shadowed red.
2:09:47And all I did was U project from view,
2:09:51grab these faces, scale them down, and
2:09:54kind of just put them in their area. And
2:09:56of course, we don't see anything because
2:09:58I forgot to go to the material tab and
2:10:00get the love champ body material on
2:10:02this. Now, we can see what we're doing.
2:10:04So,
2:10:05now that I have this all enabled, you're
2:10:07going to see that this is literally just
2:10:09a flat color. This is a flat color. This
2:10:13is a flat color. I hope this is starting
2:10:16to seem boring. That's good because that
2:10:19means you can tell that this is actually
2:10:20not complicated what I'm doing at all.
2:10:22It's kind of just a little laborious,
2:10:25but it can be fun. I I will say it can
2:10:27be fun. So, with that being a flat
2:10:30color, I'm going to select this face,
2:10:32this face, this face, and this face.
2:10:35And this face. Yeah. And you project the
2:10:38view. Grab them. Put them into this
2:10:41shadowed color right here. Go back to
2:10:43object mode. See what I'm doing? Looks
2:10:45pretty good. So, I'm going to go back to
2:10:47the back part of this arm. Select all
2:10:49these faces. This, this, this, and this
2:10:52face. U project from view. Grab. Scale
2:10:56it down.
2:10:58And that's looking pretty not good cuz
2:11:00that's a shadow one. So, I want to move
2:11:02this up.
2:11:04There we go. Awesome. So on the top of
2:11:07our model here, we actually have this
2:11:09line that continues because I have this
2:11:12arrow texture. But before we do that, I
2:11:15want to get this bottom part in which is
2:11:18shadowed cuz I wanted it to feel like
2:11:19this part wasn't shaded. So I'm going to
2:11:20click on this face. U grab this face.
2:11:24Move it into this shadowed part like so.
2:11:28This is like the deep shadowed part.
2:11:30This is like the middle shadowed part.
2:11:32It's looking pretty good. And all the
2:11:34bottom part of the arm here is this like
2:11:36middle shadow. So I'm going to select
2:11:38all these faces in edit mode.
2:11:42Yep. All these faces. You protect from
2:11:44view and move them over to this middle
2:11:47shadowed part. So
2:11:50that's looking pretty good,
2:11:52I think. Oh, so these faces are actually
2:11:55supposed to be in the deeper shadowed
2:11:58parts. I'm going to move them down like
2:12:00that. Looking good. Looking good. All
2:12:04right. So, now we want to do this part
2:12:08here, which is a little different the
2:12:10way I did it. So, I'm going to select
2:12:11this front face, this back face, go to
2:12:14the front view, view, project from view,
2:12:17and
2:12:18I want to line this up with this part.
2:12:21But I'm also going to select this face
2:12:23and this face to view. Project from
2:12:26view. Then select all of these faces
2:12:29like so.
2:12:31A to select all and move them over.
2:12:34Select this face.
2:12:36Move it over.
2:12:38And scale these
2:12:41like so. I think I had this. Let's see
2:12:43how I did it on my model here.
2:12:49Yeah, I kind of just lined them up so
2:12:51they're kind of smaller than this. I'm
2:12:52going to press G.
2:12:55Kind of move them over like this.
2:12:59Back to edit mode just so I can see what
2:13:00I'm doing.
2:13:02You do kind of want the scale of these
2:13:04to be the same. So, I'm going to select
2:13:06my verts here and kind of like line them
2:13:08up and see how that looks. Might not be.
2:13:11Oh, no. We don't want to do that. Haha,
2:13:12never mind.
2:13:14But you do want the scale of them to be
2:13:16roughly the same. And this one feels a
2:13:18little bit bigger than the other. So,
2:13:19I'm going to scale it up
2:13:22like that.
2:13:24But you don't want these weird lines.
2:13:26I'm just going to move it over to taste.
2:13:29This does not need to be perfect.
2:13:30There's no math going on here. I'm just
2:13:32eyeballing it. I am literally just
2:13:34eyeballing it.
2:13:36It's over.
2:13:38I'm pressing G plus Y to keep it locked.
2:13:40Excuse me. G plus X to keep it locked on
2:13:42the X axis when I'm moving it.
2:13:45This This feels a little bit more
2:13:47pixelated than this. So, I'm going to
2:13:49scale it like this. And again, eyeball
2:13:52eyeball it. Just move it over.
2:13:55And that's good enough. So, now let's do
2:13:58the top part here. edit mode.
2:14:00I'm going to select all of these faces
2:14:02just referencing how I did on my model.
2:14:04So go back to our project
2:14:06all these faces
2:14:09and then with my viewport kind of here
2:14:13going to do U project from view. Select
2:14:16this. Rotate it like this. Put it on
2:14:20this big arrow we have down here. And
2:14:22now
2:14:24how did I do it? Looks like I kind of
2:14:26just scaled it like this.
2:14:30And look at that. That's pretty cool
2:14:32looking already, fellas. That's looking
2:14:34pretty nice. I'm liking that. So, I'm
2:14:37going to try to scale it on
2:14:40and move it scale it on the Yaxis a
2:14:43little bit because I think that looks a
2:14:45little better.
2:14:46Cool. Move it over a bit. H. We don't
2:14:48really want that. Leave it like that.
2:14:51Then we'll get this top face right here.
2:14:53And I can't see anything cuz I turned
2:14:54off overlays. Shift, Alt Z to turn them
2:14:56back on. This face it over.
2:15:03Project from view. Grab this. Move it
2:15:06over.
2:15:08Rotate this. Uh, rotate it like 90°.
2:15:1390°.
2:15:16My case here. Our case may vary, which
2:15:18is fine. I'm going to isolate my model
2:15:20by pressing this forward slash on my
2:15:21keyboard, the one next to shift. I'm
2:15:23also going to turn off this modifier in
2:15:26edit mode so that it's not distracting
2:15:28me. The other arm rotate, move it down.
2:15:32And again, I am literally just
2:15:33eyeballing this. There's a
2:15:36mathematically perfect way of doing
2:15:37this, but personally, I don't really
2:15:39care.
2:15:42I am totally fine with doing it like
2:15:44this. I'm actually going to unwrap this
2:15:46again. You project from view.
2:15:51Rotate that. Scale it down a little bit.
2:15:55So, it's looking a little bit like that.
2:15:57And honestly, it's pretty hard to see.
2:15:59Freaking hard to see that.
2:16:02So, it's not a huge deal if it's not
2:16:05perfect, but I'm a little bit of a
2:16:07perfectionist. So, I'm going to move it
2:16:09over like that.
2:16:11That's not perfect. Not that it needs to
2:16:14be, but I'll scale it. And that is good
2:16:17enough. That is our arm. I think I don't
2:16:21think I did anything differently in the
2:16:23actual model. No, looks like that's a
2:16:26different shade. Oh, that's interesting.
2:16:29So, I had this part be like more shadow
2:16:30than the rest. I can do that here. So,
2:16:32let's select all these.
2:16:34Go to my UV editor. Move this up. That
2:16:38looks a little bit better. I see why I
2:16:39did that. All right. Cool. And that's
2:16:42our arm. And this stuff is so
2:16:45repetitive. I really do hope you're
2:16:48bored. That's a good thing. So, I'm
2:16:49going to go back to the material
2:16:50properties editor, new love chan body. I
2:16:53hope by watching this, you kind of just
2:16:54want to get doing it yourself. Um, cuz
2:16:58this is again, it's not complicated at
2:17:00all. So, I'm going to select all these
2:17:01front faces under jacket here. I'm
2:17:03actually going to hide the I'll keep it
2:17:05visible in this case. And I'll do view
2:17:08project from view. Grab
2:17:11and move this over. I think this is just
2:17:14Oh, yeah. I think I did this a little
2:17:16bit different actually. So, I'm going to
2:17:18for now move all these to like that
2:17:20middle shading thing right here.
2:17:27Go to edit mode to see what this is
2:17:28looking like. Yeah. No, this one. It's
2:17:30going to be like the highlight quote
2:17:32unquote. I hope you don't hear that
2:17:34mower. I hate mowers. They ruin so many
2:17:37recording sessions. Oh my god. You have
2:17:39no idea. I'm going to move this to this
2:17:43like blue shading part. I think it might
2:17:45even be right there. Is it? We'll see.
2:17:48So, we're going to move these faces
2:17:50right here into this like blue shedding
2:17:52part. So, I move these. Oh, you can
2:17:54definitely hear that over. I'm so sorry.
2:17:57This right here.
2:18:00I think I actually did it differently on
2:18:02my model.
2:18:04All these. Oh, no. Yeah, I did.
2:18:06Interesting. So, yeah, that's totally
2:18:09fine. That's one way of doing it. I
2:18:11think these need to get unwrapped,
2:18:13though. So, I'm going to select this
2:18:14face. This face. uh project from view
2:18:17and that's totally a messed up way of
2:18:18doing it but that's fine because this is
2:18:20just a flat color so you're not going to
2:18:22see any visible texture distortion right
2:18:24so with those selected I'm now going to
2:18:27select this
2:18:29and
2:18:31I will also select this face and this
2:18:34face actually just these faces
2:18:37just this
2:18:40yeah I just select these front faces
2:18:42right here and then U check from view
2:18:45grab these
2:18:46Grab both of these
2:18:48and then kind of do this.
2:18:52Line them up. I think this is supposed
2:18:53to be inverted.
2:18:55180 or rotated, not inverted. Yeah,
2:18:58there we go. It's looking a lot better.
2:19:06Move these around like so.
2:19:09And yeah, that's looking good from the
2:19:12front and back. I'll do on the side.
2:19:14three front slash to isolate our model.
2:19:17U not I U project from view. Press A to
2:19:22select all. And I am literally just
2:19:25going to eyeball this again.
2:19:28Again, rotate that 180°.
2:19:32Move this down like so.
2:19:35Good enough.
2:19:37Unisolate
2:19:39front view. Let's do the tummy. So,
2:19:42let's select the front tummy and the
2:19:44back of the tummy.
2:19:46U project from view. Select this.
2:19:50I think I just Yeah, I can just do it
2:19:52here. It's fine.
2:19:56Mower. Ignore the mower. Ignore that
2:19:59mower, please. All right, that's good
2:20:01enough. This face mode view protect from
2:20:04view this face and scooch it on over.
2:20:08I'm just gonna eyeball this again
2:20:09because it literally does not really
2:20:11matter that much. It's fine. All right,
2:20:15that is imperfect. And you can make this
2:20:17as perfect as you'd like in your own
2:20:19time. I'm just showing you a little bit
2:20:21of how I do things. So, just like this,
2:20:24this and this face. Again, don't have to
2:20:26worry about this side cuz it's mirrored.
2:20:28And then press U check from view. All
2:20:31those selected and put all these in the
2:20:34shadowed area of my texture shader right
2:20:37here. And this is just like a little I
2:20:39don't know if you call that a gradient.
2:20:40It's not really a gradient. Not a smooth
2:20:41gradient. Anyway, so I actually want
2:20:43these UVs to be on the same part of my
2:20:45UV map that the the whatever this is
2:20:48called. This part of a sweater collar.
2:20:51That's not the collar. Sleeve. Uh it's
2:20:54escaping me. The wrist. Whatever.
2:20:57There's a word for that. Uh I'm going to
2:20:59select these UVs. Actually, just the
2:21:02front and back UVs. Then I'm going to
2:21:05I'm going to project them from view
2:21:06again. Not press I. Press U. Project
2:21:08from view. Then move them over right
2:21:12here.
2:21:14And
2:21:17tab to see how that's looking. It's
2:21:20fine. Looks fine. I'm going to press GX
2:21:23to slide them over. See if that looks
2:21:25any better.
2:21:28I don't like No, I I actually like that
2:21:30as is. Cool. So, I'm going to go tab
2:21:32edit mode.
2:21:34I'm noticing that this did not come with
2:21:36me. Oops.
2:21:40You project from view. Grab this. Scooch
2:21:42it over. I'm going to see what this is.
2:21:44This one's scaled like kind of just like
2:21:47copy it by selecting both faces and then
2:21:49going to UV manager, going to face
2:21:51select and just line this up roughly cuz
2:21:53you're never going to actually see these
2:21:55at the same time. But then I see that's
2:21:57kind of causing a weird issue visually.
2:22:00So I'm going to move this over.
2:22:02So looks like that. This looks pretty
2:22:04good. Tab. Select face. U project from
2:22:08view. Grab this. Scooch it on over. Move
2:22:12it down.
2:22:14Shift alt z. Shift alt z.
2:22:17Scooch.
2:22:19Scale is wrong. So scale it
2:22:23uh scale it up a little bit over.
2:22:31Scale it a little bit more. Maybe just
2:22:33on one of the axes.
2:22:36I mean, it's fine.
2:22:38GZ. Again, I'm just just do this to
2:22:41taste. Do not worry about every last
2:22:42action I'm making here. It really is not
2:22:45need to be perfect. I hope that is a big
2:22:47takeaway people have about UVs is that
2:22:49they're kind of just whatever. You just
2:22:51got to do whatever. We're going to say
2:22:53that's good enough for now. You can mess
2:22:54with that more in your own time. So,
2:22:57that's how she is looking so far. And
2:23:00now let's move on to the next part. Ah,
2:23:02just kidding. There's some issues back
2:23:04here. So, we got to go slash to hide
2:23:05this and fix these up. Oh, yeah. Cuz
2:23:09these also have lines, too. So, that got
2:23:11a lot of mileage, didn't it?
2:23:12Interesting. So, I'm going to isolate
2:23:16our model, our final model here. Click
2:23:18these faces. And again, these can be
2:23:20messed up cuz this is flat shaded on my
2:23:22model here. So, I'm just going to move
2:23:23them over like so to this like quote
2:23:27unquote highlight part. It's looking
2:23:29good. Looking good.
2:23:32Now, we want to do this top part here.
2:23:34So, I'm going to select these two. Front
2:23:35view by pressing one on my numpad.
2:23:37Protect from view. Grab them. Move them
2:23:40to this area.
2:23:42That looks fine. Tab this view. View.
2:23:45Project from view. Grab them.
2:23:48This area.
2:23:51Uh, it doesn't look right cuz it's get
2:23:53that black pixels we don't actually want
2:23:56here in this case.
2:24:01a scale
2:24:03and cheesy. Move it over like so.
2:24:10Not perfect.
2:24:12Good enough.
2:24:14Get out of this orthographic view. And
2:24:16you're going to see that I actually
2:24:18inset these faces a little bit here. We
2:24:20can do that really quickly. So, I'm
2:24:22actually going to press tab, then
2:24:25isolate our model, front slash on our
2:24:26keyboard. And then with my model
2:24:28isolate, I'm going to select this, this,
2:24:30and this. And then I'm going to press E.
2:24:32Then I'm not going to do anything. Not
2:24:34going to even move my mouse. I'm going
2:24:35to press S to scale that in like that.
2:24:38So, with this scaled in, I want these on
2:24:40zero. So, I'm click this vert. I'm going
2:24:43to shift click this vert
2:24:45or excuse me, N, and move these over.
2:24:49So, making sure I have global selected
2:24:50here. I'm going to press click on X. So,
2:24:53that is zero. So, with global, these are
2:24:55now on zero, which is great. Now, I'm
2:24:58going to press three on my keyboard. So,
2:24:59I'm going to face select just like all
2:25:01these faces.
2:25:03Then do U project from view. Grab this
2:25:07and put it in this shadowed area right
2:25:08here.
2:25:10See how that's looking? That's pretty
2:25:11good. I like that. Sweet. Then I'm going
2:25:15to select go back to edge select. So,
2:25:17we're going to click on go back to edit
2:25:19mode, press two, select all these edges,
2:25:21and then press E to extrude down. Press
2:25:24E, then C. So, it's like perfectly
2:25:25extruded down. Press for/ get out of
2:25:28that view. That's looking pretty good.
2:25:31There we go. It's looking a lot better.
2:25:32So, that is the torso finished. So, now
2:25:36let's do the neck here, which is very
2:25:38easy. Just select the neck here, the
2:25:40neck model. Press tab. Well, actually,
2:25:42we need the material first. So, get that
2:25:44material on there. Then select
2:25:47everything with a and I'm just going to
2:25:49U project from view. Then grab it and
2:25:52move it to our shadowed area if I'm
2:25:54remembering correctly. What does it look
2:25:56like? Yes. So it's our neck is the exact
2:25:58same color as the shadowed area of our
2:26:01jaw. So I'm going to move all these UVs
2:26:03to right there. And that looks pretty
2:26:07awesome. So that's done. Super easy. The
2:26:10only things left are the hair and this
2:26:13waist section. So, going to select the
2:26:15waist and isolate it by pressing forward
2:26:18slash on my keyboard. And I'm going to
2:26:21make sure that in edit mode, we're not
2:26:23going to see the other half of well,
2:26:25we'll keep the other half visible, but
2:26:26obviously we want the material on here.
2:26:28So, I'm going to do that, which you
2:26:30should definitely know how to do by now.
2:26:31And I'm going to press tab to enter edit
2:26:33mode. Going to select all these front
2:26:35faces like so. I don't even remember how
2:26:37I did this. We're about to figure out.
2:26:39Project from view. Select this up here.
2:26:45And that is looking pretty good. I'm now
2:26:48remembering that I actually applied my
2:26:51mirror modifier on my model here because
2:26:54this is an asymmetrical texture. The
2:26:57lines from one side of the waist to the
2:26:59other are not like perfectly
2:27:00symmetrical. So, I'll show you how to do
2:27:02that in this case here after I'm done
2:27:04doing the UVs
2:27:06cuz otherwise it would be super super
2:27:08annoying. So, I'm going to do this side
2:27:10here. Go to the right view. U project
2:27:14from view. And I'll grab these UVs. And
2:27:16I already know that these go right here.
2:27:19Like so. I'll try to line them up
2:27:22generally how these are set up. Wow,
2:27:25that looks terrible. Wow. What the heck
2:27:26did I do here?
2:27:29So again, maybe uh not the greatest map
2:27:33in the world, but this is going to
2:27:35happen with everybody when you're
2:27:36learning UVs, and it's fine. It is a
2:27:39learning experience. I'm going to press
2:27:42these down.
2:27:44So this up like that. Then I think I'll
2:27:50And again, I'm just moving vertices. So
2:27:51I'm pressing one and just moving
2:27:53vertices around. I'm going to press Y to
2:27:56move these a bit down
2:28:00like that.
2:28:03So now this is nice and lined up. Go to
2:28:05the back view.
2:28:07And again, I'm not going to make this
2:28:08perfect. This is not about perfection.
2:28:10But I'm going to select all these back
2:28:11faces right here. U project from view.
2:28:16And I'm going to grab this
2:28:18and line it up like this. Make sure it's
2:28:22lined up with these as well as best as I
2:28:26can.
2:28:31Put this kind of at the center like
2:28:32this. Just to see what that looks like.
2:28:35This is clearly supposed to be down
2:28:37here.
2:28:40And I did some weird stuff on this UV
2:28:42map. Don't do this.
2:28:45Oh boy.
2:28:47But that's fine. You know, that is how
2:28:49learning works. I'm literally just
2:28:51selecting these verts, box selecting G +
2:28:53Y, just like we've been doing in 3D
2:28:56viewport. I'm not doing anything special
2:28:58here.
2:29:02Sometimes you do need to do weird things
2:29:03like this. But other times, this can be
2:29:04totally avoided by just having a UV map
2:29:07done before uh you make your texture.
2:29:10Cuz that's the problem with this
2:29:11texture. I believe I did it the other
2:29:13way around where I made a texture, then
2:29:14I tried to do a UV map on top of that.
2:29:17That is not ideal. I wouldn't recommend
2:29:19that when you're especially when you're
2:29:20starting out because you get weird stuff
2:29:21like this where it's like they don't
2:29:23line up. It's very strange. Um and you
2:29:27have to do some weird stuff like this.
2:29:28But yeah, so I'm going to say that is
2:29:33definitely misaligned still.
2:29:37Again, box selecting and then pressing G
2:29:39+ Y. Excuse me. G plus Yeah. No, G plus
2:29:44Y. I didn't misspeak. That is correct.
2:29:48That's looking all right. I'm going to
2:29:49go to this box bottom part box like
2:29:51this. G plus box like this. Then press G
2:29:55plus Y.
2:30:00That looks good enough. All right. So
2:30:02now I'm going to select right here.
2:30:04Press U. Actually I'll go this
2:30:07orthographic view. You project from
2:30:09view.
2:30:10And I'll get this.
2:30:13And I'm going to
2:30:15now make sure this is hidden in object
2:30:17mode or excuse me, edit mode so I can
2:30:19see what I'm doing. So I'm just going to
2:30:20press this little thing on our modifier
2:30:22here to make sure that's hidden edit
2:30:23mode.
2:30:25And I'm just going to line this up by
2:30:27moving our verts around
2:30:31the bottom verts around. It's kind of
2:30:33lined up.
2:30:34This is what I'm talking about. That
2:30:36weird pixelization. This could be
2:30:37avoided if I set up my texture map a
2:30:39little bit differently. But again, this
2:30:42happens to everyone. It's a learning
2:30:43process when you're starting out and
2:30:46it's certainly not something I will try
2:30:48to do ever again.
2:30:50Try to make your UV maps before you make
2:30:53your texture maps, folks. Let this be a
2:30:55learning lesson.
2:30:57Okay, I'm so sorry. I'm sure you can
2:30:59hear that weed whacker outside. I
2:31:01apologize if you can't. I'm just a sound
2:31:03like a crazy person, which is
2:31:06that's cool. I love that.
2:31:09So, I'm going to select this face. U
2:31:11project from view. I think this is just
2:31:14blue. Honestly, I'm just going to move
2:31:15it into the blue area. And that's her
2:31:17torso. But as I just said, this torso
2:31:20was actually as actually we should do
2:31:22the top part here. These top two faces.
2:31:25This one. This one. You project from
2:31:28view. Color. Did I do these? I did them
2:31:31blue. So move these into the blue zone
2:31:34like so. There we go. Unisolate our
2:31:38model. It's looking pretty good. Pretty
2:31:40good.
2:31:42Oh yeah, I have to do the bottom part.
2:31:43So I'm going to isolate again. Select
2:31:46this bottom face. It's just one face.
2:31:47Yep. So you project from view.
2:31:51This is actually a shadowed color,
2:31:52interestingly. So I'm going to press G
2:31:54to move this over to what I assume was
2:31:57the shadowed area, which is probably
2:31:58right here. Yeah, that looks good. Cool.
2:32:02So I'm going to unisolate by pressing
2:32:04forward slash on my keyboard. That's
2:32:06looking pretty good. Pretty good. I'm
2:32:09I'm tempted to shadow this face. I'm
2:32:12going to isolate again because I'm
2:32:15curious what that would look like if I
2:32:16move this into this shadowed area.
2:32:20Eh, that looks kind of weird. I can see
2:32:21why I didn't do that.
2:32:24You can see the model disappeared when I
2:32:26undid it there. That's just a bug. Just
2:32:28isolate your model again. You should be
2:32:29fine. Yeah, that looks fine. All right.
2:32:32So, we just modeled or excuse me, UVed
2:32:34our waist. That is now done. except we
2:32:38want this asymmetry. So to do that to
2:32:42make sure that it's not just like
2:32:43exactly the same on both sides, it's
2:32:45going to look a little bit better if
2:32:46this is asymmetrical. Um, and I'm
2:32:48noticing this is a little bit incorrect.
2:32:50Select all these faces and move them
2:32:52like this.
2:32:56That's how that's supposed to be, which
2:32:58means I have to change these as well.
2:33:02So I'm going to select the Wait, no, I
2:33:04need to select all three of these. So,
2:33:05it's like this. This this. Go to vertex
2:33:08select. Grab all of them and make sure
2:33:10they're aligned by pressing G plus Z.
2:33:15Like that.
2:33:18Oh, that's definitely messed up now cuz
2:33:21like these bottom ones. G plus Z. Line
2:33:23them up.
2:33:25And that is
2:33:28G plus this a bit. G plus
2:33:32G plus Z.
2:33:38That is far from perfect and there are
2:33:40better ways of doing that. But again,
2:33:41this is tutorial. You can take all the
2:33:44time you want in the world to make this
2:33:45as perfect as possible. I'm trying to
2:33:47avoid that for the sake of time. So,
2:33:49we're going to say that this is good
2:33:50enough for the waste. And again, if you
2:33:52want to reference the final final 3D
2:33:54model I made here, please consider
2:33:55getting the Gumroad course because this
2:33:57is something you can look at and
2:33:58reference directly like the actual blend
2:34:00file and 3D model here. So, with all
2:34:02that out of the way, now that the UVs on
2:34:04this are done, we want to make them
2:34:07asymmetrical because in our texture map,
2:34:10you can see we didn't just have half. If
2:34:12we wanted just half of something, we
2:34:13could like do something like what we did
2:34:15with the feet here where um because this
2:34:17is the feet are symmetrical on both
2:34:19sides, like this is the same as this. We
2:34:21only did half of the feet and we just
2:34:23put our UVs on top of each other. But
2:34:25you can see here if we select all of our
2:34:28uh UVs here, we select all of our faces
2:34:31rather in the 3D viewport, you're going
2:34:33to see that the UVs don't actually use
2:34:36this texture space. So, it's just being
2:34:38wasted. So, to fix that, I'm going to go
2:34:41to our mirror modifier here in the
2:34:43object mode. So, make sure you're in
2:34:44object mode cuz you can't do this in
2:34:45that mode. And go to apply. So, with our
2:34:48mirror modifier applied, we can now go
2:34:50to our front view and select half of our
2:34:53model. And I'm just going to do this by
2:34:55doing a box selection like this.
2:34:58And then I'll just select the rest of
2:34:59the faces here manually. Like that. I
2:35:02think that's just the front ones.
2:35:03Perfect. Then I'm going to scale this
2:35:06negative one. So I'm going to scale
2:35:08right pressing S. Then I'm press X and
2:35:12do one right here. One. Then I'm going
2:35:15to move these by pressing G plus X. Move
2:35:20them over
2:35:22this. So now this is asymmetrical, which
2:35:25just looks and feels a little better. So
2:35:26that's what it looks like when it's
2:35:27symmetrical. This is what it looks like
2:35:29when it's asymmetrical. It just looks a
2:35:31little bit better. I'll do that on the
2:35:33back as well on the butt here. So go to
2:35:36the back view.
2:35:39Select all of these.
2:35:42Cool. Then S
2:35:45to scale. X to scale on the X axis. do
2:35:49one
2:35:52g plus x to move them over
2:35:55like so. We're noticing a bit of an
2:35:58issue here. I'm going to have to select
2:35:59these verts and just move them on in.
2:36:01And that's fine.
2:36:04That is totally fine. That's how to
2:36:06recommend the workflow where you do it
2:36:08mirrored first and then you do it uh
2:36:11asymmetrically because it's just going
2:36:13to end up saving you time. So that is
2:36:15the waist done. The only thing that
2:36:16remains is the hair here. Right before I
2:36:18do that, I'm actually noticing this is
2:36:20supposed to be shadowed. So, I'm going
2:36:22to select all these faces right here.
2:36:23Should select all of them, then grab
2:36:26them and move them into this shadowed
2:36:28area. Yeah, that looks a lot nicer. I
2:36:30like that. All right, cool. So, to do
2:36:32the UVs on the hair here, I am going to
2:36:35want to isolate our model by clicking on
2:36:37it and pressing forward slash here. And
2:36:40to make this process a lot easier, I'm
2:36:42going to want to separate the hair from
2:36:44the face. So to do that, I'm going to
2:36:46press tab. Then I'm going to select all
2:36:48the faces on the face and like the under
2:36:51jaw here. So I'm going to click all of
2:36:53these. Make sure to not miss these ones
2:36:55up top. I'm press Z and go to solid so I
2:36:57can clearly see what I'm doing. Select
2:37:00all of these faces. So with all those
2:37:02faces selected, I'm going to press P on
2:37:04my keyboard and click selection. So now
2:37:07you're going to see that this face is a
2:37:09separate object from the rest of the
2:37:10hair, which is going to make our lives a
2:37:12lot easier. We'll go back into rendered
2:37:14view and I'll press click on our head
2:37:16model and press H to hide it. Then we
2:37:19just have our hair to work with. So to
2:37:22do the hair, first of all, I kind of
2:37:23just want to have the base color be
2:37:25accurate. I'm going to press tab, select
2:37:27all the faces of my hair by pressing A.
2:37:29Then I'll do U and then unwrap. So then
2:37:32we're going to have a really roughly
2:37:34unwrapped version of our hair. I'm going
2:37:36to select all in our UV editor and press
2:37:38G to move that over. then S to scale it
2:37:40down like so. And I'll move this into
2:37:43the top right of our hair. Like that. So
2:37:45now our hair is at the very least the
2:37:47right color. Now I want to press tab
2:37:50here and select all of these front faces
2:37:54of our hair like so. So I'm referencing
2:37:57what I did in our final model here. I'm
2:37:58going to select all of these front faces
2:38:00like so.
2:38:05Then I'm going to press U on my keyboard
2:38:08and do unwrap.
2:38:10And we can see, excuse me, I'm going to
2:38:12press U on my keyboard. I'm going to
2:38:13undo that and press project from view.
2:38:16Then I'm going to move this to where the
2:38:18hair highlights are on our model. So
2:38:20that's going to be right here. Then I'm
2:38:22going to line them up to kind of how I
2:38:24did it on my model. I think that would
2:38:27turn out pretty good. Going to scale it
2:38:30just like we've been scaling everything
2:38:31in the 3D viewport and in the UV editor
2:38:34like this.
2:38:37That's looking pretty good. All right.
2:38:41So, if I take the bigger view here, I'm
2:38:43going to see that this is actually seems
2:38:44a bit smaller. So, I'm going to scale
2:38:45this
2:38:47up a little bit like this.
2:38:51And that's looking pretty good. Looks
2:38:54like this ends a bit earlier on my
2:38:55model. So, I'm going to G and Z to move
2:38:58it over.
2:39:01I'll actually scale this um the
2:39:05X axis a little bit so that is a bit
2:39:08wider like this.
2:39:13Generally like that. This seems a bit
2:39:15high though. So, I'm going to move this
2:39:16down. This
2:39:21kind of like that. I'm try You don't
2:39:23need to make this perfect. And honestly,
2:39:25that seems like it's good enough for
2:39:27now. So, with that out of the way,
2:39:28you're gonna notice that we have all
2:39:29these shadowed regions in our hair,
2:39:31right? Um, and honestly,
2:39:35all I'm doing to get these shadowed
2:39:37regions is so easy. I'm just selecting
2:39:40faces, right? So, I'm selecting all of
2:39:43these faces below love Chan here. So,
2:39:47and these are just done in big chunks.
2:39:49So, we'll start in the back of the hair
2:39:51here. So, I'm going to select this face,
2:39:53this face, this face, this face, this
2:39:56face, this face, and these faces. Like
2:40:00so. I'll select all these faces too.
2:40:04Press U project from view. And I'll move
2:40:07all these faces into the shadowed area
2:40:09like this.
2:40:11So, now that that's done, I want to do
2:40:14these parts in the shadow area as well.
2:40:16So, I'm going to click on this head or
2:40:18this. I'm saying face. These are
2:40:19probably they are faces but tries
2:40:21whatever. So I'm going to click on this
2:40:23these tries to view you drag from view
2:40:26move them
2:40:28go to face select in our UV editor and
2:40:31just move them into the shadowed area
2:40:32like that. Also this is already looking
2:40:35really close. Then we want to select
2:40:38these faces right here.
2:40:41View project from view and move them
2:40:44down like so.
2:40:47So now I'm going to go to the opposite
2:40:49side of my model. Select these faces.
2:40:50Press U. Project from view. Grab them.
2:40:54Move them. Scale them, etc., etc.
2:40:58And now it's already looking really
2:41:00close. It's pretty cool.
2:41:03I can already see that there's some
2:41:06differences between our model and my
2:41:08reference here. It looks like I should
2:41:10probably move this out. This just
2:41:11happens sometimes in your process. You
2:41:13You're never done modeling really.
2:41:16I'm going to move this over a bit like
2:41:18that. Looks like these are in shadowed
2:41:21as well. So I'm going to my front view
2:41:23select these faces, these faces.
2:41:27Then you project from view. Just move
2:41:30them into shadow.
2:41:32That do the same on this side.
2:41:37You project from view. Move them into
2:41:39shadow.
2:41:42that it's going to look a little weird
2:41:43because we don't have a face here, of
2:41:45course, which looks a little odd. But we
2:41:48can also see that these select it. These
2:41:52faces actually have like a shadow on
2:41:55them. And you might be wondering how I
2:41:57did that. I literally just did U project
2:42:00from view, grabbed this face in the UV
2:42:03editor, moved it, and rotated it like
2:42:05this.
2:42:08Going to rotate like this. I'm going to
2:42:09press shift alt z so I can hide overlays
2:42:11so I can see what I'm doing in the 3D
2:42:12view 3D viewport.
2:42:16And it literally is just like that. It's
2:42:18nothing fancy. Just a fun little UV
2:42:21trick that you can get away with when
2:42:22you have flat shading like this.
2:42:25Again, this looks weird cuz we have no
2:42:26face. So, I'm going to select this as in
2:42:30by face I mean like an actual face, not
2:42:32like a 3D face in 3D. So, I'm going to
2:42:35do this one as well. UV project from
2:42:38view. Grab this and rotate it like so.
2:42:44And there we go. That's also shadowed as
2:42:47well. It's looking pretty close. Let's
2:42:49go to the back of our hair to see if
2:42:51this is kind of same idea. This is kind
2:42:53of the stuff that it's going to happen
2:42:55when you make your turnaround drawing.
2:42:57You're going to notice there's certain
2:42:58shading things you did with the
2:42:59highlights and shadows in your model.
2:43:01And you're gonna have to come to
2:43:02creative solutions to how to actually
2:43:04get that to look the way it does in 3D.
2:43:07And that's one of the most fun parts of
2:43:10this entire process, trust me. So, I
2:43:12actually want these
2:43:14not in shadow. Yeah, that looks a lot
2:43:16better. Okay, awesome. So, going to
2:43:19select my hair now cuz that's looking
2:43:21pretty darn similar. And press front
2:43:23slash on my keyboard. So, that's back.
2:43:25And I hid my uh face here. So to unhide
2:43:29all, if you accidentally hit something,
2:43:30you want to reveal it again, you can
2:43:32press Alt + H on your keyboard to reveal
2:43:34everything. But I don't want my
2:43:36reference and I don't want my skeleton
2:43:38here. So look at my skeleton. Hide it.
2:43:41And look at that. We've done all the UVs
2:43:43on Love Chan. That's amazing. She looks
2:43:45a little funky because her hair
2:43:48proportions look weird to me. And in
2:43:50order to find uh proportional issues,
2:43:52it's often great to just reveal your
2:43:54reference again. Like I just press Alt H
2:43:56again to reveal my reference. go to the
2:43:58front view, then switch between viewport
2:44:00shading mode when you press alt c so
2:44:02it's transparent and kind of just click
2:44:04between these and by doing that I can
2:44:06see that my eye should be a little bit
2:44:08more over
2:44:10and that my hair is still a little bit
2:44:11big. So I'm going to with using my
2:44:14reference I'm going to go to edit mode
2:44:16and just move things over that line up a
2:44:19bit better with my hair like so.
2:44:24Then to fix her face, I'm going to go
2:44:28back to this view. I can see that the
2:44:30eye should be a bit over so she looks a
2:44:32little less derby. Maybe a bit bigger.
2:44:35So I'm going to press tab, select all
2:44:38these front faces.
2:44:40Do I need to do that? Yeah, I'll select
2:44:42all these front faces. I had to think
2:44:43about it. Actually, I don't need to
2:44:46select these two. I'll select all these
2:44:47front faces cuz this is just flat
2:44:49shaded, so those don't matter. Uh same
2:44:51with those two. Those are just flat
2:44:52shaded, so they don't matter. Then I'll
2:44:53go to my UV editor and scale this around
2:44:55a little bit so it lines up with my
2:44:57reference a bit more. So again, I just
2:44:59press S, then Z. So I'm scaling this to
2:45:03make them a bit wider like that. G plus
2:45:07C to move it over like that. I'm going
2:45:10to compare it to my reference by doing
2:45:12the press alt C in solid view and just
2:45:15compare.
2:45:18Looks like the eye should still be a bit
2:45:19bigger. So, I'm going to go back to this
2:45:22view. Scale this up a little bit. Yeah,
2:45:26scale this up. This does not need to be
2:45:28perfect, but why not try to get it a
2:45:31little bit more accurate, you know?
2:45:33Scale this up a little bit more. Even
2:45:36G + C.
2:45:39And that's looking a lot better.
2:45:40Actually, I really do like those
2:45:41proportions more. Going to move around
2:45:44my hair model cuz I kind of like this
2:45:47looking a little bit higher. move these
2:45:49up GC.
2:45:51And these are just kind of proportional
2:45:53changes you always are going to go
2:45:54through. This is something that's never
2:45:56ending. You always want to refine it
2:45:58more and more. Uh but
2:46:01yeah, let's go to the side view compared
2:46:03to our reference. This might look crazy
2:46:05different actually. No, not really. I'll
2:46:08line this up a little bit more. This
2:46:11doesn't need to be perfect, though. The
2:46:14reference is just a reference. You're
2:46:16going to want to go in 3D and see what
2:46:18things are looking like there because
2:46:19you can have something perfectly aligned
2:46:20with your reference and still look weird
2:46:21in 3D sometimes. I'll move this over to
2:46:26like this
2:46:28just to kind of refine our hair a little
2:46:30bit more. This looks a little bit weird.
2:46:33I'm going to select this face. I don't
2:46:34even think I did this in my model, but
2:46:36screw it. We're going to try something
2:46:37new. U project from view. Uh make sure
2:46:41I'm lined up. You project from view.
2:46:43This face. Try to do my funny little
2:46:47shadow trick here.
2:46:51Rotate this all the way around. Shift
2:46:53alt C to hide that. Scale this down.
2:46:58Yeah, there we go. Look at that. I love
2:47:01this trick. It's so fun.
2:47:04And ideally, I should not have even done
2:47:06it like this. I should have done
2:47:07literally what I did here with the hair
2:47:08shading. Other than the highlight, I
2:47:11really don't need all this space for
2:47:14just pink pixels. It's such a waste of
2:47:16UV space. But again, this is the things
2:47:19you learn as you continue to make more
2:47:20and more 3D models and more and more UV
2:47:22maps. It's like this one as well.
2:47:27Why do I not Oh, shift C. Alt C so I
2:47:30don't have that transparency
2:47:33from view. Grab this. And if I'm going
2:47:35kind of fast, I'm really not. If you've
2:47:38watched this entire video, this should
2:47:41all be pretty obvious by now.
2:47:45So, shift alt, hide overlays,
2:47:48rotate
2:47:50like that. That looks pretty nice. I
2:47:54like how that looks. So, that is our
2:47:57entire 3D model UVD. You can do way more
2:48:01time. You can spend way more time with
2:48:02this and get it as perfect looking as
2:48:04you want. But in the next video, we're
2:48:06going to talk about rigging. Thank you
2:48:08so much for sitting all the way through
2:48:09this. I hope you have a great day and
2:48:11I'll see you in the next video. How can
2:48:13we take our 3D model we have right now
2:48:15and transform it into something that we
2:48:17can animate like this. That's what we're
2:48:19going to talk about in this video.
2:48:21Rigging.
2:48:233D models are like statues. They're
2:48:25stiff and can't move at all. And 3D
2:48:27character rigging is essentially putting
2:48:29joints inside of those statues in order
2:48:32that they can bend and move around kind
2:48:34of like an action figure does. While
2:48:36this series is not primarily focused on
2:48:37rigging, and I am not a professional rig
2:48:39creator, I'm about to show you exactly
2:48:40how I create all of my rigs in Blender
2:48:42and get them animation ready in just
2:48:45minutes. So, first and foremost, I'm
2:48:46going to scooch this tab on over cuz we
2:48:49really don't need it right now. And I'm
2:48:51actually going to want to box select
2:48:52everything in my scene and press H to
2:48:54hide it. Then press shift plus tab and
2:48:56spawn in a cube. Now I'm going to want
2:48:59to press tab to go into edit mode. Scale
2:49:00this cube down. Scale it up on the
2:49:04X-axis or excuse me the Z-axis. Then I'm
2:49:07going to want to go press T to open the
2:49:08tools menu here. Go to loop cut. Place a
2:49:11loop cut in the center. And from this
2:49:13little menu right here, I'm going to
2:49:15increase the number of loop cuts to
2:49:17about 20. Now I'm going to press tab,
2:49:20press shift plus A, and spawn in an
2:49:22armature single bone. Now, we can't
2:49:25actually see our bone through our cube
2:49:27here. And in order to change that, we're
2:49:28going to go to this object data
2:49:30properties, which is like the little
2:49:31green running man icon, which if we
2:49:33click on another object, we're not
2:49:34actually going to see that. So, I want
2:49:35to click back on my bone, go to this
2:49:38object data properties tab, and click on
2:49:39in front so that we can see our bone in
2:49:42front of our object. I'm going to press
2:49:43tab to go into edit mode. And look at
2:49:45this. This is our bone. So, there's two
2:49:48parts of our bone here, right? We have
2:49:50this bottom part and this top part. And
2:49:52if we press N to open this little menu
2:49:54on the right here, you're going to see
2:49:55that this right here is what's
2:49:57considered the head of our bone. This
2:49:59bottom one, we can change the values of
2:50:01it in this menu if we wish. And the tail
2:50:04of our bone is this top part. So this is
2:50:07the head of our bone and this is the
2:50:09tail of our bone. And we can edit the
2:50:11values of this in here if we want to.
2:50:13But normally you're just going to be
2:50:14editing those values directly in the
2:50:16viewport here. So I'm going to press GC
2:50:18to move this down. GC to move this down.
2:50:22And then I can create a new bone from
2:50:24this bone by clicking on the tail of the
2:50:26bone, then pressing E to extrude,
2:50:28locking it to the Z-axis, like so. Now
2:50:31I'm going to press tab to go back into
2:50:33object mode. Then I'm going to press Alt
2:50:34A to deselect all. Then I'll select my
2:50:37cube and then my bones. Then I'm going
2:50:40to press Ctrl + P on my keyboard and do
2:50:43armature deform with automatic weights.
2:50:45So now you can see that if we click on
2:50:48our bones and then press control plus
2:50:50tab, we're going to now be in a
2:50:52different mode in Blender called pose
2:50:53mode. So to switch from object mode to
2:50:56pose mode, just select on your bones and
2:50:58go to pose mode. Or you can press
2:51:00control plus tab, which is what I almost
2:51:01always press. So with all that out of
2:51:04the way, if we rotate our cube here,
2:51:06you're going to see that it is actually
2:51:08deforming to our bones we just created.
2:51:10And this is kind of just how rigging
2:51:12works in general. You have a series of
2:51:13bones that then get weight painted to an
2:51:16object like they've automatically been
2:51:18weighted here. Then we move these bones
2:51:20around in order to create animations and
2:51:22poses for our characters. So, I'm going
2:51:24to select all bones with A and reset
2:51:26them with Alt R. Now, I'm going to go
2:51:27back into edit mode by clicking up here.
2:51:30And it's important to note that you can
2:51:31also press shift plus D to duplicate
2:51:33bones. You can press Alt + P to clear
2:51:36parents. So, for this bone in
2:51:37particular, Alt + P, I could clear the
2:51:39parent. And if I go back into pose mode
2:51:41and try to rotate this, this bone will
2:51:43now stay in place. Which brings up a
2:51:45really important part of how bones and
2:51:47rigging works in general in Blender,
2:51:49which is that bones in 3D have a
2:51:52hierarchy, just as bones in real life on
2:51:55real skeletons also have a hierarchy.
2:51:57And having bones in a hierarchy like
2:51:59this helps keep our character rig
2:52:00organized and a lot easier to manage. It
2:52:03lets us create complex movements by just
2:52:05animating a few parent bones rather than
2:52:07having us animate each bone
2:52:09individually. And more importantly, it
2:52:11ensures that our characters move in a
2:52:12way that is much more similar to the way
2:52:14we move in real life, which makes the
2:52:16process of creating 3D animations much
2:52:18more intuitive. And if you want an
2:52:19amazing video that goes in depth about
2:52:21how rigging works in 3D in general,
2:52:24definitely check out this doodly video
2:52:25called 3D rigging is beautiful. Here's
2:52:27how it works. cuz this is just an
2:52:29unbelievably beautiful explanation of
2:52:32how rigging works, what the difference
2:52:33between skeletons, skinning, and
2:52:35controls are. It's a really great
2:52:37in-depth explanation of how rigging
2:52:38works. And if you want in-depth
2:52:40breakdowns of how rigging works in
2:52:41Blender specifically, definitely check
2:52:43out Joey Carino's channel cuz his
2:52:45videos, particularly this one, rigging
2:52:47for impatient people and the rigging for
2:52:49beginners videos that Charlie Carino
2:52:51made. That's this one and this one are
2:52:54really, really good, fantastic
2:52:55breakdowns about how rigging works in
2:52:57Blender specifically. And they're super
2:52:59short, too. So, definitely go check
2:53:01those videos out if you want a little
2:53:02bit more of an in-depth breakdown about
2:53:04how rigging in Blender actually works.
2:53:07Because yes, we can actually spawn in
2:53:09each individual bone as we have here. We
2:53:11can name them with the correct naming
2:53:13conventions. We can make sure that their
2:53:14orientations are correct so we don't get
2:53:16any issues while animating. We can do
2:53:18all of that stuff by hand. However, I
2:53:21never actually do that myself. That's
2:53:23because I always spawn in a Blender
2:53:25rigify metarig skeleton because creating
2:53:28a complete properly structured rig from
2:53:30scratch is super timeconuming. And
2:53:31Rigify gives us a base skeleton with all
2:53:33the essential bones and naming
2:53:34conventions in place, meaning that we
2:53:36can significantly speed up our rig
2:53:38creation process. Plus, Rigify rigs come
2:53:41with a lot of built-in features that
2:53:43really help speed up the animation
2:53:44process, such as a built-in menu that
2:53:46lets us toggle the visibility of
2:53:48different sections of our rigs,
2:53:49pre-created rig control shapes, and
2:53:51more, which gives you much more time to
2:53:53focus on refining your rig and actually
2:53:56creating animations. So, as a result, I
2:53:58don't actually ever do this. So, I'm
2:54:00just going to delete these right now and
2:54:02show you how I actually rig all of my
2:54:04characters. So, to get everything back
2:54:05in our scene, press Alt + H. That's Alt
2:54:08plus H on your keyboard to reveal
2:54:10everything that was hidden in your
2:54:12scene. So to reveal all this, Alt plus H
2:54:14in Blender. And I'm actually going to
2:54:16select this skeleton we spawned in
2:54:17initially for reference and press delete
2:54:19on my keyboard to delete it because we
2:54:21no longer need that. And now we need to
2:54:24make sure that the Rigify add-on is
2:54:25actually enabled. And to do that, we got
2:54:27to go to edit, preferences, add-ons,
2:54:30search add-ons for rigy. There's rigify.
2:54:33And as you can see for me, it's enabled.
2:54:35If it's not enabled for you, click that
2:54:37check box and go to save preferences.
2:54:39Then close out this window. Now, we want
2:54:41to spawn in a basic human metarig. So,
2:54:44we want to press shift plus a armature.
2:54:46And by enabling this add-on, we have
2:54:47this new tab right here, rigify
2:54:49metarigs. Then, we want to go to basic
2:54:52basic human. The reason we want the
2:54:54basic human meta rig is because while
2:54:56these are fantastic for animals and this
2:54:58human meta rig is great for realistic
2:55:00characters, we really don't need that
2:55:02much detail because the human meta rig
2:55:04by default has things for like finger
2:55:06controls and mouth controls and controls
2:55:09for the nose and the eyelids which is
2:55:11just way too much for this art style. So
2:55:14in our case here, we want to go to
2:55:15rigify metarigs basic then basic human.
2:55:19And with that spawned in, we want to go
2:55:21to this data object data properties tab.
2:55:24Go to viewport display and make sure
2:55:26that in front is checked. So again, so
2:55:28we can actually see our bones and what
2:55:30they look like. Then we want to go to
2:55:32the front view by pressing one on our
2:55:34numpad. Then we want to scale our rig.
2:55:37So we're going to press S on our
2:55:39keyboard to scale like so. And if it's
2:55:41not scaling from where you want it to
2:55:42be, make sure that you have either
2:55:44median point or bonding box center
2:55:46selected. So, I'm going to scale this so
2:55:48it kind of lines up with our character
2:55:50like this. That's looking pretty good. I
2:55:52can also scale it on the X-axis if I
2:55:56want things to be a little bit wider,
2:55:57which I kind of do in this case. So, do
2:56:00it kind of like that. And that's looking
2:56:03pretty good. So, with that done, I'm
2:56:05going to press Ctrl + A and apply all
2:56:07transforms. Or you can just apply scale.
2:56:09So, I'm going to press Ctrl + A and
2:56:11apply all transforms or scale. Either
2:56:13works just fine. Now, I'm want to line
2:56:16up our bones with our character here.
2:56:18So, I'm going to press tab to go into
2:56:20edit mode, and I'm going to select all
2:56:22the different heads and tails of these
2:56:23bones and line them up with our
2:56:25character. So, for this one, we want to
2:56:27put this generally where our elbow is,
2:56:29this like edge loop right here. And if
2:56:31you don't see your objects wireframe,
2:56:32make sure to enable that by going to
2:56:34viewport overlays, geometry, and
2:56:36wireframe. Make sure that's visible
2:56:37while you're doing this. Makes your life
2:56:38a whole lot easier. I'm going to select
2:56:40this part of the bone and move this by
2:56:42our wrist. Then I'm going to select this
2:56:44bone and put it on the tip of our hand
2:56:46like so. Or I could even put it slightly
2:56:49in like this. But you're going to notice
2:56:50something by doing this. This is not
2:56:52automatically being mirrored on the
2:56:54opposite side of our model, which is not
2:56:56good. So to make sure that everything
2:56:58we're doing here is actually getting
2:56:59mirrored to the opposite side of our
2:57:01model. We want to click on this button
2:57:03at the top right, which says apply
2:57:05changes to matching bone on opposite
2:57:07side of X-axis. All that really means is
2:57:08that every action you take on this side
2:57:11of our model will get mirrored to this
2:57:13side of our model. So I'm going to click
2:57:15this right here. Then I'm going to just
2:57:17move this a little bit. And luckily it's
2:57:19just going to snap if I do that. So I'm
2:57:21just going to make sure that all of
2:57:22these ones that I moved are perfectly
2:57:24mirrored on the opposite side. So if you
2:57:26ever mess up and that's not enabled,
2:57:28just remember that you can enable that
2:57:29and then move the bone slightly and have
2:57:31them be mirrored. That's looking good.
2:57:34Uh, this is I know this bone is used for
2:57:36foot roll. So, I'm going to want to move
2:57:38this over. And I'm just pressing G plus
2:57:40X to lock it to an axis
2:57:43and put the tips of this bone on the
2:57:46edges of our foot so that it can kind of
2:57:48roll when our rig is generated. And
2:57:51that's looking pretty good. We want to
2:57:53make sure that this bone is in the
2:57:55center of our knee. So, where this edge
2:57:57loop is, we want this bone to kind of
2:57:59line up with. So, that's looking good.
2:58:03All right, this is looking good. So,
2:58:05this is confusingly, this is the
2:58:07headbone. I'm going to put this about
2:58:09right here. You can put it on the tip of
2:58:11your character as well, but I'm going to
2:58:13line it up right there. And these two
2:58:15bones right here and here, very
2:58:17confusingly, are the neck bones. And
2:58:20while we're editing these bones, I'm
2:58:21going to press Alt C to make sure I'm
2:58:23editing both of these bones at the same
2:58:24time. So, I'm going to press G plus Z,
2:58:26move this down.
2:58:28This bone, G plus Z, move it down. And
2:58:32because this is our headbone, we kind of
2:58:34want it to end. I'll go press three to
2:58:36go to the side view. We kind of want it
2:58:38to end where our neck does. So about
2:58:40right here. Again, we can always change
2:58:43this later. We can always regenerate our
2:58:44rig when we're done, which is one of the
2:58:46awesome parts of Rigify. So don't stress
2:58:48about this too much. We can actually
2:58:50hide these bones, too, to make our lives
2:58:51a little bit easier. So I'm going to
2:58:52select all these bones. Press H to hide.
2:58:55So select this bone, H to hide, select
2:58:57this bone, H to hide. And the cool part
2:58:59is we can edit our bones. So save one to
2:59:01do this. Don't actually do this. And
2:59:03then press Alt H to reveal it. And it's
2:59:05been mirrored on the opposite side cuz
2:59:07we have this mirroring option enabled.
2:59:08Going to undo that, of course, by
2:59:10pressing Ctrl + Z. Then I'm going to
2:59:12press three and make sure our bones here
2:59:15are aligned. So our case here, I'm going
2:59:19to press the tip of this bone here, move
2:59:21that to the front. Click on this bone,
2:59:24put it about right here. Then I want to
2:59:26select this bone here and move it to
2:59:28about right here where this loop cut is.
2:59:33And I'll make sure that this bone right
2:59:35here is used for foot roll I believe is
2:59:37moved kind of towards the back of our
2:59:40foot like this. And that is good enough
2:59:42for now. So now I want to go up here.
2:59:44Make sure this is kind of aligned
2:59:48and kind of want these centered in our
2:59:50model a little bit here cuz again these
2:59:53are going to be joints that are inside
2:59:54our model. So, where they're rotated
2:59:56from is dependent on where these are
2:59:58located. I'll move this back a bit.
3:00:01Though, I will say this doesn't need to
3:00:02be perfect. Um, do make sure you have a
3:00:05bend right here because say it's kind of
3:00:08perfectly straight like this. Blender
3:00:10will not be able to figure out which
3:00:12direction your leg will bend. So, when
3:00:14you move your character's hips, they're
3:00:16bend their leg might bend in this
3:00:18direction, for example. So, make sure
3:00:19there's a slight bend in both your leg
3:00:22and your arm in order that Blender can
3:00:24kind of figure that out. So, that's
3:00:26looking pretty good. I'm going to go to
3:00:27the top view by pressing seven and align
3:00:30our arm like this. Just move this stuff
3:00:34over cuz we already lined it from the
3:00:36front view.
3:00:38This one as well.
3:00:40I'll try to move these together
3:00:43though. I don't think that's actually
3:00:44required. Press one to go back to the
3:00:46front view.
3:00:48That's looking pretty good. All right.
3:00:50So, I'm going to say this looks good
3:00:52enough. There's some breast bones right
3:00:53here that are honestly completely
3:00:55unnecessary. You can just delete those
3:00:57if you want, which I'm going to do here.
3:00:59And I'll press Alt H to reveal all my
3:01:01bones again to see if they're looking
3:01:02good, which they are. Though, I am going
3:01:05to make sure that there's a slight bend
3:01:06here by pressing G + Y because again, I
3:01:09want to make sure these bend correctly
3:01:10when we generate our rig, which we're
3:01:12about to do. So, going to go back into
3:01:14object mode. I'm going to hide our
3:01:16turnarounds because we don't actually
3:01:17need those anymore. Now, with our
3:01:18skeleton looking pretty good, we're
3:01:20going to scroll down to this rigify tab.
3:01:22We now have an object data properties
3:01:24thanks to the rigify add-on. There's a
3:01:26button right here called generate rig
3:01:29that we are going to click. And once
3:01:31we've done that, you can now see that we
3:01:33have now generated a rig here. And
3:01:35again, I'm going to click in front so
3:01:37that we can see our rig through our
3:01:38model here. And if we drag this down,
3:01:41you're going to see that we still have
3:01:42the meta rig we spawned in here. So, we
3:01:44still have this rig that we just lined
3:01:46up, but we've just generated another rig
3:01:48on top of it, basically. And I'm just
3:01:50going to hide this right now by clicking
3:01:52that little eye icon. Now, we want to
3:01:53bind our model to this rig we just
3:01:55generated. And to do that, I'm going to
3:01:57select every object in my scene here.
3:01:59So, I'm going to select I'll go to this
3:02:02preview mode so I can make it a little
3:02:03bit more obvious that what I'm
3:02:04selecting. So, I'm going to select my
3:02:06hair, my face, my neck, torso. Oh, that
3:02:11was the rig. I'm going to deselect that
3:02:12by holding control and then box
3:02:14selecting. So control plus box select
3:02:16can deselect objects in Blender. So
3:02:19again I'm going to select every object
3:02:20of my character. I'm going to press the
3:02:22torso, the arms, hands, the legs, the
3:02:27waist, the feet. And we can check if
3:02:30this is actually all of our character by
3:02:32pressing H. So it is. That's fantastic.
3:02:35We'll undo that with control + C. Then
3:02:37I'm going to shift select the rig. So
3:02:39I'm shift selecting all these objects.
3:02:41But then I am shift selecting this rig.
3:02:43Then I'm going to press controll + p and
3:02:46then it's going to open the set parent
3:02:49to menu. We want to do armature deform
3:02:51with automatic weights. So click on with
3:02:54automatic weights. Then go back to this
3:02:57viewport shading mode up here so we can
3:02:58actually see our character. Then with
3:03:00our new armature rig selected in object
3:03:03mode, we're going to press control plus
3:03:04tab to go into pose mode. Now, if we
3:03:07move our character around, you're going
3:03:09to see that she is now moving and fully
3:03:12ready for animation, which is awesome.
3:03:14So, you can see that we can move her leg
3:03:16up here, and it's bending as expected,
3:03:17forward. We can move her arm like this,
3:03:20and you can see that it is bending the
3:03:22direct direction, the correct direction,
3:03:24backward, which is awesome. We can move
3:03:26her hand like this, and it's also
3:03:28working. And her neck is going to be
3:03:30right here, which we can rotate like
3:03:31this. And her head is going to be right
3:03:34here, which we can move around like
3:03:35this. So that is absolutely fantastic.
3:03:37We can move her torso in general and her
3:03:40hands will stay in place and her feet
3:03:41will stay in place because they
3:03:42currently have IK enabled on them. So
3:03:45that is awesome. However, you might be
3:03:47noticing a few issues here. For example,
3:03:49if I move my arm, we have some of the
3:03:52hair following along with the arm like
3:03:54so, as well as different parts of the
3:03:56chest right here. So, to fix that,
3:03:58you're going to want to do something
3:03:59called weight painting. And that's
3:04:01exactly what we're going to talk about
3:04:02in the next video. However, if you want
3:04:03to hide some of these extra bones cuz
3:04:05they're just kind of blocking up your
3:04:07view and they're not necessary, you can
3:04:08just press N on your keyboard. And
3:04:10thanks to Rigify being super awesome, we
3:04:13have this rig layers menu now. So, we
3:04:16can actually toggle all of these
3:04:18unnecessary bones that we don't really
3:04:19need to see right now. By clicking off,
3:04:22for example, tweak, we don't need any of
3:04:23these FK ones because we don't have FK
3:04:25enabled. We have IK enabled. We'll click
3:04:28off all these. Click off all these and
3:04:29these. And now we are only seeing the
3:04:32bones we actually would need to see for
3:04:34the moment. So we can move our character
3:04:35around with the root bone. Can move
3:04:37their torso bone and move them around
3:04:39very easily in pose mode here, which is
3:04:41fantastic. So in the next video, we're
3:04:43going to talk about weight painting. And
3:04:45remember, if you do run into any issues
3:04:47when you generate your rig, for example,
3:04:49it looks like her neck is kind of
3:04:50leaning forward here, which is not
3:04:52ideal. Again, as I mentioned earlier,
3:04:55you can always regenerate your rig. What
3:04:57that means is that we can go back to
3:04:59object mode. We can hide our rig we just
3:05:01generated and go back to our meta rig.
3:05:03Then we can click on this, go to edit
3:05:05mode by pressing tab. Then we can go to
3:05:07the side view and see that oh yeah, our
3:05:09spine is kind of leaning forward in an
3:05:10awkward way, which is probably what's
3:05:12causing our neck to be like, you know,
3:05:14at a 30° angle like this. So, I'm going
3:05:16to press Alt Z. And you have to be
3:05:18careful, very, very careful when
3:05:20adjusting these spine bones. Otherwise,
3:05:21you're going to get an air. So, I'm
3:05:23going to press Alt Z to make sure that
3:05:24we're in X-ray view. Then I'm going to
3:05:26select these bones. I'm going to box
3:05:28select to make sure I got both of them.
3:05:30And press G and then Y to move this
3:05:33forward a little bit. And I'll also move
3:05:37this one. G + Y. Again, I'm making sure
3:05:40that I am in X-ray view. G plus Y to
3:05:42move this forward. And this is
3:05:44distracting. So I'm just going to hide
3:05:46all these bones cuz I don't actually
3:05:48need to see them right now. Back to the
3:05:49side view. And heck, I can even hide my
3:05:52entire arm here, which is pretty nice.
3:05:54So, I'll go back into edit mode on my
3:05:57skeleton.
3:05:59Just pressing H to hide all of those, of
3:06:01course. And kind of line those up like
3:06:04so. Fantastic. So, now I'm going to
3:06:06press Alt H to reveal all those and hide
3:06:08my turnarounds cuz I don't really want
3:06:10to see those right now. Now, I'm going
3:06:12to hide our newly generated rig. Go back
3:06:14to our meta rig. Then go to the object
3:06:17data properties tab. You know, the one
3:06:19with a little running man. Then I'm
3:06:20going to scroll down into rigify where
3:06:22we now see this regenerate rig option.
3:06:26So yes, you can do this at any point of
3:06:28time, which is why it's important not to
3:06:29delete this. You usually do want to keep
3:06:31this because this can be a very useful
3:06:33feature for whenever you want to change
3:06:35something on your rig or go back and
3:06:37alter things in any capacity. So I'm
3:06:39going to click right here on the
3:06:40regenerate rig button in the rigify tab.
3:06:42So I'm going to click regenerate rig.
3:06:44Then I'm going to hide our meta rig once
3:06:46again and press control plus tab. And
3:06:48look at that. It looks like our neck is
3:06:51not tilting forward nearly as much.
3:06:53Still is a little bit, but that's fine.
3:06:55So, that's how you regenerate your rig
3:06:56using Rigify. And just so you know, we
3:06:58are in the final stretch of this series
3:07:00with only a few videos on rigging
3:07:02remaining. I mentioned this before, but
3:07:04the Gumroad version of the series will
3:07:05increase in price after this series is
3:07:07fully completed. So, I'd highly
3:07:09recommend going to the description box
3:07:10below and checking it out today in order
3:07:13to lock in the absolute best value on
3:07:15it. It includes an extensive hotkey
3:07:17guide PDF, the final Love Chan model
3:07:19that's fully textured, fully rigged, and
3:07:20fully UVed from this series,
3:07:22downloadable versions of all the videos
3:07:24in the series with even more coming
3:07:26soon. We're about to hit 50 sales on
3:07:28this, which is amazing, and already have
3:07:30five perfect fivestar reviews. So, by
3:07:33all means, to get the absolute best
3:07:34value, click that link in the video
3:07:36description below this video to check it
3:07:37out. And thanks for watching. I'll see
3:07:39you in the next video on weight
3:07:41painting.
3:07:43In our last tutorial, we ended up
3:07:45rigging our character, but there are a
3:07:46few underlying issues that she still had
3:07:48that we want to fix up. So, if I move
3:07:50her hand here by pressing G on my
3:07:52keyboard, you're going to see a few
3:07:53issues that crop up. First up being that
3:07:55her hair is moving kind of awkwardly
3:07:57along with it, which we obviously don't
3:07:59want, as well as the top of the collar
3:08:02also kind of following the hand, which
3:08:03we obviously don't want as well. So, I'm
3:08:06going to reset that by by pressing Alt +
3:08:08G. And we're going to fix those in this
3:08:10video using a process called weight
3:08:12painting. So to enter paint mode in
3:08:14Blender, click on any 3D model you have
3:08:16in object mode. Then go up here and
3:08:18click on way paint. Or for the shortcut,
3:08:20you can press control plus tab. Then
3:08:22click on way paint like that. Now our
3:08:24hair has turned blue. And the reason
3:08:26it's blue is cuz we are currently in
3:08:27what's called a vertex group that has no
3:08:30wave painting applied to it. So you can
3:08:32actually switch between vertex groups
3:08:33right at the top of Blender here. Um, or
3:08:36you can go to this tab right here, the
3:08:38object data properties tab. The one
3:08:39that's that's like an upside down
3:08:40triangle. And you can use this menu
3:08:44right here to switch between vertex
3:08:45groups as well. But you can also do that
3:08:48right up here. And I'm just switching
3:08:50between them using the arrow keys on my
3:08:51keyboard cuz that's often a lot faster.
3:08:53So if I scroll through my vertex groups
3:08:56here, you can see that this is the bone
3:08:59for our head, which is called deafspine
3:09:02001 because we're using Ricky. And now
3:09:05we can see that the color of our hair
3:09:07has changed here. So you can think of
3:09:09vertex groups kind of as little
3:09:11containers or homes for vertices. And
3:09:15remember a verticy is just all these
3:09:16different points in our model. So this
3:09:18is a verticy. This is a verticy. This is
3:09:20a verticy. This is a verticy. You can
3:09:22think of vertex groups as kind of
3:09:23groupings and pairings of vertices that
3:09:26we can use to apply weights to our
3:09:28model. And we already have a ton of
3:09:30vertex groups because Riifi generated a
3:09:33bunch of them for us when we applied
3:09:35automatic weights on this model. This is
3:09:38our hair, what it looks like right now.
3:09:40And as you can see, the top of our hair
3:09:42is super red, which means that it has
3:09:45100% influence. Each color in way
3:09:47painting represents how much influence a
3:09:49bone, in this case here, our headbone,
3:09:52has on this part of our model. So the
3:09:54top of our head has 100% influence,
3:09:56meaning that if we pose our head around,
3:09:58it's going to follow our hair perfectly,
3:10:01whereas the bottom part has a lot less
3:10:03influence and may not be following our
3:10:05head 100% of the time. The color blue,
3:10:07which is what we were looking at earlier
3:10:09when we looked through all these other
3:10:10bones, that means this is unweighted.
3:10:12And it's best not to worry about the
3:10:14specifics of these colors too much
3:10:15because these are just a gradient uh and
3:10:17a visualization for what are essentially
3:10:20just intensity values. You can even
3:10:22think of them as percentages on all the
3:10:24vertices that make up your model. And by
3:10:26entering way paint mode, there's also a
3:10:28few tools here that are now available to
3:10:29us that I'm going to look at right up
3:10:31here. So, first tool is the default tool
3:10:34that we have selected already called
3:10:36draw. This is just as you can see right
3:10:38here from the icon a brush tool. So, we
3:10:42can just click on different vertices on
3:10:43our model and see that they'll start to
3:10:45get painted red. And they're getting
3:10:47painted red because our currently
3:10:48selected weight, which again you can
3:10:50just think of this as a percentage, one
3:10:52being 100%, zero being 0%. You can think
3:10:55of that as your currently selected
3:10:58intensity, right? So if I click on my
3:11:02model with zero weight, it's going to
3:11:03start painting things blue. And if I
3:11:05click on my model with 100% weight, it's
3:11:08going to start painting things red. So
3:11:10that's pretty cool. And there's also a
3:11:12symmetry option right here that you can
3:11:14enable in wave paint mode, which is
3:11:16super helpful for symmetriizing things
3:11:18on your model. If you have perfectly
3:11:21symmetriized bones, for example, if I
3:11:22had symmetry enabled, and I was painting
3:11:24her knee here, every little adjustment
3:11:26I'd make on this right knee, or excuse
3:11:29me, her left, I guess her left knee
3:11:31would get perfectly symmetriized to the
3:11:32other side because we're using rigify,
3:11:34which already has perfectly symmetrical
3:11:36bones and weights already set up for us,
3:11:38which is awesome. So that's what the
3:11:40weight option does. But there's another
3:11:42option right here called strength, which
3:11:44is essentially your opacity. So if
3:11:46you've used Photoshop or any similar
3:11:48application to that, Clip Studio Paint,
3:11:50etc., etc., they all have opacity
3:11:52options for their brushes, most painting
3:11:54apps do, and that's what you can think
3:11:55of your strength as. It's kind of your
3:11:57opacity. So, for example, if I set this
3:11:59to, you know, 0% influence, I want no
3:12:02influence on this part of my model, but
3:12:04I set my strength to 50%, aka my opacity
3:12:09to 50%, then click on this vert, it's
3:12:11going to turn green because again, if we
3:12:14put strength to 100%, and then weight to
3:12:1750%, it's also going to be very, very
3:12:20green because that is what 50% weight on
3:12:23your model looks like. And that sounds
3:12:24kind of confusing like why they even
3:12:26separated, but this is very useful for
3:12:28other tools, not as much the brush tool
3:12:31usually um like the gradient tool. So
3:12:34for example, if I wanted a really smooth
3:12:36gradient on my model, I'll go to the
3:12:37right orthographic view and set my
3:12:39weight to zero but my strength to 50%.
3:12:43Then if I hold left click and drag with
3:12:45the gradient tool, you're going to see
3:12:47we're going to get a beautiful smooth
3:12:49transition between gradients. And being
3:12:51able to lower our strength can kind of
3:12:52help with those gradations, especially
3:12:54when we're using other tools like blur
3:12:56as well. Um, which blur does exactly
3:12:58what you'd expect. It kind of blurs the
3:13:01transition between all of your weights.
3:13:04So, I'm going to do all that. I'm going
3:13:05to do all of that with control plus C.
3:13:07So, I'm just going to spam control plus
3:13:09C a bunch of times. Actually, I'll redo
3:13:11that with control shift plus E a few
3:13:12times. There we go. So, now let's
3:13:14actually talk about the different
3:13:15options we have for these brushes, cuz
3:13:17they're actually extremely important,
3:13:19and there's some extremely frustrating
3:13:20things that I need to explain right off
3:13:22the bat. So, if I press N on my keyboard
3:13:25here, and I go to tool, you're going to
3:13:28see that this is where we have tool
3:13:29options, which is also available right
3:13:31here in the properties editor. So, you
3:13:33can these are literally the same menu.
3:13:35You can use either one, but in my case
3:13:37here, I'm going to use this one from the
3:13:38little end menu in the 3D viewport cuz
3:13:40it's a little bit more convenient for
3:13:41me. So, there's a few super useful
3:13:43options here because by default, you're
3:13:45going to be using this draw tool when
3:13:46way painting a lot. And I would highly
3:13:49recommend whenever you're using the draw
3:13:51tool for low poly models like this one
3:13:53to set your falloff in your brush
3:13:55settings to this right here. So, this
3:13:59brush shape is flat, which means that
3:14:02every single time, let's set our weight
3:14:04to 100% here and our strength to 100% as
3:14:07well. So every single time you click on
3:14:09a vert, it's just going to like straight
3:14:10up paint that vert 100%. If you don't
3:14:13have this enabled and you have like the
3:14:15one of these shapes, for example, and
3:14:17you click again, it can kind of like
3:14:18create smooth transitions, which is can
3:14:22be nice, but realistically in low poly
3:14:24modeling, you're often kind of just
3:14:26painting things like 100% or 0% a lot of
3:14:29the time. So that can be uh kind of
3:14:31distracting and not actually super
3:14:33helpful. So, a lot of the time when I'm
3:14:35doing low poly models, I'll be using
3:14:37this flat brush shape cuz it's just a
3:14:39lot more of like the result I would
3:14:41actually want when doing low poly
3:14:42modeling and weight painting. So, that's
3:14:45uh one useful option, but again, you can
3:14:47change this to whatever you want. You
3:14:48can like move these around to get the
3:14:50exact kind of falloff on your brush that
3:14:52you would actually like, which is super
3:14:54useful. But I'm just going to use this
3:14:56flat option right here. We already
3:14:58talked about X symmetry, which
3:14:59symmetriizes the opposite bone to have
3:15:01the same weights as the bone you're
3:15:02painting, which is super helpful. But
3:15:04there's also another super useful option
3:15:06right here called front faces only. Now,
3:15:08this is something again that's really
3:15:10weird worth talking about. If we try to
3:15:12go to X-ray view into weight painting
3:15:14mode, you're going to notice that it
3:15:16says X-ray not available or in current
3:15:18mode. That's because we're in rendered
3:15:21view. Um, which you can see by pressing
3:15:23Z, we're in rendered view. But if we go
3:15:25to solid view, then press Alt + Z, you
3:15:28actually can use X-ray mode while
3:15:30painting. Um, so if you want to use
3:15:32X-ray mode and have your textures
3:15:34visible, you can click this little drop
3:15:36down right here next to the top right of
3:15:38your viewport, go to flat, then texture.
3:15:41Uh, and in theory, that should actually
3:15:43just show your textures and allow X-ray
3:15:46view to actually be used, which is
3:15:48really awesome and helpful when way
3:15:49painting. So that's that. But uh anyway,
3:15:52I mentioned that because that's what
3:15:55front faces only does. If I turn off
3:15:58front faces only, that lets us paint
3:16:01through objects, which can be useful
3:16:02sometimes. So I'll turn off front faces
3:16:04only and symmetry just to make sure
3:16:06that's not part of this equation. Then
3:16:07I'm going to set weight to zero. And as
3:16:10you can see, if I now start way painting
3:16:13through the model like this or like on
3:16:15this side of the model, then we rotate
3:16:17to this side of the model. Oh, actually
3:16:19I don't see anything yet. Oh, okay. So,
3:16:22I think I might see why. So, the reason
3:16:24that's not actually doing anything yet
3:16:26with front faces only disabled is
3:16:28because we also need our fall-off shape
3:16:30to be set to projected, not sphere. So,
3:16:32if I do this again, go to this side of
3:16:34the model, start painting away, just
3:16:36like left click, left, left, left, left,
3:16:38left click, then rotate around my model,
3:16:40you're going to see that we are now
3:16:41painting through our model. So that can
3:16:43be useful in situations where you have
3:16:44something kind of like a cylinder where
3:16:46you just want the exact same weights all
3:16:49around every part of your model. But in
3:16:51our case here, that's not super useful,
3:16:53but it can be very useful in certain
3:16:55situations. So I'm going to undo that
3:16:56with Ctrl + C a bunch of times. There we
3:16:59go. And I'm going to set my falloff
3:17:01shape back to sphere and turn on front
3:17:03faces only once again cuz that's kind of
3:17:04what I want right now. Then we have the
3:17:07most frustrating Blender option I've
3:17:10ever encountered. I have to say this is
3:17:13the most baffling and confusing thing
3:17:16for beginners. I think there is in maybe
3:17:19all of Blender, but definitely in way
3:17:21painting. And that is this option right
3:17:24here. So on your brush settings, you're
3:17:27going to see this option right here
3:17:29under options. So N tool options right
3:17:33here. You have this option right here
3:17:35called autonormalize.
3:17:36This should be enabled by default. Every
3:17:40single Blender tutorial I've ever
3:17:41watched on weight painting tells you to
3:17:44enable this option, but for some reason
3:17:47I don't understand, it is not enabled by
3:17:50default in Blender. I really hope they
3:17:52change that someday. But in any case,
3:17:54the reason I say this is because without
3:17:56autoormalize, you can create points on
3:17:58your 3D model where multiple bones have
3:18:01influences over 100% on your model,
3:18:04which is so confusing. It's really,
3:18:07really bad for beginners. And enabling
3:18:09autoormalize makes it so that when you
3:18:11add weight to one bone, it actually
3:18:12removes it from another, which is what
3:18:14you would expect to happen, right? And
3:18:16if you end up with areas on your model
3:18:18where the total influence exceeds 100%,
3:18:20which you know that's going to happen
3:18:21when you don't have this enabled,
3:18:23autonormalize can help fix those issues
3:18:25automatically. So I would recommend to
3:18:27basically everyone to turn on
3:18:29autoormalize when you're way painting
3:18:31your model basically 100% of the time.
3:18:34Sometimes it can be useful for when
3:18:36you're trying to do very smooth
3:18:38transitions, I've heard, or when you
3:18:39have like very high poly models, you're
3:18:41doing things a little bit more
3:18:42complicated than low poly. But really,
3:18:45just turn on autonormalize to save
3:18:46yourself a world of headaches. And one
3:18:48final thing to mention about weight
3:18:50paint mode is that there's two options
3:18:51right up here. One is called face
3:18:53selection masking for painting, and the
3:18:55other is vertex selection. And you can
3:18:57actually switch between these by
3:18:58pressing one and two on your keyboard,
3:19:00just like you can switch between
3:19:01selection modes in edit mode. But in our
3:19:04case here, we really don't need these.
3:19:05This is great for when you need to mask
3:19:07specific faces or vertices on your
3:19:09model. But in our case here, our model
3:19:11is so low poly that's mostly
3:19:12unnecessary. So, how do we actually fix
3:19:15the issues we talked about in the
3:19:17beginning of this video being that we
3:19:19can when we move our hand, this stuff
3:19:22kind of wiggles around and moves with
3:19:24our model. I'm going to go back into
3:19:25render view by pressing Z render. And
3:19:28then I'm going to click on my model, my
3:19:30hair model in object mode, and go into
3:19:33weight paint. Now, making sure that I'm
3:19:35on defaf spine 6, which is our headbone
3:19:38in our case here. We're going to press N
3:19:39on our keyboard, and make absolutely
3:19:41sure we have autonormalize enabled.
3:19:43Otherwise, this will not even do what we
3:19:45want it to do. So, with autoormalize
3:19:47enabled, I'm going to go to the gradient
3:19:49tool, set that weight to 100% as well as
3:19:51the strength to 100%. Then, I'm going to
3:19:54click and drag up. going to click and
3:19:56drag up a few times to make absolutely
3:19:59sure that our head is 100% weighted to
3:20:04this bone. And again, with autonormalize
3:20:06enable, it makes it so that when you add
3:20:09weight to one bone, it's actually
3:20:10removing it from another. So now when we
3:20:13go to object mode, select our rig, and
3:20:16go to pose mode by pressing control plus
3:20:17tab. Now when we move it around, our
3:20:20hair is no longer following along with
3:20:22our hand, which is fantastic. But we
3:20:24still have this issue with our collar
3:20:26where if we move our hand around, it's
3:20:27moving along with it, which we don't
3:20:28really want. And to fix that issue, I'm
3:20:30going to go back into object mode and
3:20:32select our torso here and go back into
3:20:35weight paint mode by going to weight
3:20:36paint at the top left of our 3D
3:20:38viewport. Now, I'm going to scroll
3:20:40through all of our weights right here.
3:20:42And by scroll through, I mean arrow key
3:20:44through them. And I can see that there's
3:20:46a lot of weights on spine 2 here, which
3:20:48probably means it's the bone on our rig
3:20:50that we want to weigh this 100% to. So,
3:20:53I'm going to use a gradient tool once
3:20:54again. Drag down, drag up. I, in my case
3:20:58here, want it 100% weighted. I could, if
3:21:01I wanted to, go to spine one, uh, set my
3:21:04strength a little bit lower here, aka my
3:21:06opacity. You can think of strength as
3:21:08opacity, and drag up a little bit here
3:21:10if I wanted a little bit of weighting
3:21:12like that. Um, and then go to object
3:21:15mode, click on my rig, then pose this
3:21:18around to see how it works. And that
3:21:20worked really well.
3:21:22That's awesome. And again, to test if
3:21:24this actually worked out, we're going to
3:21:25move our hand here. And it worked. You
3:21:27can see that again because we have a
3:21:30normalize enabled. And that makes it so
3:21:33that no vertex on our models can get
3:21:36over 100% weighted. When we used 100%
3:21:40waiting on our torso, it fixed this
3:21:42issue because it removed all the weights
3:21:44from other bones that were causing that
3:21:47weird wiggling issue. So that is now
3:21:49fixed which is fantastic. One final tip
3:21:52I want to mention is that with your rig
3:21:53selected using a rigify rig, if you go
3:21:55to the object data properties tab, you
3:21:57have a bone collections uh screen here,
3:22:01right? And these bone collections are
3:22:02the same as the ones we toggled in the
3:22:04last video. These rig layers, it's the
3:22:06same thing. This is just a really nice
3:22:07UI for all the ones you really care
3:22:09about when you're animating. But if we
3:22:10want to view all the different joints on
3:22:12our model that these weights are applied
3:22:14to, we can go to this deaf tab. So deaf
3:22:17stands for deformation and we can
3:22:19isolate this bone group by clicking this
3:22:21little star next to it. So clicking this
3:22:23star will isolate it so that it's the
3:22:25only visible one and we can unisolate it
3:22:28by clicking on the star again. But in
3:22:29our case here we want to click the star
3:22:31so we can see all of these different
3:22:33deformation bones. So now you can
3:22:35actually click on your rig then
3:22:37shiftclick on your model then go into
3:22:39weight mode up here or you can press
3:22:41control plus tab weight paint. Now, if
3:22:44you want to preview what all your
3:22:46different weights look like, you can
3:22:47press Alt + leftclick. So, Alt plus
3:22:50leftclick is switching between our
3:22:51vertex groups. So, you can see right
3:22:53here where we have our currently
3:22:55selected vertex group, or right here,
3:22:57our vertex group menu. If we press Alt
3:22:59plus left click, we're switching between
3:23:01them, which is awesome. And it would
3:23:02actually be a little bit cleaner of an
3:23:04example if I click on my torso object
3:23:07here. So, I'll click on my torso.
3:23:09Actually, excuse me. I'll click on my
3:23:10rig, then shift click on my torso, then
3:23:12press alt plus tab and go to weight
3:23:14paint mode. Now, if I press alt plus
3:23:16left click on my spine 2, we can see
3:23:19that we have a little bit weighted to
3:23:20it. If I go to spine 3, nothing's
3:23:22weighted to it. And if I go to spine
3:23:24one, there's a little bit weighted to it
3:23:26as well. So, spine 2 has like the most
3:23:28weighted to it, as you can see here. And
3:23:31spine one has a bit weighted to it. So,
3:23:33that's kind of how you can preview the
3:23:35weights that are getting influenced on
3:23:36your bone. If you actually want to see
3:23:37where your skeleton is located, this can
3:23:39be a little bit more of an intuitive
3:23:41option. You can also rotate your bones
3:23:43with them selected in this mode by
3:23:44pressing R, G, and S. Unfortunately,
3:23:47that doesn't actually work on
3:23:48deformation bones, but that can be
3:23:50really useful if you're using a little
3:23:51bit less of a complicated rig than what
3:23:53Rigify gives you. However, how do you
3:23:55weight paint something to give it
3:23:56secondary motion on your character? For
3:23:59example, if you want your character's
3:24:01hair to sway, or if you want like their
3:24:02tail to wag, or if your character has
3:24:05ears, for example, and you want them to
3:24:06wiggle, how do you way paint that? Well,
3:24:08first of all, you actually need to add
3:24:10that as a bone. And to do that, we're
3:24:12going to want to go to back into object
3:24:15mode, select our rig, and then we're
3:24:17going to go back to our bone collections
3:24:18tab that we're just talking about,
3:24:20right? And we're going to unisolate our
3:24:22deformation bones. So, we're going to
3:24:24click on this and make sure that that's
3:24:26is no longer starred. so we can see all
3:24:28of our bones. Then I'm going to press
3:24:30tab to go into edit mode here. Now that
3:24:32I'm in edit mode, I want to press shift
3:24:34plus A to add a bone. So this is a brand
3:24:37new bone on our rig. And I'm going to go
3:24:40to my bone collections tab right here
3:24:42and press this plus icon to add a brand
3:24:44new bone collection. And it's just going
3:24:46to be called bones here. But I'm going
3:24:48to rename this hair. So this is a brand
3:24:51new bone collection, but there's nothing
3:24:53actually assigned to it right now. Now,
3:24:54if I press the isolate button, there's
3:24:56going to be no bones in there cuz we
3:24:57actually need to assign things to this
3:24:59bone collection in order for them to be
3:25:01in there. So, to do that, I'm just going
3:25:04to make sure my brand new bone, which is
3:25:05right here. We can see the name right
3:25:07here, is bone. This is my brand new one.
3:25:09It's selected right here. So, making
3:25:10sure this brand new bone is selected.
3:25:12I'm going to click assign. Now, if I
3:25:14isolate into this bone collection by
3:25:16pressing the star icon, you can see that
3:25:18there's now a bone in it, one bone, the
3:25:20one we just created, which is fantastic.
3:25:22So I am now going to go into the front
3:25:24view by pressing one on my keyboard. So
3:25:26that's the orthographic front view.
3:25:28Click on my bone. Press G plus Z to move
3:25:30it up. Then R to rotate it like this.
3:25:33And again, it's super important.
3:25:35Remember when we talked about bone heads
3:25:36versus tails? This is the head of our
3:25:38bone right here. This is the tail of our
3:25:41bone right here. Which means when we
3:25:42rotate our bone, it's going to rotate
3:25:43from this point right here. So, it's
3:25:46really important that when we position
3:25:47our bone, which we're going to rig to
3:25:49the front hair right here, that this is
3:25:52the top of our bone and this is like the
3:25:54bottom of our bone, basically. So, I'm
3:25:56going to position it, scale it, G to
3:25:59move, S to scale, kind of like this.
3:26:01Grab the head of the bone like this.
3:26:04Kind of just line it up like that. All
3:26:06right. Then, I'm going to press three on
3:26:07my keyboard. G plus Y to move this
3:26:10forward. Y. Then, kind of line it up
3:26:13like that.
3:26:15That's looking really good. Um, and
3:26:17while we're in edit mode, I should also,
3:26:19first of all, get out of orthographic
3:26:20view by clicking on this little icon
3:26:22right here. But I also want to rename my
3:26:25bone to not just the default bone name.
3:26:28So, I'm going to press F2 on my keyboard
3:26:30while I'm in edit mode. And while I have
3:26:32my bone selected and call this hair
3:26:36just for example. You can call it
3:26:38whatever you want, of course. With hair
3:26:40front selected, just for fun, I can also
3:26:42go to the bone tab right here. go to
3:26:44viewport display and make this bone uh
3:26:47we'll make it purple just for fun. So
3:26:49this bone is now purple. And I'm going
3:26:51to go back into the object data
3:26:53properties tab right here. And now that
3:26:56that's all taken care of, we want to
3:26:58actually make sure that this bone is
3:27:00weighted to our hair because it's not
3:27:02actually weighted to our hair yet. And
3:27:04to do that, we want to click on our hair
3:27:07model, then shiftclick on the bone we
3:27:09just created, then press Ctrl + P, then
3:27:12do armature deform with empty groups.
3:27:14You could do automatic weights, but
3:27:16sometimes that's just not going to do
3:27:17what you want it to do. So in this case
3:27:19here, we're just going to do with empty
3:27:21groups. So now, if we click on our hair
3:27:24model, you're going to see there's a
3:27:25brand new vertex group at the bottom
3:27:27right here called hair_ront,
3:27:29which is awesome. That's the bone we
3:27:31just made and the vertex group we just
3:27:33made. And this vertex group would not
3:27:35exist unless we do what we just did,
3:27:37which is click on our model, shift click
3:27:38on our bone. So click on our model,
3:27:40shift click on our bone, then control P
3:27:42armature G form with empty groups or
3:27:44automatic weights if you prefer. But in
3:27:46our case here, we want empty groups. So
3:27:48with that done, if we move our bone
3:27:50around, nothing's going to happen
3:27:51because we still need to weight it,
3:27:53which is what we're just talking about,
3:27:54right? So, all we need to do now is
3:27:57click on our hair model, go to the
3:27:59weight painting tab, go to our brand new
3:28:01vertex group right here, hair front,
3:28:03then click on our draw tool, set weight
3:28:06and strength to 100%. Then weight paint
3:28:09this singular vert 100%. And something
3:28:12that I forgot to mention earlier is you
3:28:14can change your brush size by changing
3:28:15this radius value, which you can also
3:28:17change with the hotkey of F. So F is how
3:28:19you change your brush size like that. So
3:28:22that works in the draw tool as well as
3:28:23the blur tool like so. And you can also
3:28:26change your opacity aka strength with
3:28:29shift plus F. So shift plus F is how you
3:28:32quickly change your opacity. And it's
3:28:33even visualized here. So like 100% is
3:28:35100% opacity. And we get more and more
3:28:38transparent as we go lower values like
3:28:40that, which is pretty cool. But you can
3:28:41change the size of your brush by
3:28:43pressing F. So F is how you change the
3:28:46size of your brush. And if you press
3:28:47Ctrl + F, you can change the weight. So
3:28:49if you want to change your overall
3:28:50intensity, you can press Ctrl + F to
3:28:53change your weight, but shift plus F is
3:28:55how you change your opacity essentially.
3:28:58Now if we go back into object mode,
3:29:00click on our brand new bone here and
3:29:02press control plus tab to go into pose
3:29:03mode. We now have way painted this hair
3:29:05on our model, which is fantastic.
3:29:08However, there's one issue where if we
3:29:10go into object mode and we unisolate our
3:29:13new bone collection, which is the hair
3:29:15bone collection, and then we click on
3:29:17our model's head right here, we try to
3:29:19move it around, you're going to see that
3:29:21our bone is not following along with our
3:29:23head. And this ties back into what we
3:29:25talked about at the last video about
3:29:26parent child relationships with bones.
3:29:29We need to make sure that this bone is
3:29:31the child of this headbone. Otherwise,
3:29:35it's not going to know that it needs to
3:29:37follow along with our headbone. So, to
3:29:40do that, all we need to do is press tab
3:29:42to go back into edit mode and click on
3:29:44our new hair front bone. Then, we need
3:29:47to go to the bone properties menu right
3:29:49here. And in this menu, there's a
3:29:51relations option. So, or excuse me, a
3:29:54relations drop down where you can set
3:29:55the parent of your bone. And remember
3:29:58when we were going through all the
3:30:00vertex groups of our hair here, we saw
3:30:03that there was a vertex group called, if
3:30:05we go all the way to the top here, def
3:30:08and deaf is short for deformation, spine
3:30:11006. So def spine 006 is indeed our
3:30:16headbones name using rigify. So
3:30:19remembering that, we're going to go back
3:30:21into object mode, click on our bone
3:30:23here, go back into the relations tab
3:30:26right here. So this is bone properties,
3:30:29relations, and then from parent, we're
3:30:31going to click, oh, excuse me. We have
3:30:32to be in edit mode. This is object mode.
3:30:34So we're going to make sure we're in
3:30:35edit mode with our new bone selected,
3:30:36which is hair front. Then we're going to
3:30:38go to relations, parent, and
3:30:40dospine.00006,
3:30:41[Music]
3:30:43which is the name of our headbone.
3:30:45You're going to see there's a little
3:30:46line that appeared from our headbone to
3:30:49our hair front bone. And when we go into
3:30:51object mode and or excuse me, when we go
3:30:53into pose mode now and rotate our
3:30:55headbone around, you're going to see
3:30:57that our hair bone is now following
3:30:59along with it exactly as we'd expect. So
3:31:02now we can animate the secondary motion
3:31:04on our hair. And we just rigged hair,
3:31:06but this also works for tails. This also
3:31:08works for ears. It works for anything
3:31:10that you want secondary motion for on
3:31:13your character. and it's very easy to
3:31:15do. So, that about covers it. In the
3:31:16next video, we're going to talk about
3:31:17rigging your character's faces in 2D.
3:31:20So, our character has a two-dimensional
3:31:22face texture here. We're going to talk
3:31:24about how to animate those using
3:31:25geometry nodes. Hope you're looking
3:31:27forward to it, and thank you so much for
3:31:28watching. How can we make a facial
3:31:30texture like this animate on our
3:31:33character rig kind of like this? That's
3:31:35what we're going to talk about in this
3:31:37video.
3:31:39Huge shout out to Lacruuso for making
3:31:41this amazing video on animating faces
3:31:43with 2D textures in Blender, by the way.
3:31:45Definitely go check that video out if
3:31:47you want a really good breakdown on how
3:31:49to actually make textures like this from
3:31:51scratch and give their channel a
3:31:53subscribe cuz their content is really,
3:31:55really good. But without further ado,
3:31:57let's get into how to make it on our own
3:31:59character here. So, we have our
3:32:01character all rigged here, but now we
3:32:03want to make sure that we can animate
3:32:04our character's eyes and mouth by
3:32:06swapping between different textures on
3:32:08our face texture. So, to do that, we're
3:32:11first thing we're going to want to do is
3:32:13if you'd like to follow along with me
3:32:14here, go to the link in the video
3:32:16description below and click on this
3:32:18Patreon post right here. You do have to
3:32:20be a member of my Patreon to click on
3:32:21this post, but don't worry, joining as a
3:32:23member is totally free. So after you do
3:32:25that, all you need to do is click on
3:32:27this right here, which is Lovechan
3:32:29textures facial textures fixed.png. So
3:32:32just click on there or right here, and
3:32:35download this texture because the
3:32:36original version I had actually had some
3:32:38issues. So make sure to download this
3:32:40updated version of the texture, which I
3:32:41will link in the description box below.
3:32:43After that, we're going to want to make
3:32:44a brand new material on Lovechan here.
3:32:47So we're going to click on her face
3:32:48here, which is this model right here.
3:32:50We're going to go down to material
3:32:52properties and press this plus icon
3:32:54right here. Then we're going to select
3:32:56our love chan body material that we
3:32:58already made and we're going to
3:32:59duplicate this by pressing this little
3:33:01duplicate button right here. Now I want
3:33:03to rename this new material love chan
3:33:06face. So this is going to be our love
3:33:09chan face texture. Now we're going to
3:33:11want to drag up a new panel here by
3:33:12going to the bottom left of our viewport
3:33:14here and dragging up like this. Then I'm
3:33:17going to switch this over to a shader
3:33:19editor tab. So I'm going to click shader
3:33:21editor from this little drop down right
3:33:23here. And now we want to replace this
3:33:26body texture with our facial texture
3:33:28that we just downloaded. So I'm going to
3:33:31drag in. So I'm literally going to
3:33:33Windows right here. I'm finding the
3:33:35texture I downloaded on my computer and
3:33:36then I'm dragging and dropping it in to
3:33:38our shader editor like so. And I'm going
3:33:41to put it right here and delete this one
3:33:43like so. So that didn't actually update
3:33:46anything yet. And the reason for that is
3:33:47we have to actually assign this texture
3:33:51to our face here. So to assign a texture
3:33:54to a face in Blender, all you need to do
3:33:56is first of all, I'm going to isolate
3:33:57our model by pressing forward slash on
3:33:59my keyboard. So I'm just looking at this
3:34:01uh model right here. Then I'm going to
3:34:03go to front view and just tab to go into
3:34:05edit mode and press W to go to the
3:34:07select box tool and press alt A to
3:34:09deselect all. Now, I want to assign this
3:34:12new texture to all the different parts
3:34:15of our face here that are going to be
3:34:16animated. So, that's going to be this
3:34:17part. Excuse me. I'm going to press
3:34:19three to make sure I'm on face select.
3:34:21So, I'm going to select this face, these
3:34:22faces, all these faces. And I'll even
3:34:24press C to go to the circle select tool
3:34:26and select all these faces. Like so. So,
3:34:30now that all of these are selected, I
3:34:31can press H to verify. Yep, those are
3:34:33the right ones. That's fantastic. Now, I
3:34:35want to go to my Lovechan face material
3:34:37and click assign. And we can tell it
3:34:39worked because it looks really weird and
3:34:41funky now. And the reason it looks super
3:34:43weird right now is because our face
3:34:45texture has different dimensions than
3:34:47our love chan body texture. It's going
3:34:49to actually mess up our UVs here, which
3:34:51means we need to do them once more, but
3:34:53we can do that super quickly here. So to
3:34:54do that, I am going to again, making
3:34:56sure I have all these faces still
3:34:58selected, press U on my keyboard and do
3:35:00project from view. Making sure I have
3:35:02those faces selected. Then I'm going to
3:35:04make a brand new panel right here and go
3:35:07to the UV editor panel, which I can just
3:35:09click up here and press U on my keyboard
3:35:11to enter. Or again, it's right there,
3:35:13the UV editor. Now, I'm going to press G
3:35:16and scale up my face on my first face
3:35:19texture right here. I'll zoom in here.
3:35:22See how this is looking. And I kind of
3:35:24want to line up the shadow of the nose
3:35:26right here with the bottom of my nose
3:35:28geometry.
3:35:30Kind of like that. Though I'm not going
3:35:33to aim for perfection here because this
3:35:35is just a tutorial on how to swap face
3:35:37textures. I do have tutorials on this
3:35:39channel for UV unwrapping if you want to
3:35:41go check those out that go into a lot
3:35:42more depth than this. So that's how our
3:35:44face texture is going to be laid out.
3:35:46That's looking pretty good to me. So now
3:35:48how do we actually animate between
3:35:50these? We're going to want to do that in
3:35:51the shader editor, which we already have
3:35:53at the bottom of Blender here. So I'm
3:35:55actually going to scooch these over so I
3:35:57can kind of see what I'm doing a little
3:35:58bit better and make this a little bit
3:35:59bigger. That's good enough for now. And
3:36:02with the node wrangler add-on enabled,
3:36:04I'm going to click on my texture here
3:36:06and press Ctrl + T to add a mapping and
3:36:09texture coordinate node. Now, if that
3:36:11didn't work for you, you have to have
3:36:12the node regular add-on enabled, but
3:36:14luckily that's included with every
3:36:16version of Blender by default. Go to
3:36:18edit, preferences, add-ons, node
3:36:21wrangler, and make sure that is checked.
3:36:23So, with that checked, click on your
3:36:24texture here and press Ctrl + T to add a
3:36:27mapping and texture coordinate node.
3:36:29Now, you're going to notice something
3:36:31interesting. If we change the X location
3:36:33on our texture here, nothing is actually
3:36:36going to happen. And the reason why
3:36:38nothing is changing in our viewport here
3:36:39is that we need to be on either material
3:36:42preview or rendered view. So, if I go to
3:36:44material preview, then change my X
3:36:46location. Now, you're going to see that
3:36:48our texture is moving between all of our
3:36:51different faces here. Because think of
3:36:52how axes work in Blender by looking at
3:36:54the top right of our viewport here, we
3:36:56can see that this is the Xaxis. So,
3:36:59we're scrolling our texture across the
3:37:01x-axis because, as you can see by the
3:37:03way our texture is laid out, we just
3:37:05have our textures like one by one laid
3:37:07out in a row like this. So, the only
3:37:09location we need to change on this
3:37:11mapping node is going to be the X
3:37:12location. If you had your textures, you
3:37:14know, laid out vertically rather than
3:37:16horizontally, you would also be
3:37:18changing, for example, the Y. But in our
3:37:20case here, we only want to worry about
3:37:22this Xaxis, like so. And if we look at
3:37:24our texture right here, we're going to
3:37:26notice that there are 1 2 3 4 5 six
3:37:29different faces on Lovechan here. And as
3:37:31a result, we're going to want to add six
3:37:33of a new node that we're going to
3:37:34introduce and add right now called the
3:37:37combine XYZ node. So we can press shift
3:37:40plus A to spawn in a new node in the
3:37:42shader editor. We'll press search and
3:37:44then do combine XYZ like so. And this is
3:37:49going to be our first one, which is just
3:37:50going to be this first texture all the
3:37:52way on the left here. But we want to
3:37:53duplicate this node by pressing shift
3:37:55plus D, which is the same duplication
3:37:57hotkey as most other parts of Blender.
3:37:59Then we're going to preview what this
3:38:00looks like by plugging the output from
3:38:02this vector into the input of this
3:38:05location on this mapping node, which is
3:38:07not actually going to change anything
3:38:08just yet. Let me make this nice and big
3:38:10here so we can see what's going on in
3:38:11the 3D viewport. So if we change the X
3:38:14location on this combine XYZ, again,
3:38:16making sure we're in material preview or
3:38:18rendered. that this actually updates.
3:38:20You're going to see we're going to
3:38:21animate between all of our different
3:38:23faces here. But of course, we want this
3:38:25first one to transition to this first
3:38:27face right here. Then we want a second
3:38:29XYZ to transition to this facial
3:38:30texture. The third to this facial
3:38:33texture, the fourth to this facial
3:38:34texture, and this one will be our final
3:38:36XYZ node, the sixth. So now we're going
3:38:39to move our XYZ node and hold shift so
3:38:44that when we are moving and changing
3:38:46this value, it's a lot smoother. and we
3:38:48have a lot more fine grain control over
3:38:50this. Then we're going to go to this
3:38:52second facial texture right here on our
3:38:54texture here. So with this lined up,
3:38:58holding shift and leftclick, you're
3:39:00going to see that does not line up
3:39:02perfectly. And to do fix that, all I
3:39:04need to do is punch in some numbers the
3:39:06oldfashioned way here. So 0.16.
3:39:09Let's try one. That's moving in the
3:39:11right direction. So I know I've
3:39:12decreased this value. So I'll do two.
3:39:15Maybe four is right. There we go. So,
3:39:17I'm just trying to line up the bottom of
3:39:19my nose with my texture there. So,
3:39:20that's looking pretty good. So, now I'm
3:39:22going to duplicate this XYZ node once
3:39:24again. And I'll plug in the vector to
3:39:27the location of this mapping node, like
3:39:28so. And because I know that when I lay
3:39:32these out, these are generally evenly
3:39:34spaced, you can actually just multiply
3:39:36this X value by two in order to get to
3:39:38this next facial texture right here. And
3:39:41to do that in Blender, there's actually
3:39:42a really awesome, super quick way you
3:39:44can do this by selecting your value. So
3:39:46double clicking on it so you're editing
3:39:48it. Then I'm going to press space.
3:39:50Actually, I don't even need to press
3:39:51space, I don't think. So I'm just going
3:39:52to add an asterisk here. So that's shift
3:39:54+ 8 if you don't know that. And then I'm
3:39:56going to type two, which will multiply
3:39:59this value by exactly two. Yeah. And you
3:40:02don't even need a space. So with that
3:40:04value multiplied by two, you can now see
3:40:06that we've transitioned into this next
3:40:07facial texture, which is our third
3:40:09facial texture, which is perfect. So I'm
3:40:11going to now duplicate this combine XYZ
3:40:13node again by shift pressing shift plus
3:40:15D. And I know that I want to multiply
3:40:17this node by two now, excuse me, by
3:40:19three now. So I'm going to copy and
3:40:21paste this value from the first combined
3:40:23XYZ or excuse me, the second combined
3:40:26XYZ node. Then I'm going to multiply
3:40:28this by three. So that was multiplied by
3:40:31two. This one's multiplied by three. And
3:40:33we'll double check our work by plugging
3:40:35this vector into the location. That's
3:40:37looking pretty good, though it's
3:40:38slightly misaligned. So I can kind of
3:40:40change this value here to see if that
3:40:43will get it better. That was the wrong
3:40:44direction. So I'll increase this by one
3:40:46by going 493.
3:40:48And that's looking pretty good. And that
3:40:50will be our fourth facial texture. We'll
3:40:53duplicate this again. We'll paste this
3:40:56value in once again. And we'll multiply
3:40:58this one by four. Right. Yeah. So now
3:41:01we're going to plug this vector into the
3:41:03location up here once again. And I see
3:41:06that I'm in edit mode. I actually don't
3:41:07need to be in edit mode. I'm just going
3:41:08to go back into object mode here so my
3:41:09life's a little easier cuz edit mode
3:41:11undoing is awkward. And now I can see
3:41:14that I'm on my fifth facial texture
3:41:15which is fantastic. So again, I'm going
3:41:17to press shift D to duplicate this.
3:41:19Paste in my value and multiply it by
3:41:21six. Now I'm going to plug this in to
3:41:24our location. And I think I went too
3:41:26far. I think I need to multiply that by
3:41:28five. Excuse me. So multiply that by
3:41:29five. There we go. Now that's perfect.
3:41:32Awesome. So now if we plug in our first
3:41:34vector into this location, we have our
3:41:36first facial texture, our second, and
3:41:38our second facial texture. Third, we're
3:41:39going to have our third facial texture,
3:41:40our fourth will have our fourth facial
3:41:41texture, our fifth will have our fifth
3:41:42facial texture, and our sixth will have
3:41:43our sixth facial texture as we expect.
3:41:44So now we're going to want to add mix
3:41:47nodes so that we can actually animate
3:41:48between all these different combined XYZ
3:41:51nodes. So I'm going to press shift plus
3:41:53a search, and then I'm going to type mix
3:41:56to add this mix node right here. Then
3:41:58I'm going to set the factor to zero and
3:42:00switch this from float to vector. So
3:42:03this is going to be a vector nix node
3:42:05with a factor of zero. Then I'm going to
3:42:07put the vector from the my xyz node
3:42:09number one here into the a slot of my
3:42:11mix node and my second xyz into the
3:42:14vector of the b slot like so. Then I'm
3:42:16going to put the result into my location
3:42:18of my mapping node. And you can see that
3:42:20by changing the factor on this mix node,
3:42:22we're going to animate between our first
3:42:23facial expression and our second facial
3:42:25expression, which is awesome. And you
3:42:27kind of want to just keep duplicating
3:42:28this mix node until all of our facial
3:42:30textures are integrated into this setup.
3:42:32So, I'm going to move things around by
3:42:34box selecting so that things are going
3:42:36to look a little bit more clean. Like
3:42:38so. Kind of line these up by box
3:42:41selecting like this. Now, we're going to
3:42:43press shift plus D to duplicate this mix
3:42:45node. And now that we've duplicated this
3:42:46mix node and moved it to the right a
3:42:48little bit, we're going to see that the
3:42:49result from our first mix node is
3:42:50plugged into the A here. And we'll
3:42:52literally just take the vector from our
3:42:54next combined XYZ and plug it into the
3:42:56B. Line this up. Shift D, move it up
3:42:58here so it plugs into the A, plug this
3:43:01into the vector of the B. Then I'm
3:43:02actually going to move these over a bit
3:43:04like so. Again, shift plus D. Plug this
3:43:07in.
3:43:09Plug in the vector output into the B
3:43:11socket right here in this mix node. Move
3:43:14this over a little more. Then I'm going
3:43:15to press shift plus D once more and plug
3:43:18in our final facial texture into the B
3:43:20slot from its vector output. So there we
3:43:24go. Now we have all of our facial
3:43:26textures set up into these mix nodes.
3:43:28And by changing this factor, you're
3:43:30going to see that we're going to swap
3:43:32between our facial textures every time
3:43:34we change these factors on all these mix
3:43:37nodes, which is super cool. However, to
3:43:39properly animate between these, we're we
3:43:42don't actually want this sliding effect,
3:43:44right? Because if you're animating
3:43:45between these and it's slid like this,
3:43:47that would look a little awkward. We
3:43:49kind of wanted to like snap between all
3:43:51these mix nodes. And to do that, we're
3:43:53going to use a math node set to greater
3:43:56than and a value node. So, I'm going to
3:43:58press shift plus a and type in value.
3:44:00Then, I'll press shift plus a and type
3:44:02in math. That's not how you spell math.
3:44:05There we go. Math. So I'm going to set
3:44:07this math node from add to greater than.
3:44:10Then I'll set the threshold to one. So
3:44:12it's a greater than math node with a
3:44:14threshold of one. Then I'm going to plug
3:44:16this value node into the value of this
3:44:19greater than node. Then I want the value
3:44:21input from this greater than to go into
3:44:24the factor of this mix node. Cuz
3:44:26remember by changing this factor that's
3:44:28how we're changing between these facial
3:44:30expressions. So by plugging in the value
3:44:33from this greater than input, it means
3:44:36the value on this facial texture will
3:44:37only increase when its threshold on this
3:44:40greater than node is above one. And now
3:44:42I just want to duplicate this for every
3:44:44mix node that I have. So I'm going to
3:44:46press shift plus D, duplicate this, plug
3:44:49in the value from my value node, and
3:44:51plug in the value output from this
3:44:53greater than node into the factor of my
3:44:55next mix node right here. And set the
3:44:57threshold of this next greater than to
3:44:59two. Then do it again. Shift D, value to
3:45:02value. Then the value output of the
3:45:05greater than into our next mix node. Set
3:45:07the threshold to three. Shift D, value
3:45:10to factor, value to value, threshold to
3:45:12four. Shift plus D, value to value,
3:45:17value to factor, and threshold of five.
3:45:20So now we have 1 2 3 4 and five. Now,
3:45:23when we change the value on this value
3:45:24node, it's going to snap between all of
3:45:26our facial textures as it becomes a
3:45:29threshold above one. Then a threshold
3:45:31above two, three, four, five. So, can
3:45:33increase this like so. Eyes are going to
3:45:36become closed because we're above one.
3:45:38Then they're going to be kind of happy
3:45:39eyes because we're above two. Then
3:45:40they're going to become shocked because
3:45:42we're above three. Then they're become
3:45:43dazed as we go above four. Then they're
3:45:47going to become silly as we go above
3:45:49five here. And if you're confused why
3:45:51it's a value of five rather than six
3:45:53because we have six facial textures
3:45:55here, that's just because our value
3:45:57below one is actually our first texture.
3:45:59So that's the reason it only goes to
3:46:01five. So we actually have this all set
3:46:02up now. This looks a little messy, but
3:46:05we're actually doing it right. This is
3:46:06how we animate between our facial
3:46:08expressions. And you could just leave
3:46:10this here. However, animating in the
3:46:12shader editor is extremely annoying and
3:46:14not recommended. That's why we're going
3:46:16to add a bone to our rig that actually
3:46:18controls this value node so that we can
3:46:21actually just animate the face and mouth
3:46:23textures on our rig as we're animating,
3:46:25which is much much faster and a lot more
3:46:27intuitive. So, let me show you how to do
3:46:29that right now. So, first of all, I'm
3:46:30going to click on my model and press
3:46:32forward slash to get out of this
3:46:33isolated view. Then, I'm going to want
3:46:35to spawn in a new bone. So, I'm going to
3:46:37click on my rig in object mode. Tab to
3:46:39go into edit mode. Then, I'm going to
3:46:41press shift plus a to spawn in this new
3:46:43bone here. I'm actually going to click
3:46:44on my bone right now and name it face
3:46:48control. This is going to be our face
3:46:50control bone. Then I'm going to press
3:46:52one to go in the orthographic front
3:46:53view. Press G to move it up. S to scale
3:46:55it down like so. And I'll even go to the
3:46:57side view and rotate this. We'll say 90°
3:47:02like that. All right. So, that's looking
3:47:05pretty good. But we don't actually want
3:47:07this in the bone collection it's in
3:47:08right now. We're going to make a brand
3:47:09new bone collection for this bone and
3:47:12call it face control. So, I'm going to
3:47:15press plus to add a new bone collection
3:47:16right here. Then, at the bottom of my
3:47:18bone collections, I'm going to have this
3:47:20new collection called bones. Then, I'm
3:47:22going to double click on it and call it
3:47:23face controllers.
3:47:26Like so. Then, making sure I have my new
3:47:29bone selected, I'm going to click
3:47:30assign. And now, I'm going to press this
3:47:32star icon to isolate this bone so that
3:47:34this is the only bone I'm seeing right
3:47:36now, which is very convenient for us.
3:47:37So, now that this is the only bone we're
3:47:40seeing here, we're going to go back into
3:47:41object mode and click on my Lovechan
3:47:43face material here. Then, we're going to
3:47:46go to this value node that we spawned in
3:47:48and right click on it and hit add
3:47:50driver. Now, you're going to see a very
3:47:52confusing, scary looking menu, and you
3:47:53might even mouse out of it, which makes
3:47:55it disappear, and you're freaking out
3:47:56like, "Where'd that menu go? What's
3:47:57going on?" Um, don't worry about it. All
3:47:59you need to do to fix that is rightclick
3:48:01on wherever you created your driver and
3:48:04click edit driver to bring that same
3:48:06menu up again. Now, we want to set our
3:48:09object here in our driver to our rig.
3:48:12And in our case here, our rig is
3:48:14literally just called rig. That is our
3:48:16quote unquote object. And the bone we
3:48:19want is that bone we just spawned in,
3:48:21which is called face control. So, we're
3:48:23going to type face. And face control is
3:48:26the bone we want. So, that's perfect.
3:48:28Then the type we're going to set to Z
3:48:30location cuz we want it so that when we
3:48:33go up and down that's going to change uh
3:48:36the texture on our face here. And we're
3:48:38going to make sure to set the space to
3:48:39local space. Otherwise, it's going to be
3:48:41in world space, which is going to be
3:48:42kind of confusing and not really what we
3:48:44want here. So, we're going to set it to
3:48:45local space. So, with all of that out of
3:48:47the way, something really cool is going
3:48:49to happen here because we can click on
3:48:51our bone now, go into pose mode, and
3:48:54move it around. And as you can see,
3:48:56nothing is happening unless
3:48:59unless we press Z and go down. Now, we
3:49:03can see that it's actually changing the
3:49:05facial expressions on our character
3:49:06here, which is super awesome. However,
3:49:09it's only doing that when we go down on
3:49:11the Z-axis, which is not really what we
3:49:13want, right? And to fix that, all I need
3:49:15to do is select my bone, press tab to go
3:49:18into edit mode. Then, I'm going to open
3:49:19the transform menu here by pressing N.
3:49:22And we can see what's causing our issue
3:49:24because our bone roll is actually set to
3:49:27100
3:49:28180. And to visualize bone roll and like
3:49:31the axes on your bone, all you need to
3:49:32do is scroll down on this object data
3:49:35properties tab and where it says axes,
3:49:37check this little box right here. Now we
3:49:40can see that this is exactly upside
3:49:42down, which was not really what we want
3:49:44here. We want to set our bone roll to
3:49:46zero here rather than - 180. So I'm
3:49:49going to set that to zero so that Z will
3:49:51actually be up because as we can see
3:49:53right here looking at the axes on our 3D
3:49:55viewport here. Blender is a Z up
3:49:58program. Some programs are actually Y
3:50:00up, which is, you know, kind of
3:50:01confusing. But Blender is a ZUP program.
3:50:05So we want Z to be facing up here. Now,
3:50:07if I go back into pose mode here and
3:50:10move my bone up rather than down on the
3:50:12Z-axis, it's going to start animating
3:50:14between our expressions, which is
3:50:15fantastic. However, it takes a lot of
3:50:18movement to actually get it to change
3:50:20between our expressions, which is really
3:50:22annoying. So, to fix that, I am just
3:50:24going to select our face again. And I'm
3:50:28just selecting my face to go make sure
3:50:29I'm in my love chen face material in the
3:50:32shader editor, of course. Then, I'm
3:50:34going to right click on our value here
3:50:36and edit the driver once again. And
3:50:38we're going to go to the expression tab
3:50:39right here. And where it says plus 0.38,
3:50:43we're actually going to replace that
3:50:44with multiplied by. And we're actually
3:50:46going to multiply our value by we can do
3:50:49any number we want. We can do 10 or 15
3:50:51here. But in my case here, we'll start
3:50:53with 15 just to see what that's looking
3:50:55like. So now when we go back to move our
3:50:57bone, move it up on the Z-axis. It's
3:51:00going to take a lot less movement to
3:51:02move through all six of our face
3:51:03textures like here. So you can see it
3:51:05requires much less movement, which is a
3:51:07lot more easy to control, which is
3:51:09awesome. However, it's kind of not the
3:51:12best setup in the world because if we
3:51:14just move this around, we can kind of
3:51:16move this wherever, which is not a great
3:51:18rig setup. We would actually want it so
3:51:20that it can only move on the Z-axis. But
3:51:22how do we actually do that? Well,
3:51:24there's a tab right at the bottom right
3:51:26of Blender here called the bone
3:51:28constraints properties tab. And I'm in
3:51:31pose mode, so that's going to be
3:51:32visible. It might not be visible in
3:51:34certain other modes, but make sure your
3:51:36bone is selected in pose mode. and then
3:51:38go into bone constraint properties. Then
3:51:40we're going to want to add a bone
3:51:42constraint to our face control bone and
3:51:44it's going to be limit location. So we
3:51:47want to add this limit location
3:51:49transform bone constraint. Then we're
3:51:50going to want to check these boxes next
3:51:51to minimum X and Y and check these boxes
3:51:54right here, maximum X and Y. And you're
3:51:57going to see that this teleports our
3:51:58bone to the face of our character, which
3:52:00we don't want. And to fix that, we're
3:52:02going to go to owner local space. So
3:52:05owner is going to be set to local space
3:52:07here. Now if we try to move our bone on
3:52:09the x-axis or the y-axis, it is not
3:52:12going to work. It's only going to move
3:52:13on the Z-axis, which is much better. So
3:52:15that's already a much better setup.
3:52:17However, we could still move this in the
3:52:19wrong direction, which is in the
3:52:21negative Z-axis. Uh we actually only
3:52:23want it so that this bone moves in the
3:52:25positive Z-axis, cuz this is
3:52:26unnecessary. We would never actually
3:52:28want the bone to go this direction. So
3:52:30to fix that, I'm going to set our
3:52:32maximum Z to whatever value our final
3:52:36texture is when we move it. So that
3:52:39sounds a little confusing, but all that
3:52:41really means is move your bone up until
3:52:43you're on your final facial texture,
3:52:45which in my case is going to be this
3:52:46silly one. Then when you do that, from
3:52:49your move menu here, where you see your
3:52:52ZV value, literally just copy that and
3:52:54then enable maximum Z and paste that
3:52:57right there. your minimum Z is already
3:52:59going to be at zero, so you don't need
3:53:00to worry about that. Then just move your
3:53:03bone. And now your bone is only going to
3:53:05go where you actually want it to, which
3:53:07is perfect. You can even go to bone
3:53:09properties here, go to viewport display,
3:53:12and change your bone color here. So I'll
3:53:14change this to pink, for example. That's
3:53:16not pink. Pink, for example. And that
3:53:19can look kind of nice. So this is
3:53:21already fantastic. We can already
3:53:22animate our character's facial
3:53:24expressions in our rig itself, which is
3:53:26super awesome. But more often than not,
3:53:29you're going to want to animate this
3:53:30mouth and the eyes separately from each
3:53:32other. So, how do you actually do that?
3:53:34Well, we're going to actually want to
3:53:36create a new material to do that. So,
3:53:38I'm going to go back into object mode,
3:53:39click on my face here, and go to this
3:53:42material properties tab. Then, I'm going
3:53:44to spawn in a new material by pressing
3:53:46this plus icon, and I'm going to select
3:53:48my LoveChan face material. Then I'm
3:53:50going to duplicate my LoveChan face
3:53:52material and rename this new material,
3:53:56Lovechan_mouth.
3:53:58Now we want to assign the mouth material
3:54:01that we just made to just her mouth
3:54:03here. So we're going to go to the front
3:54:05orthographic view, select our object, go
3:54:07into edit mode, then just select these
3:54:10faces on her mouth here. Then I'm going
3:54:11to go to our brand new Love Chan mouth
3:54:13material and click assign. And now that
3:54:15that's done, we want to go back into
3:54:17object mode, select our bone, press tab
3:54:19to go into edit mode, and press shift
3:54:21plus D to duplicate it. So, we just
3:54:23duplicated our face control bone. Then
3:54:25in edit mode, I'm going to press G plus
3:54:27X to move this over. And because we're
3:54:29in edit mode, we can still move it along
3:54:31any axis that we want. Then I'm going to
3:54:33rename this bone mouth control. Then I'm
3:54:37going to select my first bone here and
3:54:39press F2 to rename this I control. So,
3:54:44we're going to have an eye control right
3:54:45here and a mouth control right here. And
3:54:47I can even go into the bone properties
3:54:50tab right here and change the color of
3:54:52this so that it's blue just for visual
3:54:54clarity sake. Now, I want to go into
3:54:56object mode once again, select my face
3:54:58object right here. Then I'm going to go
3:55:00to the material properties tab right
3:55:02here. And making absolutely sure I have
3:55:05my mouth texture selected or excuse me
3:55:08my mouth material selected and not my
3:55:09face material. I'm going to press right
3:55:12click on my driver, click edit driver.
3:55:14Make sure that my rig, excuse me, make
3:55:16sure that my object is still our rig
3:55:18like so. Then I'm going to click on bone
3:55:21here and make sure that this is now set
3:55:23to our mouth control. So this is the
3:55:26bone we just duplicated here and I'm
3:55:28going to select it like so. So this bone
3:55:30right here should now be in control of
3:55:31changing our mouth texture. And just to
3:55:33make sure that our eye texture is
3:55:34working as intended, I'm going to go
3:55:36back to the lovechan face. In fact, I'll
3:55:38just rename this love chan eyes. Uh cuz
3:55:41that's going to make a lot more sense.
3:55:42Then I'm going to right click on this,
3:55:44hit edit driver, make sure the object is
3:55:46set to rig. So like that. Then make sure
3:55:50my bone is set to I control like that.
3:55:53Now I'm going to go into object mode,
3:55:55select my bones. So press control plus
3:55:57tab to go into pose mode. And if I move
3:55:59this bone right here, you're going to
3:56:00see we're going to animate between our
3:56:01eye textures. And if we move this bone
3:56:04here, we're going to animate between our
3:56:05mouth textures, which is fantastic. This
3:56:08is now working exactly as we wanted to.
3:56:10I'm going to go to the object data
3:56:12properties tab. I'm going to click this
3:56:14star so that we're not isolating this
3:56:15own collection exclusively. And now we
3:56:17can now animate Lovechan exactly as we
3:56:19see fit using everything we learned
3:56:21about rigging, way painting, etc., etc.
3:56:24And we can even animate her face
3:56:26textures like so using these two bones
3:56:29that we just created. Plus, if we want
3:56:31these bones to follow the rotation of
3:56:33the head. So, for example, we could have
3:56:35it so that when we rotate our head, our
3:56:37bones will follow along with our head.
3:56:39All we need to do is to select our bone,
3:56:41then go to edit mode right here, then go
3:56:44to the bone properties tab right here.
3:56:46Then in relations, we want to change the
3:56:48parent of our bone to be deafspine 006.
3:56:51So this bone is now the child of that
3:56:53bone. I can do it on this mouth control
3:56:55bone here as well. So I'll make this
3:56:57parent of this bone deaf spine 006. Now
3:57:01if we go to object mode and rotate our
3:57:02head around, you're going to see that
3:57:03these bones follow our head like so. We
3:57:06can even translate them like this and
3:57:08also have the bones follow along like
3:57:09this. And they will only change
3:57:12expressions when we actually move them
3:57:14around like this. So that can be super
3:57:16handy if you want the bones to follow
3:57:18along with your character and helps you
3:57:20not lose them when you're in the midst
3:57:21of an animation. So that actually wraps
3:57:24up this low poly series, which means
3:57:25that the price of the course is going to
3:57:27increase in just a few days on September
3:57:307th. So make sure to pick up the Gumroad
3:57:32version of the low poly series before
3:57:33the 7th when the price increases. Like
3:57:35the video and comment below if you
3:57:37enjoyed it.

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