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Shape Keys, Drivers, and the face rig in Blender for Beginners — Transcript

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0:00We've completed the body's rig, so now
0:01it's time to fully complete this guy and
0:03add rigging to the face. But since there
0:05are some important parts of character
0:06modeling that this specific character
0:08doesn't need, the video after this will
0:10be going over those things. But for now,
0:12let's learn about shape keys and
0:13drivers, which we'll use to rig the
0:15eyes. Things might get a bit
0:16complicated, but I'll try to introduce
0:18everything in as beginner friendly a way
0:20as I can think of. I feel like they're
0:21simpler than people make them out to be,
0:23but there is going to be a bit of math
0:24involved, so I don't know.
0:27Shape keys are basically a way of
0:29storing a different shape of a model
0:30where you can slide between the original
0:32shape of the model and the new shape.
0:34For example, here we have a cube and if
0:37you go into the green data tab and
0:38scroll down, you see the shape keys
0:40section. If we add one, it adds the
0:43basis shape key, which is the default
0:45state of the model. It's super important
0:47to keep this one around. Then we can add
0:49another one. And this is a shape key we
0:51can edit. In edit mode, with that new
0:53key selected, I can move the verts
0:55around. And then if we back out into
0:57object mode, we can move the slider on
0:59the shape key to shift between the
1:01normal shape of the model and the new
1:02shape. It's kind of like a slider in a
1:04video game character creator. You can
1:06also add as many shape keys as you want
1:08and edit any part of the model using
1:10them. So I can make a new one. And for
1:12this one, I'll move some different verts
1:13around. And now I can move out both sets
1:16of verts whenever I need to using the
1:18shape keys. Now, if you look at the
1:20shape key up menu on your side, you'll
1:22see that it looks a little different,
1:23which is just because they have a nice
1:25little add-on to make shape keys more
1:26organized called shape keys plus. All it
1:29does, at least as far as I care, is let
1:31you sort shape keys into folders, which
1:33is extremely handy because you can have
1:35dozens of shape keys on a model for
1:37multiple different purposes, which
1:38normally you have to have all in the
1:40same flat list. I definitely would
1:42recommend it to anyone who does anything
1:44with shape keys, but it is just a
1:46quality of life thing, so it isn't
1:47absolutely necessary. I honestly hope
1:49they make this function a part of
1:50Blender itself.
1:53To see shape keys in action on a more
1:55practical model, here's one of my own
1:56models and what shape keys she has. This
1:58is what we're going to do with our
2:00character's eyes, where I've created a
2:01shape key for her eyes being closed, so
2:04I can pose that part of her to make it
2:05look exactly how it should without
2:07having to deal with bones and weight
2:08painting them. Using shape keys, you can
2:10bend the face exactly how your character
2:12needs to be bent to make the most
2:13appealing shape. Whenever you see an
2:15ultra profofessional rig with a
2:17character whose face seems to bend
2:18perfectly with every facial expression,
2:20they're using shape keys to get it
2:21right. Although, we're only going to use
2:23them for the eyes since all the other
2:24parts are simple enough to be rigged
2:26normally. Other programs call them blend
2:28shapes. So, I guess it's kind of weird
2:30that Blender of all things doesn't call
2:31them that. But you can see the shape key
2:33has a purple background to its value.
2:35Why is that? That's because the shape
2:37key is being controlled by a driver.
2:39Drivers are the way you can connect a
2:41shape key to a bone. So you can animate
2:43a shape key like any other part of the
2:44model. You can add key frames to the
2:46shape key value itself. But it's way
2:48more practical to just use a bone to do
2:50that since you can use bones to save
2:51your pose. Also, if you use drivers
2:54right, you can make one bone trigger
2:56multiple shape keys in different ways.
2:58Meaning you can make way more natural
2:59feeling rig out of shape keys. For
3:01example, my Pomny's eyes are actually
3:03just a flat plane shrink wrapped to the
3:05base eye just like our character. And it
3:07has shape keys for moving in each of the
3:09cardinal directions. Each of which has a
3:11driver attached to this eyebone. So I
3:13can just move this bone around to move
3:15her iris in every direction. I even have
3:17shape keys for size. So I can scale the
3:19bone up or down to change her iris size.
3:23Basically how drivers work is that you
3:25can take any of these numbers in the
3:26data of any object, bone, or whatever
3:28and apply that number to wherever we put
3:30the driver like a shape keys value or
3:32literally any number. Even the numbers
3:34you see in node editors or modifiers.
3:36You just add the driver to the thing you
3:38want to be controlled by something else
3:40and then tell it which specific number
3:41in that thing you want to use like its
3:43location, rotation or scale values and
3:46then it applies it. You can even change
3:48that number by making a math equation
3:49using it, which I'll explain in a
3:51second. You won't be able to change that
3:53number manually while there's a driver,
3:55but you usually don't need to once you
3:56set it up right. [music] Back in our
3:58cube example, here's how to add a driver
4:00and make it work. First, add an armature
4:02so we can use the bone to drive our
4:04shape keys. Now, right click the value
4:06next to the shape key or it's slider at
4:08the bottom and click add driver. It'll
4:10pop out this little window where we can
4:12choose what number in the program we
4:14want to use to change the number we just
4:15added the driver to. If the pop-up went
4:17away, just rightclick the driver and
4:19press edit driver to get it back. This
4:22little section here is where we tell it
4:23what number to use. So, if we want to
4:25use the bone we added, we add the
4:27armature object to the first section.
4:29And then, since it's an armature, it'll
4:31ask for what bone to use, which is the
4:32only bone there. So, select that. Then
4:34below that, since every object has a ton
4:36of different values for its location,
4:38rotation, and scale, we need to specify
4:40which one of its numbers we want. So,
4:42let's think about how we want to change
4:44the bone to trigger the shape key. I'll
4:46make it so if we move the bone down,
4:47it'll trigger it. A bone's up and down
4:49is its Y-axis. So, we need to use its Y
4:52location, but the part below that is
4:54also super important. It says world
4:56space, meaning it'll use the bone's Y
4:58location in the whole world as a
5:00reference for what number is being added
5:02to the shape key. But we don't want
5:03that. We want the shape key to be off
5:05when the bone is in its default
5:07position, but turn on when we move the
5:08bone down. So, we need to switch this to
5:11local space. This uses the bone's
5:13position relative to its default
5:14position. So, it'll only add a number if
5:16it's been moved or changed in any way in
5:18pose mode. Now, let's see what happens.
5:20We move the bone down in pose mode, but
5:22it's not doing anything. What if we move
5:24it up instead? Now, it's changing. How
5:26do we make it work when it goes the
5:28other way? Back in the driver editor pop
5:30out at the top of the settings we mess
5:32with. There's this little equation that
5:33we can add things to to change the
5:35bone's y location value as it's coming
5:37through. When you add a driver to
5:38something, it'll try adding the value it
5:40had before you added the driver to the
5:42equation. So you'll have to delete that
5:44first. If you move the bone back down
5:46and check the driver, you can see what
5:48value it's getting here. Its y-value is
5:50negative since it moved below the
5:52default point and shape keys can't go
5:53into the negative, so it doesn't do
5:55anything. But if we go into the equation
5:56and put a minus or negative in front of
5:58the var, which is the variable being put
6:00out by the bone, it'll cancel out the
6:02negative y value and make it positive
6:04again. So now moving it down does
6:06trigger the shape key since its negative
6:08value is being flipped. And since the
6:11positive value from it being moved up
6:13will become negative, it doesn't change
6:14the shape key at all in that case. But
6:17we can add even more too. You can see
6:18it's moving a bit slow. So if you want
6:20to make it move faster, we can multiply
6:22the value coming through with an
6:24asterisk to make the number increase
6:26faster. Meaning we don't have to move
6:27the bone as far to trigger the shape
6:29key. In a similar way, you can divide
6:31the number to make it change slower. But
6:33I usually need to make it faster
6:34instead. There are a lot of different
6:36ways you can sort out this equation to
6:38edit the bar coming through. And you can
6:39even add different inputs to act as a
6:41second editable number in the equation,
6:43but we don't need those as much. That's
6:45all you need to know to get started with
6:46the shape keys and drivers. So let's
6:48start using these in our model.
6:51So I want to do it like I showed with my
6:53own model where the different eye shapes
6:54are different shape keys. So we have to
6:56do some special things since making
6:58shape keys is a pretty big checkpoint in
7:00the modeling process. When you add a
7:01shape key program will tell you that you
7:04can't apply any modifiers for the model.
7:06So now is the time to apply the mirror
7:07modifier. You have to apply it because
7:09we won't be able to make shape keys for
7:11only one side of the face if we don't. I
7:13don't usually save my model
7:15incrementally, but I do always have a
7:16separate file just before I apply the
7:18mirror modifier since that's usually the
7:20point you have to go back to when
7:22something screws up. So, do that just in
7:23case. I don't need it that much, but
7:25when I do, I'm always glad to have it.
7:27But if you forget, you can actually
7:29download an add-on called SK Keeper to
7:31forcefully apply modifiers to a mesh
7:33with shape keys. With it, instead of
7:35going to the modifiers panel, go to the
7:37object drop-down on this bar and you'll
7:39see the options to apply modifiers. It's
7:41still better to apply modifiers first
7:43anyway, but that's nice to have just as
7:45a backup. It does screw up with shape
7:47keys plus a bit though, where it turns
7:48shape key folders into normal shape
7:50keys, but it's not that big of a deal.
7:52Now, since we want to deal with the
7:53eyelash shapes as well as the eyelid
7:55shapes, I usually just keep them as a
7:57separate object and give them separate
7:58shape keys. But if you want, you can
8:00apply their solidify modifier and join
8:02them to the head. So, you can use only
8:03one shape key for both. I like keeping
8:05the solidify on it, though, so I'll keep
8:07them separate, but you have to apply the
8:08mirror modifier anyway. Also apply that
8:11for the iris since that needs shape keys
8:13too. Keep the shrink wrap modifier on it
8:15though so it'll always stick to the
8:17face. You can also do shape keys for the
8:19eyebrows, but I actually want to rig
8:20those with bones like normal. So we can
8:22leave the mirror on them. Everything
8:24else should be good the way it is. So
8:26we're applying the mirror modifier of
8:28the body, iris, and eyelashes. Just to
8:31recap. So the easiest shape keys to do
8:34are for the iris. All we need is a shape
8:36key for each cardinal direction and two
8:38for getting it bigger and smaller. Press
8:40the plus to add the bases shape key. And
8:42now with shape keys plus, you can hold
8:44down the plus so you can press add
8:46folder. If you don't want the add-on,
8:48just ignore the parts about the folders.
8:49It's just for making stuff more
8:50organized. Double click on the folder
8:52and rename it to movement.l. Then with
8:55it selected, just click the plus four
8:57times to add four keys. And then name
9:00them up.L, downl.
9:06So for one, we put L at the end of each
9:09because that's the way that Blender
9:11knows that these shape keys should be
9:12mirrored. And of course, the L stands
9:15for left. So for those shape keys, make
9:17sure to only change things on your
9:18character's left. You can also do R and
9:20do it all on his right, but I just do
9:22the left and mirror to the right. Then I
9:24called them in and out instead of right
9:26and left because when we mirror them,
9:28we'd have to rename the mirrored keys
9:30left and right since they'd be going in
9:32the opposite direction, which can get
9:33confusing. But if we call them in and
9:35out, their names will still make sense
9:36when they're mirrored. Also, really
9:38quick, if you have a shape key that
9:40isn't in a folder, you can add it to a
9:42folder by going under this dropdown and
9:44selecting set parent and then selecting
9:46the folder you want it to be under. Now,
9:48let's actually create the shape keys. In
9:50edit mode, pay attention to the top left
9:52of the screen because it will tell you
9:53what shape key you have selected. You
9:55want to be extra sure you have the right
9:57shape key selected. For example, if you
9:59have the basis selected, but you move
10:01the iris up because you thought you had
10:03the up key selected, you'll ruin the
10:05original placement of the iris, which
10:06will screw everything up. Just be extra
10:08careful, especially with the body. Since
10:10you might do the opposite where you edit
10:12the base mesh, but you have a shape key
10:14selected, meaning your edits will only
10:15appear when the shape key is active. And
10:17there's one last possible mistake you
10:19can make. In edit mode, there's a
10:21setting in the tool menu that lets you
10:23mirror your edits even without a mirror
10:24modifier, which can be handy, but in
10:26this case, you want to make sure it's
10:28off. We'll do one side shape key and
10:30then mirror the shape key itself. So,
10:32you don't want to edit both sides with
10:34only one shape key selected. There are a
10:36lot of ways to screw things up when
10:37dealing with shape keys. So, I needed to
10:39make sure you knew what could happen.
10:40[clears throat] If anything goes wrong,
10:41there are some ways to fix things. Like
10:43in this section, you can make the shape
10:45key only affect what's in a vertex
10:46group. So, you can limit where the shape
10:48key is being applied. Usually though,
10:50it's best to just delete the messed up
10:51shape keys and start from scratch. So,
10:53it's good to learn how things screw up
10:55when we have easy shape keys like the
10:56irises. Okay, so we're in edit mode with
10:59the iris. So, you can just select the
11:01shape key to edit them specifically. It
11:03shows its name in the top left. So,
11:05we're good to go. Hover over the left
11:07iris. Press L to select it all. And now,
11:10we just move it up to make the upshape
11:12key. You can see it shrink wrap to the
11:13eye as we move it. Just move it straight
11:15up and stop once the iris just barely
11:18goes beyond the eyelid. That should be
11:19good. So, let's confirm it worked in
11:21object mode. Turn on the up key and the
11:23iris goes up. So, it works. Now, we can
11:25stay in edit mode to do the rest. For
11:27down, just move it down until it goes
11:29out of the eye. For in, just move it
11:31inward towards the nose. For out, move
11:34it towards the far end of the eye. For
11:36this one, we might want to rotate it a
11:38bit so it stays level with the scara
11:40plane behind it. If we don't, the iris
11:42might warp a bit. Now that should be
11:44good. We can confirm they worked in
11:46object mode. The out key made it clip
11:48into the eye a bit. So I'll fix that by
11:50pulling it away from the scare more.
11:52Shape keys make verts travel in a
11:54straight line to their new position. So
11:56that can happen sometimes. Now those are
11:58all ready for drivers.
12:02But let's add the size changing shapes
12:03first. Select the basis so we don't add
12:06things to the movement folder and add a
12:07folder for size. L. Then select that
12:10folder and add two keys each named big.l
12:13L and small L. Obviously, in edit mode,
12:16just scale the iris up for big and down
12:18for small. We can mirror them now, but
12:21if we mirror them after adding the
12:23drivers, it'll copy the drivers over, so
12:25we have less work to do. So, let's add
12:26the drivers first. You can copy drivers
12:28over, too, but this is less work. Before
12:31we add the driver, we need to add a bone
12:33to the rig that the driver can
12:34reference. You can add a separate
12:36armature object and mess with the face
12:37rig separately, but I like adding those
12:39bones right to the full rigify rig,
12:41which we set up in the last video. It
12:43doesn't have to be a rigify rig, though.
12:44Any rig will work. I like doing this
12:46because you have to specify what
12:48armature group the bone is a part of in
12:50the driver. So, if you change what
12:51armature group it's a part of, you'll
12:53have to change that part of every
12:54driver, which can get annoying. But, if
12:56it's a rigify rig, I'll have to warn you
12:58to not regenerate the rig if you added
13:01bones that are not in the meta rig.
13:02Regenerating will erase all bones that
13:04aren't in the meta rig, meaning all your
13:06special shape key bones will be gone.
13:08I've done this more than once, so be
13:10warned. If you want to add them to the
13:11meta rig, you can give them the rigify
13:13type of raw copy, which will just
13:15plainly copy the bone over to the full
13:17rig. It's probably a better idea to do
13:19that, but I never bother. In edit mode
13:21with the full rig, select the face bone
13:23collection, so all bones we add will be
13:25in that group. So, you can use the face
13:26button on the rigified rig layers to
13:28toggle these bones we're going to add.
13:30You can press shift A to add a single
13:32bone that's not connected to anything.
13:34Move that bone to the center of the
13:35iris. Shrink it down so it's easier to
13:37look at, but it doesn't have to be
13:39exact. You do want it to be in front of
13:41the iris, though, like around where he
13:43would wear glasses, so it's a bit easier
13:45to use. Since bones rotate at their base
13:47joint, which is called their head, I
13:49like putting the base in the center, but
13:50it doesn't matter too much. Now, in the
13:52bone tab, call it iris.l, L, then select
13:55the iris bone, then the headbone, and
13:57then Ctrl + P to parent it, and press
13:59keep offset. That'll make sure the bone
14:01follows the head when we move it. Now we
14:03can mirror the bone, which is easy
14:05because we put a L at the end of its
14:07name. Just click it, rightclick, and
14:09then click symmetriize. That'll put a
14:11bone on the opposite side of the head,
14:13which is mirrored across the rig's
14:14origin point, and even rename the bone
14:16to iris.R for us since it's on the right
14:18side. This also means in pose mode, we
14:20can mirror a pose to that side as well.
14:22So, it's a really good idea to make sure
14:24bones on your rig are mirrored right.
14:25The bones only need to have the same
14:27name aside from having a L and R at the
14:29end. They don't even need to actually be
14:31mirrored into position, but it's usually
14:33better if they are. If it's not
14:34perfectly in the middle of the iris,
14:36that just means your rig's origin point
14:38and your iris's origin point aren't in
14:40the same place. Now that it's mirrored
14:42in edit mode, toggle on the X-axis
14:44mirror option to edit the placement of
14:46both bones if you ever need to in the
14:48future. Now that we have the bone, let's
14:50add the driver. In the iris's shape
14:52keys, right click the value next to the
14:54shape key and add driver. Select rig or
14:57whatever armature group the bone is a
14:59part of and then the iris.lb bone. Since
15:02this is the up value, we have to think
15:04about what axis is up for the bone. As I
15:06mentioned in the example, the bones up
15:08and down is its Y location. If you want
15:10to see them yourself, in the data tab
15:12with the rig selected, you can turn on
15:14axes to see what axis is what for each
15:17bone. I don't really know why a bone's
15:19axes are different from the global axes,
15:21but whatever. In the driver, select the
15:24Y location and then also like the
15:26example, select a local space. So, it'll
15:28give us a zero when it's in its default
15:30position. Now, if you go into pose mode
15:32and move that bone up, you can see the
15:34iris following along a bit. It's
15:36definitely slow. So, let's multiply it.
15:39This changes a lot depending on the size
15:41of your eye and the overall size of your
15:43character, meaning your shape key has to
15:44move farther to get out of the eye. Just
15:46keep changing the number you multiply by
15:48until it's how you want it. Ideally,
15:50where the center of the eye matches the
15:52location of the bone perfectly, but it
15:54can be whatever you want it to be. I
15:55[clears throat] landed on time 8 for
15:57myself, so we can see it follow pretty
15:58close to where the iris bone is. That
16:00looks good. So, we can copy this driver
16:02to the other values, so we don't have to
16:04constantly change every setting. Right
16:05click the value with the driver and then
16:07click copy driver. Then, right click a
16:10different value and press paste driver.
16:12Now, that value has the exact same
16:14driver, but this is for the down key.
16:16So, we don't want it to be exactly the
16:17same. Like I said in the example, we can
16:19make the driver work when the bone moves
16:21down by adding a negative to the
16:23equation. You can make the var negative
16:24or the multiplied number negative since
16:26that's how multiplication works. Now,
16:28just tweak the number so it works there,
16:30but the copied number should be pretty
16:31close. Now, to do the in and out keys,
16:34copy and paste the driver over to them,
16:36but we have more to change. As you can
16:38see with the visible axes, if we want to
16:40make the driver activate when moving the
16:42bone left and right, we need to switch
16:43it to its X location.
16:46The axis is pointing out in the positive
16:48direction. So the out key will be using
16:49a positive number in the equation and
16:51the in key is going to use a negative
16:53number. So make sure all that is set
16:55right.
16:59And now we just need to tweak the number
17:01so it feels good to use. The keys are
17:03going to get drastically different
17:04numbers since it only has to move a
17:06small distance for the in key but a long
17:07distance for the out key. It's hard to
17:09put into words, but when a shape key
17:11doesn't move the stuff that far from its
17:13basis, its driver will need a much
17:14higher number since the bone ends up
17:16moving a much smaller amount and vice
17:18versa. So, my in key ended up needing a
17:21x 10 while my out key only needed a time
17:24six. Now, in pose mode, you can just
17:26move the iris bone to move the whole
17:28iris wherever you want it. Since there's
17:30a key for each cardinal direction, it'll
17:32apply the shape key for two different
17:34directions if you want to move it
17:35diagonally, so it can be moved anywhere.
17:37Before we do the size drivers, let's
17:39mirror the movement section. If you
17:41select the folder, then click and hold
17:43this clipboard with an arrow icon, it'll
17:45give you the option to copy and mirror
17:46the shape keys at the same time, which
17:48will apply to the whole folder. Now,
17:50it's both mirrored and even renamed each
17:52key for the right side since they each
17:54had L. You can also just click it once
17:57and then under this arrow, press mirror.
18:00But that won't change the names of the
18:01shape keys. So, it's better to do it the
18:03first way. But this won't mirror the
18:05drivers. It will keep them there though,
18:07so we just need to change each one. So
18:09it uses the iris dot rone instead. And
18:12that should be good for most of them.
18:14But since the in-n-out drivers are going
18:16in opposite ways now, just switch their
18:18negatives. So the in equation will be
18:20positive now and the out will be
18:21negative. That should be perfectly
18:23flipped. And you can make them look
18:25wherever you want. Now, if you don't use
18:27folders, you can just repeat the steps
18:28with each key individually. One common
18:31thing that rigs have is a singular bone
18:33that both eyes follow. But I won't tell
18:35you to make that here since it's a bit
18:37more advanced. But I will quickly
18:38explain how it works if you want to try
18:40anyway. Basically, add a new variable to
18:43each driver, which is the X or Y
18:45location of a new bone that is the
18:47parent of both iris bones. Then in the
18:50driver equation, just add that new
18:52variable to the original variable with
18:54parentheses around them. And then put
18:56the negative on the outside of the
18:58parenthesis. That'll add on the
18:59placement to the other iris bones. I
19:02explained the process in a bit more
19:03detail in my 2D eye tutorial at around 9
19:06minutes and 22 seconds. Although I use
19:08it in a different place. Don't worry
19:10about adding it though. You can just
19:11move each individual iris bone as well.
19:13For the size keys, let's just add a new
19:16driver since we're going to use much
19:17more different settings. We do still
19:19want to use the left iris bone, but with
19:21any one of its scales in local space.
19:23We're going to scale it out in all
19:24directions when resizing it anyway. So,
19:27it doesn't matter which scale it is. Now
19:29the problem with scale is that its
19:31default state is one, not zero. So you
19:33can see the shape key already turned on
19:35since one is 100% activated. But we want
19:37it to have a value of zero when the
19:39scale is at one since that's the
19:41default. So since this is the big key,
19:43we can just add a minus one. So when the
19:45value it's getting is one, it'll reduce
19:47it to zero. But if it goes above one
19:49when we scale it up, it'll still add on
19:51that extra bit of additional scale on
19:53top of the one. If you want to multiply
19:54it though, add parentheses around it and
19:57add the multiplier outside of M. Now,
19:59[clears throat] copy that to the small
20:00key. This one is much weirder and it's
20:02harder to explain in easy terms. We want
20:04this one to say negative bar + one. So,
20:08if it's getting a one, it'll turn into a
20:10negative one, which will then have one
20:11added to it, making it zero. Then, if
20:14it's getting scaled up, it'll be a
20:16higher negative number. So, the plus one
20:17can't fight against it. But if we scale
20:19it down, meaning the negative number is
20:21below one, the plus one will add on an
20:24extra positive value, meaning it'll turn
20:26on the shape key. If you didn't get
20:28that, don't worry. Just copy negative
20:30var + one. Also, since that equation
20:32means that we won't be able to max out
20:34the shape key unless we scale it all the
20:35way down to zero, which is really hard
20:37to do. Let's add some parenthesis around
20:39the whole thing and multiply it by two.
20:41The parenthesis mean everything inside
20:43of them will be completed first, then
20:45it'll be multiplied, which is how you
20:46get it to work right. If you remember
20:48PEMDAS and the order of operations from
20:51school, that's why. Now, if you copy and
20:53mirror that like before, all you have to
20:56do is switch the bone in the new drivers
20:58to the right iris bone, and it all works
21:00perfectly. You now have perfect controls
21:01for this kind of eye.
21:04If you're staring at your screen
21:05horrified because you just don't get
21:06shape keys, you can technically just map
21:09the iris to the iris bone one to one by
21:11parenting the iris to the rig with empty
21:13weights, then just applying a one to
21:16each iris's bone group and it'll work a
21:18similar way, but it's way more unwieldy,
21:20so I don't recommend it. This is a great
21:22place to get started with the shape keys
21:23anyway. So, try to learn them. There are
21:25plenty of other tutorials on this stuff
21:27elsewhere on YouTube. So, if my
21:28explanation didn't work, someone else's
21:30might, or just try again with the
21:32eyelids, which could be even easier. I
21:34don't know. Now, let's deal with the
21:36eyelids. Since I've got in detail about
21:38what to do twice, I'm going to go a bit
21:40faster since we're just doing the same
21:42overall process over again. The first
21:44thing we need is to decide how many
21:46expressions we want because we'll need a
21:48shape key for each expression. The good
21:49news is that we can just add more later.
21:51So, I'm going to add four keys. One for
21:53a closed eye or a blink, one for a happy
21:56closed eye, one opening both eyelids
21:58further for a surprised expression, and
22:00one for bringing the lower lid up. So,
22:03we can make a squint alongside the blink
22:05expression used halfway since these will
22:07work for each eye individually. It'll
22:09also count for expressions like a wink.
22:11So, I'll add a folder and call it Il.
22:14And with it selected, I'll add four keys
22:16and call them blinkl, happy, L,
22:20surprised. L and bottomup L. Now to
22:24actually edit the keys, first hide the
22:26eyelash with H. We're going to add the
22:28same keys to it later, but for now, just
22:30get rid of it. If you joined it to the
22:31main mesh, you can hide it in edit mode.
22:33Then with blink selected now, we just
22:35have to pull the verts at the top of the
22:37eyelid down to the bottom and edit them
22:39so it looks nice. It's usually a good
22:41idea to bring down the inside parts of
22:43the eyelid, too, so you aren't fighting
22:45against the subdive modifier.
22:48Just move things around until it looks
22:50pretty and you're good. The eyelash will
22:52cover some of this though, so don't
22:53worry about it too much.
23:05Onto the happy blink. But why would I do
23:06all that again when the blink shape key
23:08is pretty close to what I want? Delete
23:10the happy shape key. Then just copy the
23:12blink key by clicking the clipboard
23:14icon. Then rename the copied to happy.l.
23:16Now it's just like the blink. So we can
23:18just move up the middle vert with
23:20proportional editing to make the happy
23:21blink expression. That's all you need.
23:32The last two are easy. Just move the
23:33eyelids up and down respectively with
23:35proportional editing and that should be
23:37good enough. If your scara plane isn't
23:39big enough, just make it bigger. Then
23:41for the last one, just move the bottom
23:43lid up a bit. You can tweak everything
23:45later, even after you've added the
23:47drivers. So, let's just get it all set
23:49up for now. Before we do the bones,
23:51let's set up the eyelashes shape keys.
23:53It's pretty simple. Just add a folder
23:55and keys named the same things as the
23:57eye so they're easier to keep track of.
23:59Now, when you're editing each key, just
24:01turn each similar key on the body up to
24:03one, so you know exactly where to place
24:05the eyelash so it looks perfect with
24:07everything else. You can follow the
24:09exact same process. I'll make it flop
24:11downwards since that's how the lashes
24:13usually work.
24:25[music]
24:27Since I realize I don't want the happy
24:29lashes to plop down, I don't want to
24:30copy the blink key. So, I'll just make
24:32it from scratch. The eyelash verts are
24:34much easier to move anyway.
24:43The surprised one is pretty easy,
24:50and the bottom up one barely needs any
24:52changes. We'll set up the drivers so
24:54both the bodies and eyelashes keys
24:56activate at the same time, so it'll look
24:58exactly how you'd expect it to. Now,
25:00let's figure out what bones we want to
25:02create these shapes. You can just have
25:03individual bones for each off to the
25:05side to trigger each one. But it feels
25:07way more natural to set them up in a way
25:09that makes visual sense and where you
25:11can make multiple keys work with one
25:13bone. I like setting it up where there's
25:15just one bone at the top lid, one at the
25:17bottom, and then just one off to the
25:19side for the happy expression since that
25:21one's harder to work into everything
25:23else.
25:24I'll call them top lid, bot lid. L, and
25:28happy L. Don't forget to parent them to
25:31the head. We'll make the blink and
25:33surprise work with the top lid and then
25:35the bottom up key will work with the bot
25:37lid. I usually split the surprise
25:39expression into a top up and a bottom
25:41down key too, but it's not necessary.
25:43It's just nice to have the option to use
25:45them individually sometimes. Select each
25:47bone, right click, and press
25:49symmetriize. If symmetriize ever fails,
25:51it's because you need to have L at the
25:53end of the name. Add a driver to the
25:55blink key and make it use top lids Y
25:57location in local space and make it
26:00negative since blinking is a downward
26:02motion. Mess with the multiplication
26:04until the bone and the upper eyelid
26:06basically move in unison. Seven worked
26:08for me. For the happy key, just copy
26:11over that driver, but switch it to the
26:13happy bone. That's basically good
26:14enough. For surprise, copy over the
26:17blink driver and make it positive again
26:20since we'll be moving that bone up to
26:21activate surprise. Then mess with the
26:24multiplied number again until moving it
26:25up moves it in unison. That
26:27[clears throat] number will probably be
26:28higher since it's moving a shorter
26:30distance. I went up to 25. Then finally
26:33copy that driver to the bottom up key
26:36and just change it to the bot lid bone.
26:38And then again mess with the multiplied
26:39number. Since there's nothing strange
26:41going on here, we can do a lot of
26:42copying. Now each of the bones can be
26:45used to move around the eye as you need.
26:47Let's get the eyelash set up too since
26:49it's super easy. Just copy each driver
26:51from the body shape keys to the eyelash
26:52shape keys, making sure they're in the
26:54same spot as they were on the body.
26:56That's it. Now, since the drivers are
26:58identical, the eyelash should move in
27:00the exact same way with the same bones.
27:03So now we just need to copy and mirror
27:05everything and then change each bone to
27:07their right version. And it's all set up
27:09perfectly. Both eyes can be posed and
27:12the iris can be moved and scaled. If you
27:14can think of more expressions to add,
27:16just add another shape key and maybe a
27:18bone to create that expression. You can
27:20have as many as you want. Things might
27:21not work so well depending on what your
27:23face is like, but in this case, it does
27:24work.
27:27We're done with the eyes, so let's get
27:29the rest of the face done, which should
27:31be the last part of making this
27:32character. We aren't going to use shape
27:34keys, but I do want to remind you that
27:36you can use shape keys if you want. If
27:38you want a ton of usability, you can
27:39make a shape key for moving each point
27:41on the mouth in all cardinal directions.
27:44So, you can drive them just like we did
27:46with the iris. Or if you just want
27:48something quick, you can make a single
27:49shape key for the whole mouth or brow
27:51shape and then just activate it whenever
27:53you need to. For me though, I prefer
27:55having solid control points for a bunch
27:57of different parts of the mouth so I can
27:59make any expression I want on the fly so
28:01I don't have to stick to a couple
28:02predetermined shapes. So, I'll tell you
28:04how to make that. I think it's both
28:05easier than shape keys and way more
28:07versatile. The eyebrows will be super
28:10quick, so let's do them now. First,
28:12select them and turn on wireframe and
28:14all edges. If you can't see the
28:15wireframe that well, make sure to make
28:17the black materials viewport display
28:19color a little lighter. What we want to
28:21do is just map each vertical edge on the
28:23brow to one bone so it's super easy to
28:26move around. If you added a ton of edges
28:28to it, I'd recommend deleting some, but
28:30you can also just rig it however you
28:32want. It's not the end of the world. In
28:34edit mode with the rig, if we copy one
28:36of the eyebones with X mirror turned on,
28:38it'll automatically be mirrored. Let's
28:40add a bone to the inner tip of the brow
28:42and call it brow.l. We'll need to
28:44manually rename the right side in this
28:46case, so call it brow. R, and it'll stay
28:49symmetriized. Then, if we copy it, it'll
28:51copy its name, too. I only have four
28:53total loops on my brow. So, I only need
28:56four bones. They also don't need to be
28:58exactly on top of each edge, just close
29:00enough. parent them with keep offset to
29:02the headbone, but since the eyebones
29:04were already parented, these are too.
29:06Now, parent the eyebrow to the rig with
29:08empty groups. This will add a vertex
29:10group for every single bone in the rig,
29:12and we definitely don't need them. So,
29:14find the brow vertex groups and press
29:16this lock symbol on the right. You can
29:18click and drag across to select them
29:20all. Now, we can go to the drop down on
29:22the right and click delete unlocked
29:24groups. It'll get rid of every other
29:26group, which is way easier to look at.
29:27You can also sort by name so they aren't
29:30alternating back and forth. Now in edit
29:32mode, apply a value of one to each edge,
29:35switching to match their nearest bone.
29:37Since I copied them in order from left
29:38to right, it'll be brow.l brow.l.001
29:42and so on. So we can just do it in that
29:45order. Since it still has the mirror
29:47modifier, it'll automatically mirror the
29:49weights to the mirrored side. Just
29:50remember to put the armature modifier
29:52below the mirror but above the shrink
29:54wrap. Then we can just move the bone to
29:56change the shape of the eyebrow whenever
29:58we want. When posing, you might want to
30:00rotate them, too, so the edges are at a
30:01good angle for forming the shape. You
30:04don't have to add this, but you can even
30:06add a shrink wrap to the bones, too,
30:08since we're going to want them to stick
30:09to the head anyway. Just go to the bone
30:11constraints tab when you're in pose mode
30:13and add a shrink wrap and make it use
30:15the head as a shrink wrap. Constraints
30:17are kind of organized like modifiers,
30:19but mostly just work for other purposes,
30:21like limiting their location or making a
30:23bone point at an object. Now, you can't
30:25pull it away from the head, which would
30:27make the brows look a bit weird. To
30:29apply it to all of them, select them all
30:31and then select the one with the
30:32constraint and then press copy to
30:34selected in this drop down. Now, they
30:36all have it, but again, you don't need
30:38it. We want to do a similar thing for
30:40each part of the lips. So, let's add all
30:42the bones we need first. Turn on
30:44wireframe and all edges, but there's way
30:46too much detail visible because of our
30:48outline solidify modifier, so just turn
30:50it off for now. Add one bone for each
30:52edge around the mouth. There are a
30:54couple more edges than I usually aim
30:56for, but it'll technically work. It'll
30:58just give us an annoying amount of bones
30:59to pose. You can map two edges to one
31:02bone instead if you don't want as many
31:04bones. They're overlapping each other,
31:06so I'm going to rotate the ones on the
31:08bottom lip down. If you change the pivot
31:10point to individual origins, you can do
31:12them all at once. Medium point won't
31:14rotate them at their base in edit mode.
31:23I'm going to name them from the top to
31:24the edge of the mouth like mouth T,
31:27mouth T. L mouth T. L. That but with two
31:32and then mouth E.L. then at the bottom
31:35it's mouth B and so on. Remember the
31:39order you added the numbered bones in,
31:41so you don't have to constantly check
31:43back. Then symmetriize. The middle bones
31:46obviously don't need to be symmetriized.
31:48Don't parent the head yet. We still want
31:50some more bones. It's way more natural
31:52looking in animation to use a jawbone,
31:54too. So, we need to add one. Place it so
31:57its head or its base joint is just
31:59around this area relative to the ear.
32:01And its tail or its top joint is near
32:03where the front of the chin is. You can
32:05change this X location to zero over here
32:08to get it to the center. Just do it for
32:10both the head and tail.
32:13The last bones we need to add are for
32:15the teeth and tongue. To keep things
32:17simple, just add one bone for the top
32:18teeth, bottom teeth, and tongue. You
32:21usually want to add multiple bones for
32:22the tongue, but it's only really
32:24necessary if you plan on posing it a lot
32:25more. So, for now, I just give it one.
32:27For [clears throat] the teeth, I usually
32:29like having the bones head be in the
32:30middle of the teeth, but it doesn't
32:32matter too much. I'll call them teeth. T
32:34teeth.b and tongue. Now we need to
32:37parent everything to these bones. Let's
32:39do it with the teeth and tongue first
32:41since it's super easy. Just select both
32:43shift select the rig parent with empty
32:45groupoups and like with the eyebrows,
32:47find the teeth groups on the teeth and
32:49the tongue group on the tongue and lock
32:51them. And then on the right, delete
32:53unlocked groups. Now in edit mode, just
32:55select the top teeth with L and apply a
32:58value of one to the top vertex group.
33:00And then do the same for the bottom
33:01group. Then do the same with the tongue.
33:04They're all sorted. So, let's deal with
33:06the jaw now. Parent the body to the rig
33:09again, but make sure to only parent with
33:11empty groups. Now, since the body
33:12already has a ton of vertex groups for
33:14the rest of the rig, what empty groups
33:16actually does is just add groups we
33:18didn't have before, but keep all the
33:19groups we already had the exact same.
33:21This is partially important since we
33:23don't want to make the hairbones affect
33:24the head at all. We're going to have to
33:26use weight paint mode for real this
33:28time. So find that jaw vertex group so
33:30we can add to it. Before we do anything,
33:32we need to select some options in our
33:34weight paint tool. I mentioned these in
33:36the last video, but I'm going to mention
33:38them again. First, make sure mirror is
33:40on and mirror vertex groups. So it'll,
33:42you know, mirror the changes. So we only
33:44have to do half of the work. Mirror
33:45vertex group specifically will find the
33:47mirrored group and match the weights
33:49there. So it's obviously important. But
33:51even more important than that, in
33:52options, select autonormalize. This is
33:55probably the most necessary button to
33:56push in this whole process. Basically,
33:58it makes sure each weight group will max
34:00out at one, and it'll replace weights
34:02from other vertex groups to make sure of
34:05it. We're going to be painting on top of
34:06the spine six group, which is the head.
34:08So, we'll need to make sure we replace
34:10some of that as we paint. When using
34:12vertex groups for non-rigg things, it's
34:14completely fine to have them add up to
34:15more than one. But, when it comes to
34:17rigging, it's much more necessary that
34:19it only adds up to one. I learned while
34:21making this tutorial that it actually
34:22safeguards against most things going
34:24wrong, but you should still try and keep
34:25all the weights at one. Anyway, if we
34:28paint on now, it'll take away from other
34:30groups to let the jaw group go up to
34:31one. So, paint it so that the bottom of
34:33the head is all red, which means the
34:35jawbone is influencing those areas 100%.
34:38We want to blur it out to the side so it
34:40pulls along the head smoothly.
34:45You might want to rotate the jawbone
34:47down in pose mode so the vertices will
34:49move when we paint them so we can know
34:51if it looks all right. This is also a
34:53situation where you might want to turn
34:54off the subdiv modifier because the
34:56weight painting tools are way more
34:58reliable when you know exactly where
35:00each vertex is.
35:03You'll probably have to hide the teeth
35:05and tongue while painting the inside of
35:06the mouth. There. We need to make the
35:08bottom part follow the jaw, too. So,
35:10paint that red. We also want the bottom
35:12lip to be red, but we'll be changing
35:13that later. So, just get it started with
35:15the jaw first.
35:21Since our lips are intersecting, you
35:24might want to apply the weights in edit
35:25mode so it's more precise. I'll
35:28control-click on the other side so it'll
35:30select this whole grid from here to
35:31there.
35:34You can set the weight in the tool
35:36settings to zero [music] to erase
35:38weights.
35:42Now just blur the sides until it looks
35:44all right. So the sides of the mouth are
35:46blending along nicely.
35:52Also make sure that the back of the jaw
35:54is very blurred out so it doesn't bunch
35:56up back there. Don't forget you can
35:57change the strength of the blur in the
35:59tool settings. We can tweak this all
36:01later, so don't worry about getting it
36:03perfect right away. Let's do the lips.
36:05Let's actually start off in edit mode. I
36:07want to apply a weight of one to each
36:09part of the lip so each bone pulls along
36:11that edge 100%. It'll be easier to see
36:14if we toggle on something on the
36:15armature modifier like the triangular on
36:18cage button. There's also the square
36:19button which actually lets us see what
36:21it's changing in edit mode. So if we
36:23toggle that on for the armature
36:24modifier, we can use the jaw to open up
36:26the mouth and edit the lips easier. We
36:29just want to select the verts around
36:30each part of the lip.
36:34Make sure autonormalize is turned on
36:36here and apply one to each related bones
36:38vertex group. This button was added in
36:40version 4.5 so you won't have it if you
36:42have an earlier version. If that's the
36:44case, just do it with weight painting
36:46instead. You need a normalizing anyway.
36:48Now you just need to remember which bone
36:50is which so you can apply them easily.
36:57If it returns to its original spot, you
36:59can tell it erased the jaw weights and
37:01replaced them with the lip weights,
37:02which is what we want. We'll parent the
37:04bones in a second.
37:09Once it's all done, make sure you test
37:11each bone to make sure you did it right.
37:13It's agonizing work, so don't assume you
37:15did it perfectly.
37:20If that's all in place, we should just
37:22be able to blur each of the mouth
37:23weights to make them look a bit nicer.
37:25It won't be perfect, but it'll
37:27definitely be good enough. Also, with
37:28mirror vertex groups on, it'll perform
37:30each action on the mirrored vertex
37:32group, so you only have to blur one
37:34side. Just keep blurring each group
37:36until it looks right.
37:39You don't want the gradient to be
37:40blobbing off to the side. So, just blur
37:42it until it looks somewhat like this.
37:45I'll also blur the jaw weights a bit,
37:46too.
37:55Now we just need to parent the bones to
37:57each other. We want the lower parts of
37:59the mouth to all be parented to the jaw
38:01and the top parts to be parented to the
38:03head so it mimics real life. So select
38:05all the bones of the top lip and the
38:06edges of the mouth and also the top
38:08teeth and parent those to the headbone
38:10since those parts are more locked onto
38:12our skull. Then parent the jawbone to
38:15the head too. But now select all the
38:17bottom lip bones, the bottom teeth and
38:19the tongue and parent those to the
38:21jawbone.
38:23Now we can just rotate the jawbone to
38:25move the whole lower portion of his
38:26face, which is so much quicker than
38:28moving each bone individually. And on
38:30top of that, you can still pose these
38:31bones on top of where the jaw moved
38:33them. There are ways to use constraints
38:36and other bones to make the mouth more
38:38round as you move the jawbone, but since
38:40this is a beginner tutorial, I'll just
38:42say that this is really all you need.
38:44Also, they should all be hidable using
38:45the face button in our rig layers. If
38:47they're all a part of the same face bone
38:49collection, if they aren't, then just
38:51remove them from any bone collection
38:52they're a part of and then add them to
38:54the face collection. Then the button
38:56will work.
38:58You're in the final stretch. We're
39:00almost done. Technically, the last thing
39:01we need to do is just cosmetic, but I
39:03think you'll want to know about it. If
39:05you look at the rigify rig, it has all
39:06these different wiry shapes to separate
39:08each bone from each other. We can add
39:10them to our new bones too super easily,
39:12especially since the rigify rig made so
39:14many we can use. If you find this
39:16WGTS_rigs
39:18collection, these are all the shapes
39:20that the rig uses. And we can use these,
39:21too. WGTS is short for widget. Here's
39:24how you change a bone shape. Let's say
39:26we want to make these mouthbones little
39:28cubes. If you select the bone in pose
39:30mode, then in the bone tab, go down to
39:32viewport display. This is where you add
39:34bone shapes. In the custom object part,
39:37just select whatever object you want to
39:38be that shape and then it'll turn into
39:40it. If you look at the rig, you can see
39:42that the torso bone in the rigify rig is
39:45also a cube. So if you type torso into
39:47this section, you can use the same
39:48widget that the rigify rig uses. Now you
39:51can edit location called its translation
39:53for some reason, rotation and scale to
39:55make it exactly how you want. This won't
39:57change the placement of the bone itself,
39:59just where the visible part of the bone
40:01is. The custom object is placed where
40:03the head or base of the bone is. So, if
40:05it's a bit out of place, that's why.
40:07Just change its translation, so it's
40:09where it should be. Now, we can change
40:11its color, too, in the area above it.
40:13It's set to default colors, but we can
40:15change it to any of these color sets. Or
40:17select custom to make it any color you
40:19want.
40:21These three slots are for when it's not
40:23selected, when it's selected, but not
40:25the active selection, and when it's the
40:27active selection. What I like to do is
40:30copy the colors from a rigify bone and
40:32just change its unselected color. You do
40:34that by selecting it, shift selecting a
40:36rigify bone, and then pressing these
40:38arrows on the right. That'll apply that
40:40color to every selected bone. So now it
40:42matches the style of all the other
40:43bones. You might want to copy over both
40:45the bone color and the pose bone color.
40:48Or just set the ladder to default
40:49colors. Now you can copy all of this
40:52customization to the other bones by
40:54selecting them all, selecting the bone
40:55with the special shapes, and then on
40:57each of these parts here, just right
40:58click and press copy to selected or copy
41:01all to selected. That'll make each bone
41:03identical. I'll adjust each rotation
41:06manually and copy that around.
41:11Also, you can copy the colors like
41:13before. I want to use the style for the
41:15brow bones and the main eyelid bones,
41:17too. So, I'll copy them from there, too.
41:21For the eyebrows, I'll actually rotate
41:22them a bit and scale it up on its Y-axis
41:25so it mimics the edges they're attached
41:26to a bit more. For the happy expression,
41:30I'll actually take the chest shape since
41:31it's close enough to the upturned shape
41:33of the eye. I'll make it smaller and
41:35flip it around, scaling it down on the
41:37Z-axis so it's flatter.
41:39I'll also use that one for the jaw since
41:41it looks kind of similar to the bone
41:43shape that the rigify face rig uses. I
41:45want it to just be around the chin since
41:47I don't want this giant bone to always
41:48be visible inside of the head. For the
41:51iris bones, I just want them to be the
41:53same shape as the irises, so I need a
41:55circle. The toe and breast bones are
41:57circles, so use those. And then scale it
42:00up on the Y-axis so they fit the shape.
42:03The hair bones actually don't have a
42:05special color either, so I'll give them
42:06one, too. For some reason, I like making
42:08the hair bones orange, so you can copy
42:10over the finger bones color. You can
42:12also edit their shapes and any of the
42:14rigify shapes, too.
42:17If you ever want to make your own
42:18shapes, you can just add a curved
42:20circle, edit that to be whatever shape
42:22you want, and then select it for the
42:24bone. You can also use a normal mesh,
42:26but it's generally nicer to have a
42:28wireframe for these bone shapes than a
42:30full mesh. So, if you select all these
42:31verts, X to delete, but then delete only
42:34faces, so we'll be left with a wireframe
42:37cube, which should be much nicer. Also,
42:39you can even add a text object to use
42:41for bone shapes. If you go into edit
42:43mode with it, you can just type whatever
42:45you want. Change the fill mode on its
42:47data tab to none, and then just select
42:49it for the bone.
42:51There are also these objects called
42:52empties, which are just empty wire
42:54objects, which you can also use for bone
42:56shapes. There's tons of customizability
42:58here, so do what you want. You'll figure
42:59out what you want in the rig the more
43:01you use it.
43:25And we are finally done. As far as this
43:28character design is concerned, there's
43:29nothing else to really do. But I am
43:31going to make another video after this
43:32to add some things that this specific
43:34character wouldn't need, like textures
43:36and clothes, since whatever character
43:37you want to make will surely want that
43:39stuff. As for what to do until then,
43:42feel free to post whatever character you
43:43made in the art channel of my Discord
43:45server. I'd love to see what you made
43:46out of the series. It makes all this
43:48effort feel worth it. Or as usual, if
43:50you're having any problems related to
43:52this video, this process overall, or
43:54anything going wrong in Blender, you can
43:56comment them below or go to the help
43:58channel of my Discord server to ask
44:00about it. I'll try to answer as much as
44:01I can for as long as I can. I'm sure I
44:03missed some important part of this
44:05tutorial that beginners would totally
44:06get lost in, so there's a solid chance
44:08that that's not even your fault. If I
44:10miss anything major, I'll add it to a
44:11pin comment or something. Also, don't
44:14forget if you want to look back on any
44:15piece of info in this character modeling
44:17series, I have the whole script in one
44:19big dock where you can use Ctrl+F to
44:21search for keywords in it, so you can
44:22find specific pieces of info in this
44:24giant wall of text. I decided to cut
44:26some parts from the videos that I left
44:28in the script, so there is some more
44:29info there, too. There are also tons of
44:31ways of making a character, so
44:33definitely still look up other tutorials
44:34about character modeling to learn even
44:36more things you can use. If you got
44:37through this whole series, I'll say that
44:39you're confidently no longer a beginner
44:41in Blender anymore. So, any tutorial
44:43will do. I mean, some are probably still
44:44too much, even for me, but I guess you
44:46don't need to use beginner in your
44:48search anymore. Anyway, thanks for
44:50sticking through all these tutorials.
44:51There are still more to come, so stay
44:53tuned. Making this series definitely
44:55took a lot out of me. So, after the
44:56textures and clothes one, I won't make
44:58more tutorials for a while, but I have a
45:00few in mind. Some of them are how you'd
45:02port a character like this into VR Chat,
45:04which I know people would want to know.
45:05How to do sculpting and rettopology, how
45:07to 3D print character models like this,
45:09and more. Let me know if you really want
45:11one of those or something else. Since
45:13videos take a long time, I might try to
45:15make text tutorials out of them first.
45:17We'll see though. I still have one video
45:19to make. See my link tree for a link to
45:21all the other sites I post art on. See
45:23you later, and thanks for watching.

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