Blender 2.8 Game Character Creation | Darrin Lile | Skillshare

Blender 2.8 Game Character Creation

Darrin Lile, Blender Foundation Certified Instructor

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56 Lessons (9h 7m)
    • 1. 01 Introduction

      1:35
    • 2. 02 Modeling the Head

      10:15
    • 3. 03 Creating the Torso

      9:56
    • 4. 04 Modeling the Legs

      10:34
    • 5. 05 Creating the Arm

      11:01
    • 6. 06 Beginning the Hand

      10:15
    • 7. 07 Finishing the Hand

      10:10
    • 8. 08 Beginning the Hair

      9:18
    • 9. 09 Finishing the Hair

      7:58
    • 10. 10 UV Mapping the Hips

      10:44
    • 11. 11 UV Mapping the Head and Torso

      9:30
    • 12. 12 UV Mapping the Leg and Arm

      10:14
    • 13. 13 Creating a Unified UV Map

      7:52
    • 14. 14 Beginning to Texture Paint

      8:49
    • 15. 15 Finishing the Base Colors

      7:00
    • 16. 16 Painting the Jacket Detail

      8:35
    • 17. 17 Texturing the Zipper and Belt

      7:51
    • 18. 18 Adding Sculpt Detail to the Hair

      10:03
    • 19. 19 Baking a Normal Map

      7:23
    • 20. 20 Beginning the Rig

      10:08
    • 21. 21 Creating the Arm and Leg Bones

      9:24
    • 22. 22 Adjusting Roll and Mirroring

      8:27
    • 23. 23 Binding the Character to the Rig

      7:18
    • 24. 24 Weight Painting the Character

      13:43
    • 25. 25 Adjusting and Testing Weights

      9:54
    • 26. 26 Setting Up IK Legs

      9:30
    • 27. 27 Creating the Foot Roll Bones

      8:55
    • 28. 28 Foot Roll Parenting and Constraints

      9:41
    • 29. 29 Setting Up the Toe and Knee Controls

      9:42
    • 30. 30 Finishing the Weight Painting

      8:19
    • 31. 31 Creating the Control Object Bones

      8:13
    • 32. 32 Finishing the Control Object Bones

      10:44
    • 33. 33 Mirroring and Parenting Control Bones

      11:02
    • 34. 34 Placing the Custom Shapes

      10:32
    • 35. 35 Finishing the Rig

      9:17
    • 36. 36 Setting Up for Animation

      11:06
    • 37. 37 Finishing the Interface Set up

      9:47
    • 38. 38 Drawing the 2D Face

      9:30
    • 39. 39 Creating the Idle Animation

      10:19
    • 40. 40 Animating the Head Turns and Blinks

      12:52
    • 41. 41 Rendering and Testing the 2D Animation

      9:47
    • 42. 42 Starting the Run Animation Cycle

      12:53
    • 43. 43 Continuing the Run Animation

      14:45
    • 44. 44 Finishing the Run Cycle

      9:15
    • 45. 45 Creating the Jump Animation

      9:40
    • 46. 46 Animating the Face for the Jump

      13:55
    • 47. 47 Exporting Assets to Unity

      10:24
    • 48. 48 Creating and Importing the Sprite Sheets

      8:36
    • 49. 49 Configuring the Character in Unity

      11:09
    • 50. 50 Retargeting Animations onto Our Character

      8:16
    • 51. 51 Setting Up the Animator Controller

      14:07
    • 52. 52 Beginning the Player Script

      14:48
    • 53. 53 Animating the Sprite Sheets

      9:02
    • 54. 54 Activating the Face Objects

      9:46
    • 55. 55 Configuring the Character Movement

      12:17
    • 56. 56 Conclusion

      0:25
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About This Class

In this course we’ll create a game character using Blender 2.8, and we'll export it to Unity and configure it so we can control it in the game engine.

Throughout the course, you will learn:

  • 3D Modeling in Blender 2.8

  • UV Mapping

  • Texturing and Sculpting

  • Baking a Normal Map

  • Rigging a Character in Blender 2.8

  • Animating a 2D Face with Grease Pencil

  • Creating Animation Cycles for a Video Game

  • Exporting a Character and Animations from Blender 2.8 to Unity

  • Creating a C# Script in Unity to Control a Game Character

If you’ve ever wanted to create a game character, and are interested in getting up to speed in Blender 2.8, then this course is for you. So join me as we create a game character in Blender 2.8.

Transcripts

1. 01 Introduction: by Welcome to Blender 2.8 game character creation. I'm Daryn Lile, a Blender Foundation certified trainer, and in this course we're gonna create this character. And one of the cool things about it is that we're going to incorporate both blenders, three D tools here and the new two D grease pencil animation as well, so that in one interface we can animate both the Three D Body and the two D face. It's a lot of fun, and it's worth checking out. In addition, will take this character into unity and set him up as a game character so that when we run the game right here, we'll be able to run the character around the environment, jump and just have some fun with him. Now all the resource files are included with this core, so the Unity project, the Blender seen files are all included, as well as the textures and the sprite sheets that we create for the two D face animations . We go through a lot of material in this course, from modeling and texturizing rigging animation and even writing a C sharp script in unity . So the course does assume at least some experience with blender and unity. But we'll go through every part of the process, step by step. So hopefully it's a smooth learning curve right through the end of the process. Creating a character like this is always a lot of fun, so if you're ready, let's get started. 2. 02 Modeling the Head: Before I start modeling, I'd like to bring in a few reference images just so I get a better understanding of what I'm working on. Actually, before I even do that, let me hit the a key and delete everything here. There we go, and then I'll press shift a and let's bring in an image empty blender 2.8 has some nice reference image features here. So let's just go ahead and bring in a reference image here. And when we do, let me show you what happens if I go to my Reference Images folder here and I'm gonna click this icon right here. And this is a good one to bring in. I'm just gonna bring in this view right here. My click load reference image. You can see what happens. It comes in at the angle of the view port. So what we really need to do is choose what view we want to see this in and then bring it in. So, press control Z and let's hit the one key. And now I'm here in the front or the graphic view. So now if I press shift A and bring in that reference image object. Here we go Now he's in the proper view Port. I would like to bring it back in the Y axis just a bit, salted the n key to bring up the sidebar here and in the location and why? Maybe I'll just type in five just to bring it back off of that access off of the center of the grid just a bit. And then if I hit the one key and come over here to the object data panel right here now, I can move it in the X and y so I can get him Mawr aligned in the center and actually standing on the grid. So if I bring him up in the wine, you can see I can just click and drag in that field there and drag him up so his feet are are standing on the X axis. Let me bring that up just a little bit more right about what about their let's say, But also you can see he's off center a bit. So if I click and drag on the X axis, Aiken bring in back into the center, so his so the center of the jacket is aligned there. It's a photograph taken with perspective, of course. So it's gonna be a little bit off. You can see how is Leg has turned. Hear a bid and this was higher than the other one. And that's fine. We're just gonna use this as a general reference. We're not going to get it exact to engineering specifications or anything. Also, I want toe click and drag this transparency and bring this down quite a bit about like this . I'll just actually click on it and type in 0.5. There we go Now. In addition, we can also set it up so we can see it or not. In the perspective, you and I kind of like to not see it, actually, so I'm gonna turn that off. So as we model, the only time we're going to see it is when we're in that front. Ortho graphic view. All right, so I think that works out pretty well. You can certainly set these, however you want. All right, so let's go ahead and begin back in the front view. Let's go ahead and begin with the head. Let's go ahead and bring in a cylinder. I'll press shift A and go to mesh and cylinder. And I'll come over here and just opened up this window right here. And currently it's got 32 sides, and I don't think we need that many. Since I'm planning on this to be a game character, I'm gonna try and keep it fairly low, Polly. So let's some type in 16 here and also for the cat Phil, instead of just one big face on the top. And the bottom gonna change this to triangle ban, which will split it up into triangles kind like a pie. All right, so now that we have that, let's go ahead and hit Z and go to wire frame. Then I'll come over here and click on the move tool here, and we can then click and drag this up, and then we're gonna need to scale that down some. We'll hit the s key and scale that down. All right, let's assume in Aiken hit the period key to zoom in and then get the s key again. And yeah, you can see how the head isn't quite aligned with the center of the grid Here. It's kind of turned and That's okay. We're going to just do the best we can here. I'm gonna have it kind of overlap here and kind of overlap here. Kind of in the same amount. I'm gonna hit the S and the Z key and scale in the Z right here. There we go about like that. Yeah, that's about the right size. I think now what I need to do is select these edges and give them a bit of a bevel. This curve right here is a bevel. So if I hit the Z key again and go to solid view, let's go ahead and tab into edit mode. I'll just hit the tab key and we'll then go into edit mode and we can see all the edges and the polygons and the points of that object oppress Ault A to de select everything. And now I want to select the edges down here on the bottom first so you can see over here. We've got Vertex. Select edge, Select and face Select Here in Vertex Select. I can choose one of these and select that point in edge mode. I can select edges and in face mode I can select different faces. And in addition, you can just press the 12 or three keys for these three selection mode. So one for Bird sees two for edges and three for faces. So press the two key all press Ault a to de select and them to select this whole ring of edges all the way around. All press Ault and click here and that will select that entire edge. Now let's go back to that front view. I'll go to wire frame and let's bevel this. So we get that curve right there, we're gonna bevel the edge. So I'm gonna go up to the edges menu and right here is the bevel. Now we can also press control be so I'll just do that. I'll press control be and I'll drag the mouse until we get about Maybe right here so you can see how that curve goes basically from here to here. So now we can add new segments. I'll just click here and we'll add Let's add four segments right there. So that gives us that general curve. All right, now, let's do that on the top. I didn't do these at the same time because I think I want the Bevel to be slightly different, so I'll go back to that front view and here I'll just press control be and drag the mouse and it'll hold those general settings that we had before. I'll just bring it down to about right here, I think. Let's see, I'll get the Z key and go toe wire frame. Is that about right? Well, maybe I'll take the with down just a little bit. We maybe don't need it quite that deep. There we go. I just wanted to get that up into the hair. All right, now we can tumble around Goto Z and solid mode, and there we have the beginnings of our head. We also need to extrude pieces from the top and the bottom. Here, let's go back to face mode with the three key, and instead of just clicking and shift clicking all of these, what we can do is hit the sea key for the circle select tool and just click and drag and kind of paint that selection. Then we hit the right mouse button to get out of that tool. Now I can go back to that front view and it looks like that's pretty good. The with their looks pretty good. I'll just hit the e key and drag the mouse down to about right here. And there we go. Now this top part. Let's, um, de select everything with all to a press that Seiki again and select all of those. Now we need to extrude and scale that in a bit, because usually the top nub on a Lego characters head is usually smaller than the one around the neck. So what let's do is licit E. And then we'll hit the S key and we'll scale in just move the mouse a bit till we get about right there and then I'll just hit the e key and drag up just a little bit like that. There we go. All right, so now we have the head of the character. Well, we can also do is smooth it a bit. So we don't have this kind of blocking this faceted look to it where we can see the polygon so clearly bullets do is right. Click and let's go to shade Smooth right here. Now that smoothed it up quite a bit. But we're getting some strange artifacts here upon the top. So let's come over here to the object data panel again and to the normals section, and I'll scroll that down and I'll turn on auto smooth. And when we do that, you can see that kind of cleans it up quite a bit. But what we can do is click and drag in this angle field. And if I drag it all the way down, that's the way it was at zero there. Now, if I drag it up, we could begin to clean some of this up. If I drag it too far, you can see we get those kinds of artifacts again. Let's drag it down below 90% and see what we get here. That's pretty good. I'm in 89 we've cleaned up that edge. That's kind of a hard edge now, which is what I wanted. But this one down here is still kind of soft, so let's click and drag this until we get that. There we go. So we just needed it below 80 I guess There we go, so that kind of smooths that up quite a bit. All right, so in the next video, let's continue on with the torso 3. 03 Creating the Torso: for the torso. I think all we'll need is a cube. So let's press shift a and go to Mesh Cube and I'll hit the Z Key and go to wire frame. And now let's try and put this in place. I think I'll just drag it straight up and let's scale it down until we get it about the right whip for the base of the object right down here. I just want to get it about the right whip dear and that that doesn't look too bad. Let's get it right about there, Okay, Now we just need to bring this down and scaled, and so I'll tap into edit mode. I'll hit the three key to go to face mode, and I'll just select that face right up here. There it is. Go back to the front view and I'll just with the move tool enabled over here on. Just click and drag and drag it down to here. And then we can scale it in the X by pressing S and X and then pulling in like this and we go. Okay, so now we have it like this. It's a little too wine, so it's tab back into edit mode. It Z Key go to solid view. And now let's scale in the why I'll hit the three key to go to the side view, and we can come over here and just click the scale tools and then click and drag on the Y axis right here. And I think it's usually about this wide. It's kind of hard to tell exactly how wide this should be from our front view image. You can kind of bring that in like this. I think that will work pretty well. Let's go back to the front view. And now we need, I think, another cube for the hips here for the belt. So it's press shift, a mesh cube, it Z key Goto wire frame and I'll click on the move tool over here and let's just click and drag and I'm gonna put the center of this cube right in the center of the belt buckle right there and hit s and scale down until we're about the right wit. I felt like that now to scale in the Z. I'll hit S and Z and move the mouse down until we get it about the right height about like that. There we go. Now, once again, we need to change the whip in the Why. So let's come over here to the side view again and let's press s and why? And then we can move that in like this. There we go. Okay. And now that we have these fairly nice rounded curves up here on the head thes very sharp angles on the torso just seem to be a little bit too much. Actually, In fact, what I want to do is let's let's bring in another reference image. I'm gonna click and drag this and then hover right over here on the corner of that window until the cursor turns to across. Then I'm gonna click and drag down to create a new window. And in here I'm gonna change to a new image editor. So now we have an image editor in this window and we can bring in a new image. I'll go to Image open and let's go to that folder and in here under reference images. Let's click here so we can see it. I've got this one right here. This is kind of a 3/4 view, so we can kind of get a sense of how it looks at a slightly different angle. I'll bring that in by clicking open image. And there we go. We can scroll the mouse field to zoom in or out, and you can see here right in here. The edges of the torso have kind of, ah, around ID feel to them. So I think we could maybe add that here as well with the Bevel tool again. So let's select that torso and tab into edit mode. I'll hit the two key to go toe edge mode, and I'm just gonna hit the a key to select all of the edges. Now that we've done that, let's go ahead and bevel this all press control be and I'll drag the mouse out just a little bit. Now I'm seeing a couple of issues here. One. We've got too many segments. I think we don't need that many segments. And to I feel like the curve we're getting here isn't exactly proportional or centered on that edge. And I think the reason why if we hit the n key here and tab back into object mode, you can see that the scale is off and tools like the Bevel tool are affected by our scale here for the object. Well, let's do is let me just press control Z and let's undo a bit. And then I'm gonna tab back into object mode and let's try applying the scale and doing this again. I'll press control A to bring up the apply menu, and then I'm just gonna apply the scale. And what that does is it changes all of these toe ones. And it says to Blender that this new size and shape of the object is the default scale of the object now. So now if we tab back into edit mode with all the edges still selected, will press control, be and drag out a bit, and it's a little bit tough to tell. But you see how this curve now is a little more centered and proportional on the edge. So that's all I wanted there. Now do we need four segments? We can take it down to three and see how it how it looks. Let's try that. I'll go back to object mode with Tab Key. And how does that look? I mean, I think it looks pretty good, but we But we probably need to do a little more smoothing again. I'm gonna hit the n key to close that panel, and then I'll right, click and choose shade. Smooth. And let's see, that looks pretty good. Just straight out of the box, as it were. Um, I'm gonna come down here to the normals section and turn on auto smooth. You can drag all the way down and then dragged back up and see what we can get here. Yeah, it looks like that's I'm about what we want right there. Okay, So now maybe we can go back to the front of you and create this cylinder here. Now it's kind of cutting up into the hips right in here. I don't know if you can see that. I might need to find another image here. Let's go back, see if I can find another image that'll show how it's being cut in. Let me open this one here. Yeah, so you can see here just a little bit how the leg kind of cuts into that hips area right there. So we're going to need to do a Boolean for that. But before we do, let's go ahead and create this center cylinder and will then use this to create that Boolean cut this press shift A and bring in a cylinder. Ah, we've got it. 16 sides with the triangle fan. That's probably just fine. I'm gonna go back to wire frame with the Z key and I want to turn this now 90 degrees in the Y axis. If I hit the n key to open up the side bar, you can see if I click and drag in the Y axis. This is the way I want to turn it like this. So if I just press control Z, I can go back to where it was. But what I want to do is press our 90 and that will rotate the object 90 degrees based on my view port here. Now if I hit the escape key and go back to hear what I can do is tumble around here. And if I do this again here in the three D view, watch what happens. Our 90 and hit Enter It turns once again based on the View port, so let's control Z that. So if I were in this view port here and I wanted to turn it, I could press are why 90 And now it will turn in the y axis as if we're in this view. But it s and I'll scale that down quite a bit. The metal hit s and X and scale it in. It's bring that up and see if we can get it to be about the right size. Maybe about like this. So it cuts up into that hips area just a bit. Let me make it a little bit bigger. Bring this up some. So that is I think about what we want. Let me hit the Z key and go to solid view. I'm just taking a look and seeing if that's big enough. Small enough. Actually, you know what I think I'd like to do is make this just a little bit bigger. Let's go back to that front view and push it up just a little bit farther, and then I'll scale in the X with S and X until it's just about like this. There we go. I just wanted to be able to cut up into this piece. And also to not I have a cut at an edge. So I don't want to make that cut right at this edge. Or write it this edge. I wanna have the cut happen between them. You see how I've got this edge right here, above here? That's what I want. All right, So in the next video, what let's do it will use this object. We will duplicate it and use it to make that curved cut into the belt here. 4. 04 Modeling the Legs: before we begin using the Boolean tool. I think what I'd like to do is do a little cleanup and Neymar objects. It'll help as we go through the process of using our Boolean modifier. So I'm gonna select the head here and over here here it selected. I'll just double click here and let's call that head. This one here will be our torso. Let's go ahead and call it that. But I misspelled it. Let's try that again. Here we go. Uh, this will call the hips. Here we go. And this one, I guess we call the crotch. Let's do that. Okay, so now that we know what those are, let's duplicate this object right here by pressing shift D and then I'll press enter. And now let's just scale this out in the X. I'm just gonna hit s and X and drag the mouse out and let's extend it out. Bey ond this point here Now this is just a temporary object. We're going to delete it once we're done using this. But what I wanted was to be able to make this cut so it fits precisely with that center cylinder. So let's select the hips now right here and let's go to our modifiers tab and we'll click on add modifier and we want to select the Boolean modifier. Now we need to make sure our operation is set to difference. And then over here under object, we can select a little eyedropper right here and come over here and just click on that object that we want to do the cutting. Now we can come over here and just click, apply, and then I'll select that cutter object and just move it away. And now you can see we've got that same cut in the hips object, all right. And because I got that edge between the two edges of the cylinder, if we selected in Tam and edit mode, you can see we don't have any real problems here. We've got all quads. We've got four sided polygons all the way through here, which is which is good. All right, so now we can just take this and deleted. I'll just hit delete, And there we go. Now let's take a look at the legs and to do the legs as well. I think we can just use this object so What let's do is let's go back to that front view, and what I'm gonna do is just press shift D and X, and then I'm gonna drag over and this will be our legs. And then I want to scale this out so press s and X and scale it out in the X just a bit. I mean, move it over just a little like this than S and X against that, we get it about the right wit like that. All right, there we go. So now what we need to do is extrude a few of the faces down here at the bottom of this cylinder down to create the leg. Let me go back to that other image that we had out here. Ah, this one here. Lets open this up, and we can kind of see what's happening with the legs. It's really kind of a cylinder here. It's being extended down from the bottom. So if we say select the cylinder tab into edit mode, hit the three key to go to base mode. Now we can begin to select some of these bases to extrude down. So maybe this one, this one this one. This one? Yeah. Maybe this one too. Something like this. What? We could try this, however, no. Let me bring Let me de select that one. Let's try this here. Let's try this. Now, if we go to that front view, we can see that it's got a bit of an overlap. It it kind of extrude is down and then extends out back toward the center of the character here. So we just need to keep that in mind as we're creating this. But the first thing we should do, I think is just extrude straight down. So here in the side view, I'm gonna hit the e key, and then I'm gonna click, and then I'm just gonna grab in the Z axis and drag straight down like this, and there we go. Now we can also do is come back here and select this face right here. Let's go back to that side view with the three key and I just want to click and drag in the why, until this is glad you see how this area right here just needs to be Blatt Now, I could take these faces here and flatten them in the Why by pressing s and why, and pushing in toward the center of the selection right there. Now let's go back and see how we did. Yeah, that's pretty flat there. Okay, that worked out pretty good. So let's now go down here and select these and we can do the same thing. So let's go select these. Go back to that side view with three Key and now instead of in the Y axis, let's do it in the Z Axis was pressed S and Z and just move the mouse straight down toward the center of that selection. And that just kind of flattens them all up like that. All right, now we'll just grab it in the Z axis and drag it down to the grid right there. Now, before we do anything else, let's go over and take a look at this. Remember, we have to deal with this, too. So what we should probably do is select these faces here and extrude them out. But if we do will be right flush against that cylinder. And I don't think we want that. We want just a little bit of room there. Let me go to the wire frame. Yeah, you can see there's just a little bit of room there. So we really need to add an edge before we extrude toward the center of the character to do that, Let me go back to this view and I'll press Z and solid so you can see what we're doing here . And what I'm gonna do is press control. Our and that turns on the loop cut tool. And here it is. If I then click one time, I can then drag this up and down here. And if I moved toward one edge, you can see it kind of conforms to that edge. And if I move it toward the other edge, it kind of conforms to advantage. But it isn't quite perfect. What we can do is now hit the e key and it will change between conforming to one edge. You can see now no matter where I move it, it stays conform to this edge on the top. Or I can hit the F key now and flip it. Now you can see the edges staying conformed to the bottom edge, no matter where I put it. So I'm gonna hit the F key and conform it to this edge up here. And then I'm gonna click right about here to drop the edge right there. So once again, that's just control. Are for the loop cut tool, you click, and then you can hit the e key and flip between the two edges with the F key. All right, so now that I've got this, I'm gonna go to face mode with three key. Select these faces right in here. And then let's go back to that front view and let's hit he and pull out just a little bit like this. There we go. All right, let's take a look at what we've done here. Yeah, I think that's actually pretty good. Yeah, that kind of conforms to that pretty well. All right, so we've done that. The next thing we need to do is probably the feet. So let's select the leg and tab back into edit mode. It's once again press control are and go into the loop, cut to a will click. Well, press e, then we'll press f and flip it so it conforms to that bottom edge there, and we'll get it right about here. Let's say let's try that. If the three key, select these two bases out front and then let's extrude them out for the feet. So I'll hit E and pull them straight out like that. That's pretty good in terms of the length of the foot there, I think. But I didn't do very well with the height of the foot, now did I? Looks like this is thicker in this. So what can we do for that? I think we could switch to edge mode with the two key Ault. Click this edge right here. So it goes all the way around like that. Then what we should do? Select these edges out here so I'll press Ault shift. Click that edge and let's just go ahead and select these edges as well. And this one right in here. There we go. Now we should be able just to click and drag and make these a little bit taller. Let's see, maybe something like this. Let's give this a try. I may need to bring that up even more now, actually, let's select it. And instead of just selecting those edges again, what I'm gonna do is go to the three key to the side view. Good. A wire frame tab into edit mode. And this time I'm gonna press the one key to go to Vertex mode. Now, if I come up here to the select blocks, I can click right here and click and drag. Now, I've got all those points selected, and I can now move them up and down, just like I did before. And this time I'm gonna bring it up quite a bit like that. There we go. All right, so now we have a leg done and we've cut into the hip piece there. I think in the next video, what we should do is begin working on the arms. 5. 05 Creating the Arm: for the arms. I think we can begin with a cylinder again. We can maybe press shift a and bring in a cylinder. Um, I need to change this to 16 sides, I think. And let's go ahead and create a triangle fan for the Caps again. And then I'd like toe rotate this around The X axis will press are X 90 and spin that and let's shrink it down and kind of put it in place and see how big we need this. I'll just bring it over here. And if we take a look at the reference image here, it looks like it's kind of hard to tell, but it looks like we might be able to place it about like this. I'll turn it in the X axis, a game opus or an X, and then just rotate or move the mouse and maybe get it about like this. It's kind of hard to tell, but I think that might be about the proper placement for this. We can, of course, move it around as we need to, but ah, now let's hit the period key to zoom in, and once we've zoomed into this object. We also tumble around it as well. Well, tab into edit mode. Hit three key for face mode and let's press the sea Key again and click and drag to select those. I think I'll just delete these cause we're not gonna need these right now. Hit X, and I'll choose to delete faces. There we go. Now forget the two key to go to edge mode. I'll press Ault and click and edge, and that will select that whole edge loop. Now let's go to the side view with the three key and let's try and extrude this out and bring it up to where the shoulder should be. But before I do that, let me move this down a bit and turn it some, cause I feel like trying to get it up to the center of the torso from there may have been kind of a challenge. All right, so what let's do is here in the side view. I'm in the right Ortho graphic view. I'm just gonna hit E and then click and I'll hit G to grab that and move this back a bit, and then I'm gonna hit our and rotate it and then G and kind of spin it around like this. So I'm just trying to turn it so that we can point the next extrusion up toward the shoulder. Here, I'll hit E and then click and hit G and move this up like this and hit our and turn it like this. All right, so now we've got that kind of three edge bend here. So I want to show you what I mean. This edge here, this edge right here and this edge right here, those three edges for that bend. All right, so now if I take this edge, I'm gonna extrude it up. But I'm not gonna go all the way. I'm gonna hit E and just bring it up right about here. Let's say and now we need to get this curved part of the shoulder. And I think the way to do that is going to be a sphere. So what I'd like to do is create a sphere, cut it in half, and then connect it up with the upper arm. Now, when I'm in object mode, I can right click and go to the snap menu here. But when I'm in edit mode. The right click brings up the context menu for whatever select mode we're in, so we're in edge mode right now, so the edge Contacts menu comes up. So to move the cursor while we're in edge mode, we can press shift s. And now we can choose cursor to selected right there. And now I'll tab back into object mode and let's create a sphere up here, a press shift A and I'll go to mesh You ve sphere. Now we need to change the number of segments from 32 to 16 right here, and that will match the number of edges of our cylinder. So let's scale this down a bit, and then what I'll do is go ahead and maybe just go to the well. I'll go to the side view here with three key. Then I'll hit the Z key to go to a wire frame and let's tab into edit mode. I'll press the three key to go to face select, and then what we can do is go ahead and select all the faces on the bottom here, so I'll click the select tool and then I'll click and drag and select all of these hit X and delete faces. There we go. All right, so now let's shrink this down a bit. And let's also move this up to where it should be. Maybe right up in here, let's say Okay, so now what we need to do is connect these up. Let's go ahead and join these together. I'll select the arm and shift, select the shoulder object here, and then I'll press control J and that will join those all into one object. Then I'll tap into edit mode, and now we can connect these up. What we could do is let me just select these faces here. I'm gonna ault click on an edge between two of the faces, and then I'll hit X and delete faces and then back to edge mode. All click this edge all shift, Click this edge so we select them both. And now let's bridge this so we could come up here to the edge menu here and choose bridge edge loops. We can also press control E and we get the same menu weaken select bridge edge loops here, and there we go, and that connects those two edges together Now I feel like this cylinder. Koenig should be turned a bit. So let's under this Control Z and I'll select this top part with the Elke. I'm gonna de select everything and hit the L Key, and that selects all linked components of that particular piece. So let's just take this and rotate it and kind of point it at the elbow there. And let's also select this edge and maybe I'll shrink it down just a bit. Aziz. Well, and move it kind of get it more in line. I just feel like we were kind of off when we connected those together. All right, so now with this edge selected all, press all shift and click that edge and let's try it again. I'll press control e and bridge edge loops. All right, so I think that's a little bit better. Let me select this edge, and I'll scale it out a bit. Maybe move it some. I can come over here to the move tool and kind of click and drag and move that Maybe I can select this edge now kind of turn it, move it. So now we can come in and begin rearranging the edges to get it just the way we want it. Maybe I'll turn that of it here, something like that. So just trying to get that general shape, all right? We should take a look at it from the front of you as well. And it looks to me like we've got a couple of these edges that are a little too wide or little too narrow. So if I pressed S and X, maybe I could bring this in a bit and maybe select this edge and press s and X and bring it out just a bit. So you may need to do just a little bit of tweaking here. And also now I may actually take this part right here, and it feels like I could shrink that down just a little bit like this. All right, let's go with this for now and see how it works. Right now, the pivot point of this object is right here in the the what was the center of the cylinder . I could move this or change this if I needed to to move and rotate the arm. So if I tabbed into edit mode and Ault click say this edge Let me press the two key to go toe edge mode. And then there we go. Now I could press shift s move the cursor to the selected, and then I could set the origin of the object to that three D cursor. Now we're already pretty close to being there, But I'll go ahead and do that. I can right click in edit mode and go to set origin and set the origin of the object to the three D cursor. There we go. Okay, So now what I can do is maybe move this in like this and then tilt it out. I'll just push the r key and kind of tilted out like this. Now, let's go ahead and smooth this. The way we have the other objects, I'll select it and come up here to object and shades smooth. Or as we've done before, we can come over here in right, click it and choose shade smooth here as well. There we go. Okay. So now let's take a look at that object data panel right down here. We'll go to the normals section right here. Turn on auto. Smooth and let's go and drag it all the way down and then drag it back up and see what we can get. At what point? It kind of smooths out for us the way we want it to. Yeah, it looks like above 30 degrees. You can see it kind of sharpen up at the elbow there. But then if I drag it up, say above 35 degrees, that kind of smooths out a bit. And once again, we are creating this for a game character. So we're trying to keep it fairly low. Polly here. I think I'll tilt it again in the why Here, let me push, are and why and tilted in the UAE. I'm gonna push it in again like this and see how that works. I'm gonna get the cursor back to the center of the grid by pressing shift, see, and that brains everything up and puts the cursor back at the grid. And I think we're doing pretty well here. I'm gonna select the torso now and hit the period key and framed that up. So it spins around the torso. Yeah, I think that works pretty well. I may want to add on edge in here in between each of these, so it curves a little bit more. But for now, I think I'm gonna leave it as is. And in the next video, what let's do is work on creating that hand. And then after that, what we'll do is we'll mirror these over and see how it looks, So that's coming up next. 6. 06 Beginning the Hand: I think we're to the point again where we should probably do a little more cleanup. If we select, say this object here, we can see this is it. And it's called Sphere and that's not quite right. Let's call it arm and this down here we could call it Leg. There we go. And also this empty object we can call that reference image. There we go. And this collection of items right here we could change the name of that as well. We could just call this character. And since the reference images, it's kind of is its own thing. Actually, we could just select this scene collection up top right click and create a new collection and call this reference, and we could just take that empty and drag it into that collection there. And that cleans the outline er up just a bit. And also what we could do now is we could go ahead and hide the character right here, just so we hide that whole thing. And then if I select the scene collection and create a new object with this selected, it'll created outside of the character collection so we can still see it in the three D view. So for the hand, let's go ahead and create a cylinder we can see here. That's pretty much a cylinder. So let's press shift a and I'll create a cylinder here. We don't need 32. Let's take it down to 16. And for the cat. Phil, we don't need anything, so let's just choose nothing. There we go. Now what let's do is turn it in. The X all press are X 90 and hit Enter. And now let's go to that front of you again. And if I go to wire frame right here, we can see that cylinder in the view. I'll hit G and move it up to about here where the hand is going to be, and then I'll hit s and scale it down quite a bit. So we get it just generally the right size. It doesn't have to be perfect at this point in time, So maybe about like that. All right, so now if we tumble around and hit Z key and go back to solid view, it looks like the hand isn't quite this deep. Solis press s and why? And maybe scaled down just a bit like this. And with that opening here on the bottom, maybe we should delete a few frames or a few faces down here. We tab into edit mode and hit the three key. Maybe we can choose thes bases right down here and let's hit X and delete bases. And there we go. So now we've got that basic shape. Now there's a bit of a curve here on the back of the hand, so let's let's work on that. If we get the one key and go to Vertex mode and we selected this for Tax and this one, we can move these forward like this, but the other ones need to come along. And to do that, what let's use is the proportional editing tool. So up here, you can see if you pull this menu down. You have the proportional editing tool. We can enable it here by clicking this And now if I hit G, you can see Let me scroll the mouse wheel in like this. You can see we've got the area of influence right here. So if I move around, you can see the influence changes as I scroll this. Now I'm gonna hit the escape key to get out of that. And what I want to do is just pull it forward only so impressed, G. And why? And just pull forward like this. Now I will scroll the mouse wheel and see if I can get it a little bit more curved like this. We don't have a whole lot of polygons to work with here, but we can still get ah, kind of, ah, hint of a curve here. I think maybe something like this and we go. So we have that kind of curve there at the at the back of the hand. All right, so now that we've done that, we can go ahead and turn off the proportional editing tool and we can do that with the shortcut. Oh, so I'll just hit. Oh, and that'll turn that off now. Let's give it some thickness. We can do that by having back into object mode and coming over here to the modifiers panel right here and click. Add modifier and weaken. Go to solidify. If we click here, you can see it just added a little bit of thickness there, but not a whole lot. If we hit the n key and take a look at our scale and our rotation, they aren't ones and zeros. They have some non uniform values here, and we really need uniform values in our scale and rotation when using a modifier like the solidify modifier. So let's once again press control a and let's choose rotation and scale in the apply menu. And when we do that, you can see the thickness gets a little more pronounced. It's more even. We could also come over here and click on even thickness, and that helps a swell. But now what let's do is click on this thickness field and click and drag and bring that in some. And I'll even hold the shift key down as I click and drag an that'll make things a little bit smoother. As I dragged that in. Maybe something like this. There we go. Now, if I tap into edit mode, you can see this thicknesses just kind of a preview. It isn't really per se. We can come over here and turn it off and turn it on in the view port to bake this geometry into the object We need to tap back into object mode and come over here and click apply. So I'll do that. And now you can see all that geometry is there. All right, so let's now go back to that front view with the one key. And if we graham these edges here, I'm just gonna grab this one edge, and I just want to hit G and move it like this. So we have a dead of this point or or flat part here, and I'll grab this edge as well go back to that front view and hit G and just move that up a swell like that. Okay, so we're getting there. We have that basic shape. Now, I'd like to add a bevel er to both at the tip of the finger type areas here and along the edges. And I think what I need to do first is this fingertip area. Before I do that, let me go to the Vertex tool and just select these Vergis is right here, and I want to pull them back. So they line up again. When I dragged that edge in it kind of through these out of alignment, every guest I just want to bring those back just a little bit like that. All right, So now if I go to edge mode and I select this edge and this edge, let's go ahead and bevel these press control. Be and drag the mouse out to about like this, Let's say and then I'll add a few segments here. I'm just click, and there we go. Then we can make that a little bit bigger if we want. By clicking and dragging on the width. I don't think I want it quite that big. Maybe something like that. I think I better make it more like this. There you go. Okay, So now go ahead and select these edges along here with all to click all to shift. Click here and in here. And then I'll come around to the back and Ault shift. Click these back here as well. Bad. So we select all of those all at once. And now, with all that selected all press control be again. And let's add another little devil right in here. I don't think I need this many. Aiken, take this down to three. Maybe. Yeah, let's try that. And there we go. So now we've got those Devils all the way around. And in addition, let's go ahead and try and smoothies. All right. Click. Choose shades smooth and that helps quite a bit, actually. Let's go over to the object data. Turn on auto. Smooth. You can see an edge right there. That's not too bad. But I think what I'll do is go ahead and slide that up just a little bit more and trying to get rid of those So we don't see that. All right. Also, I feel like this ends right here. Those could be pulled forward just a bit right in here, this and this. But I'll need to drag these forward as well. So what let's do is just go to wire, frame it with one key to go to Vertex mode, and then and then I'll come over here, choose the select tool, click and drag these. Go back to the move tool and maybe pull these in just a little bit like this. Let's see how that works. Yeah, that may have helped a bit. Okay, so now that we have the basic shape of the hand in the next video, what let's do is create the wrist coming out of the hand that will then insert into the sleeve 7. 07 Finishing the Hand: to create the wrist coming out of the hand, We're gonna need tohave a round object coming out of what will essentially be square polygon. So we need to think about how we're gonna do that. I think probably the best way to do that will be to attach a cylinder to the hole in the top here that has the same number of sides. So let's go ahead and press control are and scroll the mouse wheel and let's add three cuts on the hand here or click and then click again and there we go. So now if we select four faces here a the top, what that will be is eight sides. So 24688 edges all the way around. So let's delete this with X and delete faces. And now this whole here has the same number of sides as, say, an eight sided cylinder. So that's what we need to do. We need to bring in an eight sided cylinder and attach it to this whole. So let me grab these points here, and I'm just going to scale them out in the why s why just scale them out of it. like this. All right, So now let's all click an edge here and select that whole edge loop around the hole there, and let's move the cursor to that. So a press shift s and cursor to selected, and that's where the new object will be created. So if we stay in edit mode now, the new object that we create will also be an edit mode and will be a part of this object will be just another piece of this same object. So let's try that. We've been creating objects and object mode. Let's try it in edit mode here now. So let's press shift a and I'll create a cylinder. And here it is kind of big. It's got 16 sides. We want eight, right? And in addition, we could reduce the radius here by clicking and dragging. And we could also reduce the height or the depth right here. So we can just kind of bring that in something like this. Now we can, of course, just hit the S key and scale it in as well. So let's do that. Let's hit s and scale that in a bit. That's it s and Z and scale it in a bit here. And then let's bring it up and kind of line it up with that right there. All right, so now what we can do is in edge mode. We can alter, click this edge and shift all to click that edge. And now, with these two edges selected, we could bridge those edge loops. I think, actually, let me bring this up a little bit higher. I'm gonna go to the side view, and I think I need to bring it up. So it is in alignment with this top edge here. So I'm just gonna hover over this cylinder and press the L key, and that will select all the linked components of that edge. Now, I can just click and drag up and let's kind of get it in line with that top edge there. Okay, So now by all, click this edge and shift. All click this edge. Now let's bridge them together. All press control E. And let's use bridge edge loops in the edge is menu. I'll click that. And there we go. Ok, so now how did we do? Well, not too bad, but now we have a problem where the polygons up here are very visible and faceted, whereas these are more smooth. So we can take this down here and slide this and dragged these all we want. But it isn't changing those what we have to do is re apply that smooth shade. So let's right. Click and choose a shade flat and then will right click again and choose shades smooth. Now that's helped quite a bit there, and I can drag this up and let's see if we can get it to a point where it looks pretty good for us here to see how that looks and we tumble around. That's not too bad, actually, Maybe right about there. Yeah, let's give that a try. So now, to put it into the arm, let's tab back into edit mode and selected this edge and let's move the cursor shift s and cursor to selected right here. Now what we can do is tab back and object mode and move this origin to the three D cursor. So now it's right. Click set origin origin to three D cursor. Now that origin is right there and we can move and rotate this at that point, all right, so let's bring everything back. I'll come up here to the character seen collection and enable it with the I icon here. Let's try and move this into place so well, move it forward with the G key. It are rotated up some and put it right in here. Then let's come up here and and turn it like this. Now also, we can change our axes. Here are transform axes from global to local. So if we do that, watch what happens to our transformation gizmo here. I'll change it to local and you can see now it's in line with the object itself so we can move the object in her out in line with its angle here. So maybe I'll bring it in like that, Um, maybe shrink it just a bit. It's kind of hard to tell what we need to do with that, but I think that's looking pretty good. I'm gonna press shift, see, and bring that cursor back to the center of the grid. What we need to do now is to move the arm and the hand and the leg over to the other side to mirror them over to the other side. But first, what let's do is take this hand and then shift. Select this arm and let's join these two objects together. So they're all one piece to do that. I'll press control J and that will join those. And then we want a mirror this over to the other side. However, take a look at what happened here. We zoom in here, you can see the wrist went back to being that blocky shading. So we kind of need to come down here again now that we've combined these two and re adjust the angle. Maybe something like this and we go that smooth it up a bit. Yeah, and in addition, maybe we need a bevel on the sleeve here. Look how curved that edges. Maybe we need a bevel there. Let's tab into edit mode and select the two key for edge mode and all to click this whole edge loop right there. And before we do that, let's take a look at our rotation and scale, and our values are kind of non uniform, especially in the rotation. Here, let's let's come over and press control a and click rotation and scale and that resets all of those there. Now, if we tab into edit mode and press control be we can add a little bevel to that there. Yeah, that's that's kind of nice. Let's do that. All right, So now we could mirror this over before I do, though I see that this is a little bit out of alignment. I'm gonna move it over just a bit like this. There we go. Now, let's mirror this over to do that. I need to move this origin into the center of the grid because the object is gonna mirror around wherever that origin is. So let me show you what I mean. If I go over to the modifiers panel and go add modifier mirror, look at where it smearing from. Right there. We need to move that origin into the center of the grid. So it'll mirror over to the other side to do that. Let's just right click choose set origin, an origin to three D cursor. And there it is. Now it pops over to the other side because the origin is in the center. Let's do the same thing for the leg here. I'm going to apply the rotation and scale again with control A right here. And then I'm gonna move that origin right click to the three D cursor right there. And now let's add a mirror modifier here and modifier mirror and you can see it's mirroring in the X axis. And there we go. So there's our character, at least the beginnings of it, right? We're getting there. I think we could go ahead and smooth the legs here. Let's do that shades smooth and then come over here to object Data. Turn on auto smooth and see what we can get with this. That looks pretty good there. Also with this cylinder. Let's applies shade smooth here, turn on auto smooth and same thing that looks pretty good like that. Well, we've got the basic character set up now. What let's do in the next video is work on the hair. We'll need to bring in some geometry and begin molding the hair to the head 8. 08 Beginning the Hair: to create the hair. I think I'll bring in a new reference image over here. Let's ah, take a look at this one again. And I think the hair we can see a little bit of the hair on the side of the head and this isn't going to be exactly like this. I don't want to do it exactly, but that'll just give me a general idea. Now, even though it is kind of a rounded object, I'm gonna begin the hair with a cube. So let's just press shift a and let's bring in a cube right here. And then I'll go to that front view and wire frame and let's bring it up and kind of put it in place right up here. I'm gonna scale it down with the S key and get it. I don't know. Generally, the right size about like this may be. And then what let's do is add a subdivision surface modifier to begin to kind of curve it. So let's come over here to the modifiers panel right here, and let's add a subdivision surface modifier. And this will add resolution to the cube, which will begin to curve the corners. So we'll click here and you can see what's beginning to happen there. Let's go ahead and scale this back out now so we can make it about the size of the characters. Hair there. Now let's go to the salad view and this is what we have so far. So let's maybe increased the views just a bit right here. And there we go. So now we're beginning to get the amount of geometry we need to delete and mold this for the hair. Let me go back to the front view again. And how we doing on the size here? Not too bad. We could maybe put it right about here. Let's say now if we take a look at this in edit mode, we can see that we still have just the original Cube. Everything that's been subdivided in here is just a preview. We need to apply this to be able to work with this geometry, so I'll go ahead and tab into object mode again and then come over and hit. Apply now. If we tap back into edit mode, you can see the geometry has been baked into the Cube. All right, so Now we need to begin removing some of these faces. Let's go to the side view must goto wire frame and then let's hit the three key to go to face mode. So what should we get rid of here? Let me press Ault A to de select. I've changed my selection tool from the select box to select lasso so that we can just kind of click and drag a lasso around faces like this to delete them. So I think we should probably delete these. Let's go ahead and leave those. We probably should delete these and hear me do that again right in here like that. And we could probably delete these right eras well, X and faces. All right, let's see how that works. Let's go back to the front view and let's go to solid. So this is what we have so far. We could begin to maybe go to Vertex mode and maybe grab some of these points and begin kind of pulling them up. You can see how we've got kind of ah, kind of a sideburn here. You could maybe move that up. We could maybe move this in so we could begin to just kind of generally re shape this until we get it kind of the way we want it. Let me turn on the move tool here and kind of pull this out. This I could press control three to go to the left Ortho graphic view and do the same over here. I could hit g and move these around a bit like this. Maybe bring this one down. Some like that. And this one fax, um so just generally getting the proper shape. Let's take a look at this year. So we really need to bring these up. Now I think Let me go back to salad and select this one right here. And we can also see through the mesh without hitting the Z key and going to wire frame. We can just press all Z and then we get kind of a transparency here so that can help us switch back and forth. Let's see, I grab these, make it all Z and select this again. This and this. We could kind of move these up a bit and maybe move these in. They're just trying to mold it just a little bit better because What we're gonna do next is used that subdivision surfaces modifier again to get it a little bit. Mawr smooth mawr rounded with a little bit more resolution. Let me bring these in some. Maybe like this? Yeah, Let's bring that up some. Okay, so I'm just still kind of shaping it. Maybe I should grab these and bring these up like this. All right, so we've got a basic shape now. It's not looking too bad. There's still some points in here that we could pull around a bit. I'm just gonna kind of tumble around and see where I need Teoh pull things in or out. Yeah, I think I I think I could maybe pull this in some like this. There we go. All right, so I think we're doing pretty well. Here's just the basic shape of it. Now let's go back to that front view and make sure it's about the right size. Yeah, I think that's pretty good. All right, So now what Let's do before we add that next subdivision modifier. Let's and some thickness to this and see how it's going to look. Let me tab back into object mode. Let's hit the n key to go to our sidebar and let's go ahead and apply the scale our press control A and apply the scale. Now let's come over here to the modifiers panel and modifier, and this time we'll choose Solidify. Now if we click and drag weaken, See, we're going to get a bit of thickness there like that. All right, We could even choose even thickness again. That might help a little bit. All right, so now we've got it. So we have a bit of thickness there while we have this modifier here. Let's go ahead and add another one. Weaken. Stack them in this modifier stack and we oftentimes get different results, depending on where they are in the stack. So let me show you if I twirl this down a bit and then I'll go ahead and add another modifier. Let's add a subdivision surface modifier. Now, now you can see it's beginning to curve and be a little bit more rounded the way we have in the picture here. So let's see if we get any difference. If we change the order, we can choose this arrow here toe, bring the subdivision surface up to the top of the stack. If we click that you can see what happens were subdividing it first on the top and then were adding a solidify modifier to it without a subdivision surface. So we're just getting a flat edge here. But if we bring the solidify on the top, I'm gonna twirl these in here. If we bring this solidify up to the top, we're using this solidify first and then we're subdividing all of it, including the solidify part here on the edges. So that looks pretty good right there. We could also come over here to object and shade smooth. And that's looking pretty good there. Yes, so I think that's gonna be pretty good. I think what we need to do now is just apply the modifiers. So in what order should we apply them? Well, let's take a look. I'm gonna come up to the top of the stack here and click, Apply for the solidify, and then I'm gonna click the subdivisions apply now if we tap into edit mode, there is the geometry of our hair. So notice what I did. I applied the modifiers from the top of the stack down, and that does make a difference as well. All right, so now we have the basic form of the hair in the next video. Let's work on shaping it a little more and also will delete some of the faces on the inside that we're not gonna be seeing. 9. 09 Finishing the Hair: Now let's work on just getting the hair a little bit Mawr shape the way we like it. I think what I'll do is tab into edit mode and I'll change to the proportional editing tool here. I will enable it. And then what we can do is just begin selecting a point here hitting G. And then we can scroll the mouse wheel again and just begin moving in or out, depending on what you need. I think I'd like this area to maybe come up a little more. Maybe this could come up and I'm just going to try and get it to look a little bit more like I have in my head, that's all. I think I would maybe like to take this and move it up just a bit like this. And I feel like we need these to come up a little bit, too. So maybe I'll go to the side view here and just hit G and move this up. I'll hit all to Z again so I can see through this and maybe l select one over here on the other side and do that same thing, so we kind of bring him up in the same way. It looks to me like we may need to bring this area out some back here, g and let's just move this out a bit like that. We could maybe grab this and move this out so you can see all I'm doing is just selecting a point using the proportional editing tool. Justo, get it a little bit more in line with what I was imagining. I mean, tumble around here and see how we're doing. Yeah, I think I may want to bring those sideburns down just a little bit. Mawr. You can see how it's pretty far down here and there's kind of ah, more of a straight up and down angle there, and I think I kind of like that. So I'm gonna bring this down just a bit. Let me press control three to go to the left or the graphic, and I'll just bring this down and then scroll in a bit. Maybe grab this one, bring this up maybe a year, and bring this up a bit. Yeah, I think we're getting there. Let me ah, go to the side view here and press all dizzy and see what I can see over on that side. Yes. So I just feel like I need to bring this down a bit and we'll grab this and bring this up again. There we go. All right, let's see how we're doing. I see there's an edge here and an edge here that I think maybe I'll just scale out in the X s and X. Well, let me turn off the proportional editing tool with the okey and then s and ex again and pull those out just a bit. Let's see if that helps at all. Maybe a little. Yeah, Okay, I think that's pretty good. I'm just tumbling around trying to see if there's anything I want to try and fix at this point in the game. Maybe I'll bring it up just a little bit over here. Me, I feel like maybe in the frontier I'm gonna hit Oh, to turn on the proportional editing tool again. Hit G, bring this out and then scroll out like that. There we go. And maybe back here now that I take a look at it. So just go through and used the proportional editing tool to try and mold it to shape it the way you want. Maybe I'll bring this in just a little bit like this. And I'm just trying Teoh, look at it from all points of view here from all angles. Yeah, I think that's pretty good. All right, so now what I want to do is delete some of the faces on the inside because we just don't need all of the geometry that's on the inside. And once I do that, then I'm gonna begin pulling some points into mold it to the head just a little bit better along here. So first of all, it's select that hair and let's hit the division key on the NUM pad, and it doesn't look like it's working real well. Let me try that again. There we go. That's the way it's supposed to work. Let's tap into edit mode and I'll hit the three key and go to face mode. And what I'd like to do is just select some of these faces in here, and then I'm gonna press control, plus, to expand the selection out like this until I get about what I want here. I think I want to go out to here. Let's some ault shift click right between these two faces and that will de select that row and I'll do the same thing here. Um, perhaps I should de select these. And then I'm gonna come back and press shift and select these along here. I feel like I could de select this and this and I feel like these are a little bit close to the edge as well. So maybe I'll de select those. I'm just trying to leave a good rim. Um, a good collection of edges along here. Yeah, I think this is pretty good. Let's go ahead and delete these. So now with all of these selected, I'll just hit X and delete faces and there we go. So now we've got the inside of the hair all deleted out of there so we won't have extra polygons on our character. If we aren't going to see something, we should probably delete it. So let me tap back into object mode, hit the division key to bring everything else back, and now it's come in here and begin adjusting some of these points so they mold to the head just a little bit better. So I'll go to Vertex Select Mode, and let's just kind of grab some of these and begin pulling them in. But let's turn off that proportional editing to a will press the okey again. And let's just bring these back in here like this. Now, we may also need to bring them up some, too. But that's okay. We can do that. So here we go. I'm just gonna bring him in like this and begin connecting them or closing off this gap we have between the head and the hair. We don't want to be able to see up into the head between the hair and the head here. All right, I'll move this in and this, and I'll just continue on along here until we get them all closed up. All right? Now, as I mentioned, I'm gonna need Teoh come in here and select some of these and pull them up. You don't need them this low on the head here. All right, let's see how that looks. Yep, we've got that closed off there. Let's take a look around the back and see if there's any areas that need to be closed off. back there? No, I think that's pretty good. Okay, so we now have our whole character modeled and ready to go in the next part of the course. What we're going to be doing is going in and you ve mapping each of the parts of the character. And then once we have them, all you ve mapped will combine everything and pack them all in to a single UV map, so that's coming up next. 10. 10 UV Mapping the Hips: now that we have the character modeled, we can turn our attention to UV mapping now. And UV mapping is just the process of creating a two dimensional representation of your three D objects. This is needed, especially if you're going to be taking your objects your character into a game engine. Because at this point in time, the predominant way to apply textures and materials to game objects is with two D images with textures. And to apply that was textures. We're gonna have to create a UV map. So what I'm gonna do is go through each of the objects and create a UV map for each one. And then ultimately, we're going to combine all the objects together and pack all the UV islands into one UV map . Now there's a couple of things I want to clean up first. Here it looks like I have the hair still over here as a cube, So what I want to do is click on that, call it hair, and I'll just take this and drag it up into the character seen collection or the character collection. We can probably turn off the reference image here. We don't need to see that I don't think. And also ill right. Click on this border and choose join areas and let's click here and join that back together . I don't think we need that right there anymore either. Now, one thing I realize is when we were creating the hips or the belt here, one thing I didn't do is make sure I had all quads or all four sided polygons over the entire object. I'm gonna hit the division key here and isolate this. So if we tap into edit mode and go to face mode, we can see we've got faces of four sides here. So if I select this, you can see way down here. It says edges four. So I've got four edges selected here. But if I select this face here, you can see down here edges 11. I've got 11 edges on this one face, and that's probably not a good idea, especially as we're going to UV map. This So what I'm gonna do is add a little bit of geometry to this to make sure that all of the polygons, all of the faces are foresighted. So it looks like what I've got here is one to 34567 edges along here, and I just need to extend those edges all the way across the object to connect to the other side. So what I'll do is press control are and let's add a few edges up here on top and I'll just scroll the mouse wheel. And until I get about seven cuts and you can see way down here, it says Number of cuts seven. So if I put that here and then click and click again now we've added seven edges. All right, so what we need to do now is connect these up to the existing edges on the bottom. To do that, I'll switch to face mode, and I just want to select this one face this in gone multi sided face, and I'm going to delete it. Ex faces. Now, what I'm gonna do is allow blender to recreate that face while connecting up the new edges . So if I all click this edge here, let me switch to edge mode. All click this edge here that selects that edge all the way around. Now there are a couple of options to fill this with faces. One thing I can do is just hit the F key and that will fill it with one big face. But that's what we already had. So I don't want that or press control Z to undo that. Now, if we come up here to the face menu, I can come down here and choose Phil or Ault F, and that fills it with triangles. It does the best it can by just filling it with triangles. And that's not what I want, either. So oppressed control Z or lastly, we can come over here to the face menu and weaken grid Phil. And if we choose this, it will grid fill that, an attempt to make it all quads. And since I have the same number of edges on the top as on the bottom, it does a pretty good job. So I'll come over here and do the same thing. Let's select that base, delete it, select this edge with all to click, and then I'll come back up to face and grid Phil. And there we go. So that's not too bad. That'll that'll probably work pretty well. And now that we're here dealing with this. Let's go ahead and UV map it. So I'll go over to the U V editing tab right here. I'll hit the a key to select everything and hit the period key. And here we have it here. I need to isolate it in this view as well. So I'll tab in object mode and then press that division key on the num pad again. Oh, it didn't do it. Let me hit it. There we go. They still need to work on that. But let's tab back into edit mode. And now what let's do is select edges to create the seems that will be cut so that we can split all these different faces apart and lay them flat here in the UV editor. So this right here is where we want to lay our two dimensional representation of our object flat dear in this space. So I'm gonna go to edge mode and all to click this edge and shift. All click these edges and I'm just going to select these edges all the way around here. And if we press control e to bring up the edges menu and we can also do that up here as well. But I'm gonna press control e and choose Mark seem and you can see that gives us a red seem here on the object. I'll go ahead and do that. Over here are Press Ault and click Ault Shift click as well to select everything all around there and then I'll press shift and click these edges right along here as well. So this is just where we're going to cut the object so that we can lay it down flat. I'll press Control e and Mark seem and there we go There we have our seems marked and ready for UV mapping. So let's select everything with the A key. A press you to bring up the UV mapping menu here. And let's just click unwrap Look down here says Object has non uniform scale and we've seen that before. We know what that means. That means if we hit the n key over here and go back to object mode, this right here we have non uniform values. So once again, even with UV mapping, that can be a problem. To solve that, let's press control a and apply the scale. Now if we go back into edit mode and press you and click unwrap here. Let's watch what happens over here in the UV editor notice all the pieces are just square instead of being elongated as they are in the three d object. So let's hit you and click on rap and yeah, that looks quite a bit better. So now we've got all of these objects a little bit more the proper scale in size. We can also come over here to this unwrap panel right here. Opened that up, and we can switch the method of unwrapping from angle based to conform away and see if that helps at all. But there really isn't too much of a difference here. We can also take the margin and we can change this. Let's say instead of 0.1 we want 0.1 right here, and that moves these away from each other just a little bit. So we could do that again. We could change it to 0.1 right here, and it expands that out even farther. So it doesn't really matter at this point in time, because ultimately we're going to combine all of them together all of the pieces together. All right, so we have this UV map. Now let's hit the division key and think about what we want to do next. Let's maybe just do this cylinder here, so I'll select it. Hit the division key. I'll tap into edit mode, and this looks pretty good the way it is. I'll get the A key toe. Select everything, but this is still the original UV map of the cylinder when we first created it. If we hit the n key weaken, see an object mode that once again the scale is non uniform. So we need to fix this. Let's press control a and let's apply the scale. And then let's tab back into edit mode. And then we can go about marking our seems. So let's press Ault and click this edge all to shift and click this edge, and now it's press control. E and Mark seem all right. So now that we have those there, let's go ahead and select everything. Let's press you and unwrap. There we go now we're seeing it a little bit differently. However, this should probably be laid out flat. Instead of being here in a circle. So let's maybe select an edge up in the up in the character where we can't see it. Let's select this sedge, Let's say and press control. E and Marcus seemed there, and what this will do is split it there so it will lay it out flat instead of in a circle. All right, let's selected all again, hit you and unwrap. And there we go. You can see how it's just laid out flat now because we cut it at this edge, all right, so that looks pretty good. Let's go ahead and tab back into object mode. Hit the division key, and in the next video will continue UV mapping the character. 11. 11 UV Mapping the Head and Torso: Let's now work on the head. Let's select the hair and I'll hit that division key again to isolate it. And for this, since we don't have it connecting up in the inside, we've deleted these inside faces. I think it's gonna be a lot easier to just select everything and hit you and unwrapped. Let's first come over here to the sidebar and make sure we've got our scale uniform and we do. It's all ones. That's good. So let's tab back into edit mode at the A key. And then let's select you and unwrapped. And there we go. Well, that's not too bad. It laid it out pretty flat. We can change from angle based to conform Alaa and see if there's a difference. And there is for this. So which one should we choose? Which one would be better? Well, to decide, we're really gonna have to apply a test pattern to it and see which one is stretched the least to do that. Let's come up here and hover right over here and create a new window, and what I'd like to do is just create a note editor. So let's come over here and pull this down and let's switch to a shader editor here. I'll hit the n key to close this panel, and what we need to do is create a material so we can see the nodes of that material. Now we can create a material here. In addition, there's a material panel over here, and we can create the material here, so either one is fine. I'll go ahead and click new right over here, and you can see the material here visible over here as well. So to create a test texture. Let's come down into the image editor here and click new, create a new image and we get this window here where we can give it a new name. Let's call it U V test pattern, and the width and height are fine at 10 24 but the generated type we want to switch from blank to being a UV grid. So let's selected that and then when we click OK, we get this, we get a a texture pattern here that we can apply to our object now to apply it to our object, we're gonna have to create an image node here and connected up to the base color. So let's do that. Let's press shift a and then create a texture, image, texture. And I'll drag right over here and put it right there. We can then pull this menu down and see all of our images that we've used so far in the project. And here is our UV test pattern. There we go. Now, I just need to connect it up from here to here. Now that we've applied it to our material, we need to just change our view here so we can see it. I'm gonna middle mouse button, click and hold and drag to move this bar over. And I can choose this right here. This is the look, Dev display. So I'll click that. And now we can see that test pattern here on our object. All right, so we need to now UV map this again to be able to get that little panel down here that we can switch from angle base to conform well, to see how we're doing. I'll also hit the a key over here just so we can see it here. All right, so I'm gonna hit you and unwrap and Now we can switch between angle based and conform all well. It looks like conform. Well, maybe a little bit better. I think I'll go with conform will here. All right, So that's how we contest are UV map to make sure that we have as little stretching in R two d textures as possible. Because if there's stretching on our texture here on our test pattern that were applying to the material, there will also be stretching on our final textures that were applying as well. So we want to take care of any of the stretching here first. All right, well, I'll tab back into object mode and then I'll hit that division. Key and Weaken. Select another object here. I'll go ahead and select the head and hit the division key. And let's see if we can UV map this as well. I'll remove the UV test pattern out of this view for now, by hitting the X. There we go and I'll tap into edit mode, and for this I kind of feel like and the back of the head would be the best place to put a seem. So I'm gonna come back here to the back of the head and press Ault and click and put a seem at the back and then up here I don't think we need that seem to go all the way up. I think we just need it to go along here. So I'm gonna press Ault and click and all shift and click to get these edges. Now I guess I do need an edge right here. So or a seem right there. Someone oppressed Control E and Marcus seems so. Now you can see I've got it seemed going all the way along the back And then I have split that top cylinder up with these two. Seems as well let's do that now on the bottom. So I'll select this edge right here and let's remove this Seem I didn't mean to do that. So it's press control E and clear Seem we can do that there. Then let's press Ault and click here and all shift click here and let's add Seems down here Mark seem Okay, So now we've got a seem going along the back. I do that so I can hide the seems as much as possible. The main things you want to do with UV mapping is avoid stretching or minimize any stretching of the texture and hide your seems So they aren't is clearly visible. All right, so now that we've got this done, let's hit a to select everything. You can see the UV map layout here for that original cylinder we created. But now let's hit you and unwrap and up. Look, it says Object has non uniform scale and look at what it did. It kind of created it in a strange manner here. And if we hit angle based and then conform, will you can see there's quite a bit of a difference between the two, and that's another sign that we may not have applied our scale. So let's do that. Let's tab beckoned Object mode, press control A. Apply the scale tab back into edit mode and let's hit you and unwrap. Now we can see that the angle based and conform all just flip, really. But that's not too bad. I think I, like, conform a little bit better. Yeah, let's go with that. All right, so I'll tap back and object mode. Hit the division key and let's go back to the solid display. And I guess let's go ahead and do the torso. Now I'll hit the division key. And let's press control A to make sure we've got the scale applied. There we go. And now tab into edit mode. And let's see, we can do here. I think for this maybe we can select these edges on the top along here like this. Control e mark seem. And maybe we can select these edges down here. I'm just holding the shift key to select these control E mark seem. Here we go. And, um, let's now select this edge right here and then of what I'm gonna do is come all the way down to here and control click this edge And if I control click, you can see it connects everything up between those two edges. So then press control e and Mark seem and the same thing over here I'll select this edge, go all the way down press control click and it connects all of those up and select all of that control E mark seem Okay, so let's see how we've done. I'll hit the a key and press you and unwrap And there we go. So now we have this whole front part here, All one piece, this piece right here. And then all the other pieces split out as well. The back in the top and the bottom. All right, so that looks pretty good. I'll hit the division key. And in the next video, what let's do is work on the pieces of the character that have been mirrored. Remember that this arm, if we go to the modifiers panel, still has a mirror modifier on it as well as the legs, and we'll talk about what we're going to do with these in the next video. 12. 12 UV Mapping the Leg and Arm: for the arms and legs were going to do something a little bit different. As I mentioned, these still have the mirror modifier on them, both the legs and the arms, and the way we're going to do this is, since they're going to be symmetrical, they're going to look exactly the same on the left and the right. We're just gonna UV map one side, and then we'll go through the entire process of packing all the UV islands into one UV map . And when we're all done with that, we're going to come back and re add the mirror modifier and apply it. And what that will do is that will put the UV island of, say, the arms, the left and the right on top of each other, basically reducing by half the amount of space on the texture map that the arms will take, and we'll do the same thing with the legs. So will stack the UV islands of the legs one on top of the other as well, and that just helps reduce the amount of space we need for the U V Islands and therefore increasing the resolution for everything that's on there. and this happens quite a bit for three D objects. Three D characters that are symmetrical to begin. Let's just remove the mirror modifiers for the legs and the arms. And let's maybe begin with the leg here. I'll just press the division key again to isolate it. What's press control? A. And apply the scale. It's tab into edit mode and let's see what we can do here. I think we could probably. Well, first of all, I'll just select these edges down here and let's go ahead and add a seem to the bottom here . Control E Mark seem. There we go. Next, I think. Let's just add a seem all the way around on the side as well. So once again, all to shift, click all the way around here and let's press control. E and Marcus seem here, and then let's go do that on the other side as well. So, um, let's press Ault and click there and I'll go ahead and select these and here and here, and then we need to select this area right in here and thes individual ones right year and here and ah, here and here. And let's see how this works. No press control E and mark seem and let's go ahead and give it a try. I'll press A to select everything. You and unwrapped. Yeah, that doesn't look too bad. Actually, this seems okay. I've extended this out right here. This right here, you can see it right there. So that's this piece right there. Um, I think that's OK. The only thing that seems a little odd to me is this whole piece right here. If we click Ault A, you can see that it extends all the way over the top. And I don't know that we need to do that because this area up here isn't really gonna be seen. So we could go ahead and add a seem to this one edge control e mark seem. And then that will split it up into two pieces. So let's try this. Let's select everything you and unwrap. Yeah, so that splits it up into two pieces here. Okay, let's now work on the arm. All tha beckoned object mode. Hit the division key and let's select the arm. Now, this is really made up of two pieces. One is the hand and the other is the arm. So perhaps what we should do is tab into edit mode and maybe select this piece, just the hand. I'll hover over this and press the l key to select that whole piece. And then what we could do is press shift h and that will hide everything that isn't selected. So not only did we isolate it with the division key, but now we've pressed Schiff h toe hide everything that isn't selected. Okay, so for this, we could probably split this along This edge here, I'll press ault and click and all shift and click all along here. Do we have this piece All press control E and mark seem Ah, let's grab this piece down here. This edge right along here and this right here. So let's market that seem. And then we should probably split this. Maybe right here. So we're splitting the inside from the outside of the hand here with this seem all too click control E mark seem So we're gonna have this piece right in here as its own peace. And then I think we could just split this right here. Just give it a seem around the wrist markets seem there, and then we should open this up. So it isn't just a a circle. Let's go ahead and give this a seem right here as well. Yeah, let's do that. So it opens up that cylinder flat. All right, let's give it a try. I'm gonna tab back into object mode first, impress control A and apply the scale, and I'll tab back into edit mode, press the a key, press you and unwrapped, and yeah, that looks actually pretty good. We've got the outside or the edges of the hands here, the inside, and then the outside. And then the wrist is laid out flat here. All right, I think that'll work. Let's take a look at the arm now. So to bring the arm back while we're still here in edit mode, I'll press ault age and that brings that back. Now, Aiken de select everything and then hover over the arm and press the l key. And now, once again, we can press shift H to hide the UN selected part. Now. Okay, so for this, we should probably try and hide a seam in here by the torso. Right? So let's press Ault and click this edge and that will select that edge in here by the body . We probably don't need these someone to de select thes with shift click And then I'm gonna press all shift in. Click here to select that edge right around there. Yeah, let's give this a try and press control E Mark Seem we've already applied the scale for the whole object of the arm and the hand, so I think we could just select everything and let's try it again. Let's hit you and unwrapped. Now we're getting some pulling here and if we switch from conform Aeltus Angle based, that helps a little. But let's apply that UV test pattern to this and see how it looks to do that with this here , I could come over to this. Pull down and weaken. Select that material. We had to call that material something I'll call it UV test here. So we've just applied that material to this object Now and now let's come over to our look devil once again, Middle mouse button, click and drag to move that header over and let's select Look Dev right here and there we can see our test pattern. You can see it's kind of wobbly and stretched here up around this cylinder. Let's Ah, switch it to conform ill and see what we see here. Not a lot. It looks like it threw away our material. Let's go ahead and select that material again. There we go. So once again, we've got some pulling here around this cylinder as well, so it would probably behoove us to go ahead and split this cylinder out just from the rest of the arm. So I'm gonna all to click this edge right here and press shift E. And let's Marcus seem here and let's see how this works. So I'm going to once again press the A key, disliked everything, press you and unwrap, and let's see how that works out. That works out a little bit better. I think. Let me press you and unwrap it again. And let's switch from conform all to angle based and actually angle based seems a little bit better to me. Well, let's give this a try, all right? And there we have the whole arm. Now I'll go ahead and switch back to the solid display and let's hit the division key. And there we have it. We've got our entire character. Now you ve mapped. Each piece has its own UV map with its own individual UV islands. So what we need to do now is combine all of these together into one UV map. I see that the arm is still split out or the hand is still hidden away. Let's press Ault h to bring that back. There we go. So in the next video, what let's do is take all of these objects, combine them together and then will arrange and pack all of those UV islands that we've created into one single UV map. 13. 13 Creating a Unified UV Map: All right, Now comes the fun part. We're going to take all of this and make one UV map out of all these UV islands. So to do that, we need to combine all these objects together. So I'm just gonna begin selecting all of these ahead. Hair, torso, the arms, the leg, everything. And I'm gonna press control Jay to join these all into one object. So controlled J. And there we go. And it turns out it's all called hair plants. Let's just call this character for now. Here in the outline, er, it looks like we've got a couple of issues with our smoothing once we did that and that's fine. We can come over here and go to object data normals, turn on auto smooth. And that cleans it up quite a bit. Weaken. Drag this up. Maybe I'll drag it up almost to 90. Not quite to the 90 because the neck here, I wanted to keep that the hard edge there. So just under 80 it looks like, and that looks pretty good all the way around. Okay, so now that we've done that, if we tap into edit mode, look at what we have a total mess. So what we need to do is combine all of these UV islands together so that they all fit here into the 0 to 1 space. And there's no overlap now. The reason why I call this the 0 to 1 to space. You can see if we take the two D cursor and we place it. Currently, you can see it's at 00 If I then come over here and choose three d cursor or excuse me, cursor. It's now the two d cursor here. I can move it to right here. You can see now that's 10 whereas X is one. And why is zero? We can take it and type in one and zero, and it's right here. Now we can enter one in here and it moves up to this corner, and then we can enter zero here, and it moves over here. So in terms of a graph, this is 00 and this is one and one. So this is called the 0 to 1 space. All right, I'm gonna put the cursor back at 00 Here we go. And now what I'll do is come over here and select everything here in the three D view. So we have all of our U. V s visible over here. Well, then select the A key over here to select all of those U V s. And then we can come up here to the U V menu. And there are two things we want to do. We want to average the scale so that the scale of each of the UV islands is the same as the relative scale of our three D objects. And then we want a pack islands. We want to take all those islands and packed them in to this 0 to 1 space. So first of all, I'm gonna click average Island scale. And there they are. And now I want a click pack islands. And there they are now they're all very tiny. Remember, we changed the margin here, so we need to adjust this again. I'm gonna type in 0.1 and let's see how that works. And that brings them quite a bit closer together. That maybe a little bit too close. Let me try. Ah, 0.1 There we go. So that moves them apart. from each other just a little bit. So there we go. There is our combined or unified UV map that the in key to close this panel. Now what we can do is mirror the arms and the legs over again, but this is going to take a little bit of finagle ing. We're gonna have to split these out into their own objects again, mayor it over and then combined them back. And what that will do is allow, say, the arm, Let me ah, select the arm here that will allow the UV islands of this arm to be in the exact same position as the UV islands for the arm on the right. So each of these UV islands will be one right on top of the other, and that's what we want. So what we need to do is select both the arm in the hand right here, and we need to split this object out from the rest of the object. So to do that, we just need to press the peaky, and then we need to separate by selection. And there we go. Now we'll tab back into object mode. And if I select this. That is its own object. You can see the new object out here. Now we need to once again move this origin to the three D cursor here in the center of the grid. We can, of course, snapped the cursor by pressing shift s and saying cursor to world origin. Then we can move the origin by coming up here to object, set origin, origin to three D cursor, and then we can mirror this over. So I'll come over here to the modifiers panel, add modifier mirror, and there it is right there. Well, then apply it now. It's included in this object here. Then what we need to do is join it back to the rest of the objects. So with these selected, I'll shift, select the character, and then I'll press control J. And that moves it back into that object. Now watch this. We tap back into edit mode at the a key. You can see that the UV islands of the arms and the hands are in the exact same place. Both the left and the right. So if I say select this right here, and if I select this right here with the Elke. They're in the same place. Also, the hands will hit the L Key in the L Key here. So that's what we wanted. We wanted these two symmetrical parts of the model tohave UV islands one right on top of the other. All right, so let's do that again now with the legs. So I come down here and I'll hover over the leg and I'll press the Elke. Then I'll split it out into its own object with the peaky separate by selection. Now I'll tab in object mode and select that one object. All right, so now let's move the origin to the three d cursor set. Origin, origin, the three D cursor. Now let's add a mirror modifier. Let's now apply it. And then with the legs selected, all press shift and click the rest. The character press control J and will add this back into the main character here. Control J. Here we go. Now, if we tab into edit mode at the a key, there we go. Now we've got the legs in the exact same place as well. So, once again, if I select this leg and this leg, you can see there in the exact same place. So there you go. That is one way to optimize your UV map by placing the maps or the islands of symmetrical parts one right on top of the other. All right, well, now that we have the UV map taken care of, we can now begin thinking about texture, painting our character. 14. 14 Beginning to Texture Paint: Well, now we're to the point of the process where we can begin adding some color to the character . Let's go back to the layout tab and, ah, well, he can't see him at all. So I think what the problem is here is if we hit the division key on the NUM pad, we can bring him back. It looks like that, um, in the beta version I'm using now of Blender 2.8. The local mode seems to be getting kind of confused between the different tabs. But that's okay. We can bring him back. Let's now go over to the shading tab and let's give this character of material at least a new material. We have one here. That's the UV test pattern. And although that looks pretty cool, let's go ahead and remove it by coming over here to the materials panel and let's hit the minus button here to remove that. Let's go ahead and create a new material here, and we'll just call this character. Let's do that. So now, with this one material, let's go ahead and create all the different colors using textures. So let's come over here to the texture paint tab right here. And currently you can see it is just pink because here in the texture, paint tab or texture paint mode here, it's going to be using a texture over here to give it color. And currently we don't have anything here. So what we need to do is add a new texture slot, and that can be done right over here in this active tool tab. Now, if you don't see anything over here when you click on this tab, you can just come over here and maybe click on one of the texture paint buttons, and this information should pop up then. But let's go ahead and create a new texture slot. I'll click the plus button here and we'll choose base color. There we go now. Character based color. It's a pretty good name. Um, I think I'm gonna make this texture pretty big. This currently is at one K. I think I'm gonna make it four k just because that gives me Mawr Pixels mawr resolution to paint on. But in the end, if we ever need to take it down, if we ever need to save it out as a lower resolution is two K or one K. We can always take it into Creator and save it as a new file. So here in these fields, I'm just going to type in Asterix four and then hit, Enter, and that will multiply that current number by four. So we can add simple mathematic formulas in there. I'm now going to click here and take the color all the way down to black and then I'll click, OK, and there we go. So there is our texture on our character. We're then gonna add the color on top of this. Let's go ahead and add that texture over here. I'll pull down the menu and choose that character based color here and there it is. And then what I'm gonna do is I'm gonna come over here to image and you see how we haven't Asterix here. If I click image, I'm gonna click Save as and we can save this image right here to the hard drive because currently the way blender handles two D images, this hasn't yet been saved to the hard drive, its in memory. But even if we save blender and then close out of blender, this will still just go away. So we need to come over here to image save as and I'm gonna take it into my textures folder that I've created and character based color once again is a pretty good name for it, and I'll click save as image. All right, so now you can see there's no Asterix here by the image menu, and that's good. That means we've saved to the hard drive. And from now on we can just click this button over here to save the image. But we needed to go through that process to save it to the drive initially. All right, so let's bring in a reference image right over here. I'm a click and drag and bring in an image. I'll create an image editor. We have the UV map here, so let's click view and uncheck display texture paint U V s. There we go now go to image and open and let's go find in our reference images this guy right here. So I just want toe sample the hair color and the head color for our texture map here. So I'm gonna hit the one key to go to the front view just because I think it's easier to work like this. And I'm just gonna fill these colors. So for the yellow and the brown, I just want to fill the colors to get just the base colors applied. So let's begin with the hair here. What I'm gonna do is I'm a select this guy right here, this face selection masking, I'm gonna click that. And then what I want to do is de select everything. Someone, press, alter A and that d selects everything. So we had everything selected before when we turned this on. Now we can do is hover over a piece of the model and pushed the L key. And that will select just that piece. There we go. So now what I want to do is fill this. To do that, I want to come over to the fill tool right here. But there we go. I want to take the strength up to 100% so we can do that here or over here. I'll go ahead and click and drag there. We want a sample, our color. So I'm gonna scroll down here and I'll click on the color swatch here and then I'll click on the eyedropper right here. And let's sample this color. Maybe right here. You can see it there now, in case I want to go back to this color so I don't lose it. When I choose another color, I'm gonna pearl the color palette thing down here, click new and create a new color palette. Now I can hit the plus and it will be saved right there. So that's good. That's what we want. Now let's come over here with that Phil brush selected and just click on the hair. And there we go. Now we've got our color applied just to the hair and you can see it come in to the two D image over here as well. All right, so we have the hair done. Let's go ahead and scroll up and click. Save all images and that takes away the ass tricks from the image menu. There. I'm gonna press Ault a to de select it. Also, let's just go over to object mode here and go over to our look deaf here, and we can see the hair color the way we have it. Currently. Yeah, that looks pretty good. So let's go back to Ah texture paint mode here and with our face selection still on, Let's come over here and hover over the head with the L Key and you can see here now, even though I selected the head, it didn't select all of it. And that's because we created seems when we did the UV map. So if I hit the tab key here in edit mode, you can see all of the seams. And now that we're all done with the UV map, weaken, take away. These seems without any problems. So it's press the A key and then press control e and let's choose, clear seem. And there we go. So now if we go back to texture pain, I'll just hit the tab key. And now what let's do is hover over the head, pressed the L key and you can see it selects the whole head. And let's go ahead and press L over the two hands as well there. And now, with the Phil brush still selected, let's scroll down here. But I lost my image here. Let me pull the menu down and select that image again. There we go. Let me select the color swatch the eyedropper and select this yellow color right here. I'll add it to the palate there. And then let's come over here and just click on the head. And that adds that there. All right, so there we've got the beginnings of our color map in the next video will continue on with the rest of the body. 15. 15 Finishing the Base Colors: before we go any further. I see I've got an Asterix here by the image menu. So I'm gonna go over to the active tool panel over here and click on save all images. Okay, so we've got that. We can go over to object mode and see how we're doing here. Not too bad. Let's come back over to the texture paint tools and let's ah, work on the torso. Now I have this image, of course, with this guy, but the clothes don't really fit what I want for the character. I found this other image online. Here, let me go to the reference images and this guy right here, I kind of I kind of like what they did here. This is a Lego character that someone hand painted. He actually took paint and painted right on the little toy. And I like the little leather jacket and black T shirt here, So I think that's what I want to do for mine as well. I'm not a fan of the pants and the boots. I think I'm just gonna make khaki pants. And it seems like most of the Lego characters, whatever the color, the pants are. That's what color the feet are as well. So I'm just gonna make the whole thing khaki for the legs and the feet. But for the little leather jacket. Here, let me select this. What's ah? With the Phil brush still selected, I've got the strength at one point. Oh, come down here and click on the color Swatch, Grab the eyedropper and let's find a nice color in here. Let's maybe slick this. Let me try that again. Let me find something else. Have out here a little bit different. I'm just trying to find a kind of, ah, brighter color. Maybe something like this. Yeah, let's go with that. I'll click here to add it to the palate and then let's come over here and hover over the torso. Pressed the l key, the arms, the L key as well. All right, so now that we've got this, let's just click on the torso. Oh, you can see I still had the head and hands selected as well. So let's press control Z and undo that. Let's press Ault a to de select everything and then I'll press L for the torso in the arms . Now with that done? Let's then click again and there we go. So that adds it just to the torso in the arms. Now what we're gonna do is actually use thes texture, paint tools to paint that black T shirt and the black lines for the jacket. And I thought we'd paint a belt and belt buckle on here, too. But let's get the pants colored. First, let's press alter A to de select everything. Let's go over to object mode and see how we're doing. I like that, but I feel like that needs to be a little bit darker. So let's let's go back to texture paint mode. Let's, um, select that torso and arms again, and I feel like this just needs to be a little bit darker. So maybe let's take this and just drag this down a bit like this. Let's try that. I'll go ahead and add this to the palate, and then I'll come over here and click. Let's see how that looks in object mode now. Yeah, I think that's a little bit closer to what I was imagining. Okay, let's go back to texture, paint de select everything. And now let's work on the pants here. Um, I guess we just need to hover over these and press the l key. That and then I have yet another image. Let's open this up. I have just a nim itch of khaki pants. Let's just open this up and sample a color off of this as well. So let's come down here, grab our eyedropper. And I'm not sure if I want it to be this color. Yeah, let's go with this. I think that's pretty good. All and that to the palate. Click here. And that adds that there. All right, let's go back to object mode and just take a look. Um, yeah, I think that's kind of what I want. And then, as I said, I'm gonna paint Ah, Black T shirt and a few details for the jacket as well. So there there doesn't appear to be too many problems or issues over here on the two D map , which is good. Sometimes the fill brush doesn't fill everything properly, but I think that's pretty good. The only thing I like to change maybe is this seems a little bit too bright and red. Maybe I'd like to make this just a little bit darker. So let's go back to my texture paint and I'll de select everything hover over this press the l key and let's come back here. Let's select this. I'm just gonna drag down just a little bit and see if I can make this just a little bit darker and I'll click. Yeah, I don't know that that helped a whole lot, but let's try. Yeah, for some reason, that was just a little bit too bright for me. Okay, Now I'm gonna go ahead and save my blender file with control s. But then I also need to save here as well. So I've come out of texture paint mode, so I don't have that save all images over here, so I'll just come over here and choose save. All right, so that has been saved. The hard drive. I've saved my blender file, and I just want to also mention that I've been saving in versions. This is version 15 and I would highly suggest this as you work on any project, save new versions every once in a while, but you can do is just go to file save as and Then you can hit the plus key on the num pad to increment the file. Okay, well, now that we have our base color map created in the next video, what let's do is work on actually hand painting the black T shirt, the details on the leather jacket and a belt as well. But to do that, I'm going to pull out my way. Calm graphics tablet. It's ah way. Come in to us pro. If you're going to do any hand texture painting, I really recommend getting some sort of a graphics tablet. You don't need to spend a lot of money on it, and it doesn't need to be a huge tablet either. Something small will work just fine, but in the next video will begin using that toe work on some or the texture painting. 16. 16 Painting the Jacket Detail: First of all, let's go back into our texture paint mode right here, and I will go ahead and make sure everything's de selected and then I'll just select the torso in the arms. Actually, I don't even need the arms. I'm just going to select the torso and that's all I need for this. I'll go to that front view again, and here we go will work in this view here. Now, we should be able to see as we paint the paint strokes come up over here on the two D image as well. So what let's do is go over to the draw brush right here. Our strength is currently at 0.7. I'm gonna go and take it up to one point. Oh, let's see how that works. And I'd like to come over here and turn off the ex mirror. I want to be able to just paint on one side of the other, and I don't want it to appear symmetrically on both sides. Also, I can change the fall off of the stroke here from kind of a soft fall off to a sharp brush . Let's take a look at the difference of those here before I make a decision on that. Let's bring up that image again over here. So here's that image right there and let's go ahead and come down here and let's create kind of a black color. I'll just grab this and drag it all the way down. Maybe not all the way down to give it a little bit of color, just a tad bit like this. There we go. Something like that. I'll go ahead and add that to the palate as well. And then I'll grab my graphics pen and tablet here. And if I hit the f key, I can change the size of the brush here. And if I press shift f I can change the strength of the stroke. I'm gonna keep it at one for now. So here is this stroke. If I keep that fall off as it is right here and then let me switch to this. And here's the stroke. If I have no fall off. So I actually think I may go with this here with no fall off at all. Let me take the brush down a bit. Here we go. And so for this, it looks like it looks like there are a couple of things going on here. Looks like we've got a the line over here for a seem underneath the arm. I don't think I want this to go on the sides. I just wanted to be on the front, and that's it. Um, So what I think I'll do is just begin here and create thes lapel type pieces here and here . And then I'll work on the pockets, I guess. All right, So let's let's try this. I'm gonna begin with this part that borders the black T shirt, so I'll just begin and I'll draw down to here That will come out like this. This may be now let me control Z that. Let me try that again. I might take the brush down just a little bit more like this to try this like that and then come over here like this. Maybe we go like this. No, I wanna press control z again and try it again. Yeah, something like that. Been like that? There we go. I like that a little bit better. So now for these pieces for the lapels, I'll just come over here Yes. And then kind of swooped that down. No. Let me try that again. Maybe I'll shrink that down just a bit like this. Let's try this. Now this here, then I'll swoop that down like this and we go. Yeah, OK, that works a little bit better. Ah, for this side. Here, let's try this, Miss that. I'm gonna come down like that, and then I'm gonna add a couple of, ah, silver dots for the zipper as well. All right, so we have those. Let's now work on the little pockets here. So it looks like it's something like this here with a little circle and then, ah, I'll just come straight down This. Maybe we could add a little things like that. All right, let's try it over here. Um, like this little circle, Something like that. All right. That looks a little bit off. Let me. Ah, I'm done like this. Try that. All right. It looks very hand drawn. So if I want to erase some of this, what I can do is let me just come back and use this same color. So let's say I grab this here and then increase the size of the brush that I can come in and paint this out like this museum in here. You just paint this out with the brown color and then go back to the black, reduce the sides of the brush again, and then maybe make this a little bit smaller. Let's try this again. I'll bring that down. There we go. Something like that. Then let's add a couple of these lines coming down that, I guess, or like creases. Let's do that. There we go. All right, so we have the beginnings of our jacket here. Let's go to the top. We can't really see the top and what they did there. But we can kind of ad some lines to ours up here. So maybe I could, ah, increase the size of the brush here and just kind of extend this back to the neck there and maybe extend this back like this. And then maybe I'll reduce the brush size just a bit and extend this back as well and maybe extend this back here like that. All right, so now let's try and fill in the shirt here. I'm just going to color in everything in between these two lines here, and you can see it coming in over here on the two D image mapas. Well, we probably need to click on save images here pretty soon to make sure we get this all on our color map. And don't lose all of the work we've done here. So I will go ahead and do that. I'll scroll back up here, click on Save All Images. There we go, just to make sure. And then let's come up here and do the same thing on the top. Kind of simulate the top of the coat there. Now we could also, if there's any problems, we can always come over here and paint here on the two D image. If we're on the paint mode right here, you can come in here and just paint right in here and kind of clean this out the bid if we want like that. So let's go ahead and take a look at this in object mode Now. Here we go. We can see it's beginning to take shape. We could go over to the materials panel and we could take thes speculate down just a bit like best. We wanted to. All right, so in the next video, what let's do is work on creating the zipper and will create a belt for the character as well. 17. 17 Texturing the Zipper and Belt: okay for the zipper. Let's go back to our texture paint mode and I'll zoom in here. And once again, I have just the torso selected. So that's good. You go to that front view again and let's work on this. Now let me bring back that character right here. And it looks like they've just have put a few dots going up into the lapel and then down along here. So let's just try and do that as well. I'll go back to our active tool, Tam. Here. I'll scroll down and let's now create a new color. I'll drag this up. Can I get kind of a silvery sh color here? Yeah, let's do that. Something about like this. Let's do that. And then what I'll do is just with that fall off brush still here with on the flat shape. I'll then hit the F key and bring that down quite a bit, and I just want to make little dots going all the way down here. So let's just Tab No, that's not strong enough. I've got the strength all the way up. Let me turn off the pressure sensitivity here. See if that helps. Yeah, so that helps quite a bit. We turn that down a bit or reduce the size of the brush some. And then I'm just gonna come through here and just add little kind of ah a dot here just along here just to kind of hint at a zipper. And I want him to kind of overlap into the black just a bit. This and I'm just clicking with the brush or the pen tool. I should say, Let's see how this looks. All right, let's zoom out and I'll go back to that object view object mode and let's see how that looks there. Yeah, that kind of looks like a zipper. I think. All right, that's kind of fun. Let's use that same color for the belt buckle, but I think we're gonna have to find another color for the actual belt itself. Let's go back to texture paint. Let's hit all to a to de select that, and this time I just want to select the hips right here. Go ahead and zoom in to this. I'll go to the front view. I'd like some other color of brown here, so let's see. I've got this Brown for the coat, right? This brown was the coat, But maybe I could use this for the belt. Let me try this. I'm gonna bring it down just a little bit more. I'll save that. Let's try this. So I'll just it the f key and bring the brush up and I'll just click and drag here. And let's just paint this color right on here, and you can see that there. So if that's the belt, that's okay. Let's go to object mode just to see how it blends in with the other colors. All right, I think that's pretty good. I may want to do it on the top just so we don't get that bleed over on the top there. Let's go back to texture paint and see what we can do there. Yes. So let me just paint right up here is well like that. Okay. It didn't bleed over there. Didn't bleed over there. I think we're OK on the bottom here. That's not too bad. Let's go back to object mode and see how that looks. All right, so if that's the color of the belt, I feel like it needs to be a little bit darker, though. Let's try that again. Let's Ah, go down here. Let's drag this down just a little bit more like this. Save that one there. Now it's come in and paint this again. Something like this. And then let's get that top part like this. Okay, well, let's go back to object mode and see how it looks. Yes. So I just wanted something a little bit a little bit darker. Okay, so we go back to texture paint mode. Grab that one key to go to our front. Ortho graphic. So now what I want to do is paint a belt buckle. And to do that, I think what I can do. Oh, I didn't save the color of the zipper, now, did I? What I could do is come in here and sample it off of here. Let's do that. Oh, click here. The eyedropper. Sample this and selected for the talent. There we go. So now I can make maybe the belt buckle from this. Although perhaps it should be a little bit darker. Let's bring it down a little bit more like that. We'll save that as well. Okay. No harm done. There so now to create a belt buckle. Maybe I'll just expand the brush and I'll just pull straight down. Let's just try this like that. No, let me try again. There we go. So I just dragged straight through that to get the belt buckle, and I think it's OK that that it isn't on the top. That's fine. Now we need to do the same thing for the color of the pants. So let me reduce this and let's go to the color of the pants. I think that was this one. Yeah, that looks correct. So now let's do is create the little, ah, belt loops on the pants. To do that, I think I'll come up here to the symmetry in turn on X symmetry right here. And then I'll just drag straight down like this. So I'm having trouble getting it straight. Let me come up and on the stroke. Turn on smooth stroke. Click there and then I'm gonna click up here and drag and you can see I get this kind of tail, and that might help me make things a little bit straighter. Yeah, there we go. Bring this down. There we go. All right. Let's see how we look in object mode. Yeah, I think that's what we're looking for. All right. And once again, we need to save our image. Image save will also save our blender file with control s. And there we go. We've got our textures for our Lego character. He's looking pretty cool. Let's now work on sculpting the hair. You can see if we bring up another image here. Actually, let me go to image open and find another reference image. Se this one over here. You can see that he's got a bit of sculpting happening here in the hair. Just a couple of strokes and I'd like to go ahead and add something like that. So in the next video, what let's do is begin working on sculpting the hair. 18. 18 Adding Sculpt Detail to the Hair: to get some of this sculpting detail on the hair. We can use blenders, sculpting tools, of course. And also I think there's a little bit of fine detail micro detail on here, too, that maybe we could add that as well. So, first of all, I think what we're gonna need to do is split the hair out as its own object because I don't want to sculpt on this model here. This is my final one. So I'm gonna duplicate the hair, do the sculpting on the duplicate, then bake a normal map. Then we can apply that normal map back to our main character here. So let's go over to the layout tab. And, um, for this I think we just need to select the hair so I'll tap into edit mode. And then let's press the L Key to select just the hair. Now what let's do is let's duplicate this with shift D and I'll hit enter and then we want to split this duplicate mesh out from this object. So it's it's own objects, so we'll press the peaky and then weaken separate vice selection. There we go. So now it's its own object Let's come over here and give it a name. Let's call it, Ah, hair scoped. Let's do that. And now, if I take this object and drag it into that main seen collection, we can pull it out of the character seen collection, and that allows me to hide the character and just have the hair scoped object here. All right, so now that we've got this, this is what we're actually going to do the sculpting on. Let's go over to the sculpting tab and let's begin working on this. Now, once again, I'm gonna switch over to my graphics tablet and here in sculpting mode, if you want to zoom in and frame up a particular object, you can hover over it and then press the period key on the NUM pad and that will frame it up So the tumble is centered at that point. So for this particular object, I'm gonna use the multi resolution modifier. I think it's really easy to generate pretty good looking scope detail and then bake a normal map out without having to read Apologize. It It's pretty handy. So I'm gonna come over here to the modifiers panel and click add modifier and let's choose multi resolution. I will hit the subdivide buttons several times. This may be subdivided up to Scope four and then also increased preview up to four as well . Now that we've done that Weaken, do a few tests here to see how our sculpt tools work. If I click and drag here, you can see I've added a sculpt stroke. But it's also on the other side, and I don't think I want that. This particular scope detail isn't going to be symmetrical. So I'm gonna come over here and turn off symmetry. But first, let me press Control Z and I'll bring down the symmetry menu and turn off the ex mirror there. Okay, so now if I click and drag, that's what we get. Okay, that's good. Just like in the text ring view, we can hit the F key and reduce the size of the brush. Also, we have a lot more tools over here, and it's sometimes kind of hard to know what they are, so I'm gonna hover over here and click and drag and pull this out so we can actually see the names of the tools here, mainly we're just gonna be using the draw in the smooth tool. Also, I think I need that reference image over here again, so I'll just create a new window here and let's bring in an image editor and let's find that image there. It ISS so this is kind of what I want to do. So let's do a few more test sculpts here. I think I want Teoh cut in right like that for the part in the hair and the way you cut in as you hold the control key and drag, and that then creates kind of, ah, cut in or a pushed in stroke. So let me, um I'm over here and make this a little bit bigger and ah, old control and click and drag and let's see how that works. Now it's a little bit too big. Let me ah, reduce that a smidge. And let's try that again. See how that worked? That's not bad. Um, I kind of feel like it needs to be a little bit deeper or more angled cut. So let's come over here to our fall off again and let me try this one right here, where we have more of, ah, steep angle on the stroke. But once again, press control and kind of move that back. Yeah, I think that's a little bit better. So let me try again. No, I think I wanted to come back more horizontal. So try this again. Yeah, that's not bad. Yeah, I think I like that. All right there. These tiny artifacts bank here. But we'll go through this after we do our strokes and will bring in the smooth brush and see what we can do to clean that up. So I think I just want 12 maybe three more strokes. Here. Let's try this press control, and I'm gonna go this way. No, not quite. It's gonna It's gonna take me a few times here. It always does. Um, you know, what I could do is I could bring in, or I could turn on this smooth stroke again. Let's try this. And if I press control and click and drag can see there's the stroke, see how that worked? That's not bad. Well, I kind of want this to come up a little more, so let's do it one more time. Like this round, like that? Yeah, that's a little bit more. I like these parallel here. Okay, It looks like there's one way down here in the front. Let's try and get that one in there. That Yeah. Okay, that looks pretty good. And then there's one way up here on top. Let's try and get one up here. I was gonna hold that control key, click and drag and then drag out here. Now that's a little bit too close. Let me get it up a little higher on the head here. Like this. See how that works? All right, let's see if we can now smoothies back a bit so they don't have the artifacts and rough edges here at the end. So let's go over to the smooth tool. I'm gonna hit the f key and make this a little bit bigger. Let's take the strength down a bit so we don't smooth away all of our strokes and I'll just come in here and kind of click and drag and and smooth this up just a bit. Blend these in just a little bit more. This just bring him back a little bit, so they aren't quite as harsh. So they aren't quite as prominent. All right, maybe even take this down a little bit more smooth this back some. Yeah, like that. All right, let's give this a try. I kind of you, like this might work now that we've smoothed those back, let's add that micro detail I was talking about Let's come back to the draw brush here and let's add a new texture. So if I come up here, I can click on texture and add new right here. Now that we have that new texture, we can come over to our texture tab down here and here it is. So if we change our type from image or movie to noise, now we're gonna be painting or sculpting this noise pattern. So if I come over here and click and drag, you can see we get this kind of kind of, ah micro detail there, which is kind of nice. Now let me undo this and let's turn off that smooth stroke. Also, let's reduce the strength of it quite a bit, and I will increase the size of the brush. You can kind of see the detail here as I change the size of the brush there. All right, so let's do this. Let's just very lightly lay down this detail on just barely click and drag and just lay down some of this detail. I'm just going to kind of do it in line with the current strokes here like this. Let's just see if we can add some of this all around, so it gives it a little bit of a feeling like it's, you know, textured plastic or something like that. Let's do that. All right, then I'll tumble around and get this area down underneath Here is well along the rim of the hair right down in here, some of that and then let's see how it works. All right, So what I like to do now is bake out this high resolution information to a normal map, and then we can apply the normal map to the material of the character. Because if I were to bake out all of this detail here, let me hit the Z key and go to wire frame. You can see that we've got a huge amount of polygons being used for this. We can't keep all of these polygons for a game character. We're gonna need to bake the sculpt information out to a normal map. So in the next video, let's go ahead and work on that. 19. 19 Baking a Normal Map: to bake this to a normal map, we're gonna have to first create a new material. So let's come over here to that You ve editing tab. And currently this object still has that character material on it. Let's create a new material for the bake. Let's come over here to the materials panel. I'll hit the minus button to remove that material from this object and let's hit new and I'll just call this hair. All right, so now we need to create a texture that we're going to bake the normal map onto. So let's come over here and click New and we'll call this hair normal, and I want to make this map the same size as we did previously. So I'm just gonna type in Asterix four and hit Enter. So we get that 40 96 so I'll just type in 40 96 here is well, and then I'll click. OK, all right. So here is the texture map that we're going to bake the normals to once again. We've got an Asterix here at the image menu. I'm gonna click that and choose save as and here in the texture folder I'll save the hair normal image. And now we need to bring that image up into here into the note editor Sillas Press shift A and will bring in an image texture here. Drop it there. And now let's just pull this menu down and choose hair normal there, OK? We don't have to connect it up or anything. We can just leave it here in the note editor. Now let's come over to our render panel right here. And currently we have the e V render engine selected and to bake a texture map. Currently, we need to switch over to the cycles renderers. So we'll do that. Come over here and twirl down the bake arrow. And let's change our bake type from combined to normal right here. All right, so now that we have this object selected, we have a image texture created, and here in the note editor, I want to have this clear image check box checked right down here so that it clears away the black when it creates the normal map. And I think we're ready to go. So let's just click bake, And there it is. So if we zoom in down here, you can see. We've got our strokes and our micro details in there, so that looks pretty good. Now let's apply it. So what let's do is hide this. I'll Ah, come over here and hide it here. Let's bring back our character right here. And let's apply this sculpt detail to our character material. If I click on the character here, it'll switch over to the material that's on it, the character. And then we can come over here and add it to the note editor. So let's press shift a. Bring in a new image texture node. Drop it here. We need to First of all, save this to the hard drive. So let's go ahead and click image and save. And now let's go pick it up off the hard drive. All click open, go to my textures and let's click on hair normal. There it is. Now it's changed this from color to non color data, and then we can't just hook up this yellow color socket to this blue normal socket. We need a note in between here to transfer, so what let's do is let's press shift a again, go to Vector and let's choose normal map. And here we are. So now we can take this yellow color to here and the blue normal to there. Now, let's come over to this window and let's switch over to the look, Dev. And there we go. We can see our sculpt detail on the character. Yeah, let's go over to the layout tab now and switch over to the look, Dev. And there we go. Yeah, he's looking pretty good. We've got that detail in there and we've got the sculpt strokes in there. I think that will work just fine. In fact, you know what? We could go ahead and test this in unity. Why don't we open up unity and give it a try? What we can do is select our character here and we can go toe file and export and export FB X. And down here we can choose selected objects only right here, and I'll create a new folder and I'll just call it exports. We go and I'll put that right in here just as a test. I'm gonna hit export FB X right there and then let's go over to unity and put this in the game engine and see how it looks. Your immunity. I can come down into the Assets folder here and just right click and choose Import New Asset. I'll go into my exports and I'll choose the F B X character there. And then I will also import new assets and go into my textures folder. Select these two and import those, all right, And before I bring this in, I better create a new material as well. I'm gonna right click and choose, create and material right here. And let's just call this Lego character. Now I can take that fbx file and drag it over here into the hierarchy. There he is. Now I can take the new material and dragged onto the character. There we go, and then what I can do is come over here. Open up the material in the inspector and let's drag in the color into the albedo that was dragging the normal map into the normal map slot. We'll click fixed now to mark it as a normal map. There we go and let me grab the directional light here and move it up, and I'll also turn it all rotated around so we can see a little bit better and hey, there we go. There's our character now. Weaken. Select this and increase the metallic a bit if we want or increase the smoothness if we want to make him a little more shiny. But, yeah, I think he's looking pretty good, all right. So we have our character modeled and textured and weaken, bring him into unity and set up the material and texture. So in the next section of the course, what we need to do is rigged the character so we can begin to animate him. 20. 20 Beginning the Rig: Well, ultimately, I'm going to want to animate this guy, so we're going to need to create the underlying skeleton or armature that will use to animate him. But first of all, I need to figure out how big this character should be. So should he be re a life size like six feet tall or a meter and 1/2 for mawr, or should he be the actual size of a tiny little Lego piece? I don't really know That's the problem. But I think what I'm gonna do is just kind of make a compromise and just say he's going to be one meter tall, not quite as big as a normal human being, but certainly not a small is one of the toys. So what I'm gonna do is create a reference object. I'm just gonna press shift a and I'm gonna create a cube mesh cube here. And if I hit the n key, you can see over here in the sidebar that the dimensions of this cube is two meters by two meters. What I think I'll do is maybe change the Z axis to one meter and then change the X and the Y two maybe point to try that. So maybe this is how big my character should be. If I hit the three key and go to the side view, maybe I can bring this up and kind of put it right on the grid. And just generally speaking, this is how big my character should be. So as we can see, he's a little too big. So I'll go to wire frame and I'll just get the B key and border. Select this whole thing here. Go ahead and change to global transformation as well. And now I'd like to scale it down at this point here at the grid. And our origin point is, is up here. We should probably move that origin down to the center of the grid as well. So let's go ahead and come over here to object. Set origin an origin to three d cursor and that'll move that down to there. Now we can just hit s and scale it down. So let me go to the front view and I'll hit s and scale it down. So So maybe he's about this big. Let's see how this works will hit the period key so yeah, Let's, um, let's see how this works. I'll hit the Z Key and go back to look deaf here, and that probably is pretty good. I think that's what will go with. So with the character selected here, you can see he's about 1.5 meters tall and that's fine. That 05 there is his tall hair, so I think that will be fine. I'll select that cube and hit the delete key, and I'll hit in to close that panel. No. Oh, actually, let me open that panel up again and let's select the character and we need to deal with our scale. A rotation and location are all zeros, and that's good. But the scale here we should take back to one so oppressed control a and if you want, you can just apply. All transforms here at this point in time. That's fine. So there we go. We're all back to zeros and ones. Okay, now to actually create the armature for the character, let's go to the front view and let's press shift a again and come down here and choose armature, and when we do that, it creates a single bone. And from this one bone we're going to create the entire armature now, as it is currently, if we get the n key weaken. See, we've got zeros and ones in the rotation and scale, and that's good. We want to keep it that way. To change the size and move it. We should tab into edit mode. So I'll hit tab to go into edit mode. Well, hit Z to go to wire frame. And I just want to select this tip of the bone right here and I'll grab my move tool and I just want to move it straight down in the Z axis. Still, it's quite a bit smaller about like that. And then I'm gonna select the entire bone by clicking here and bring it back up in the Z axis. So it's about like this, and I want the tip of this bone to be just at the top of the hips of something like this. Like that. All right, let's go back to our solid view and we can't see it inside the character the way it is now . So let's come over here to our object data panel Vieux Port Display and let's click on in front right there. So now we can see it inside the character. Even when we go to object mode, we can still see it there and noticed that since I moved this in edit mode, the actual origin of the object is still remaining here in the center of the grid. And that's good. All right, So with this selected, maybe I'll go to the side view with the three key and let's select this top tip of the bone right there and let's hit E to extrude it. So we'll hit E. And then I'll hit Z and drag straight up to about, Oh, midpoint on the torso there and that will hit E and C and drag straight up to the base of the neck. And then e and Z. Here's the neck and e and Z and here's the bone for the head. There we go. So now we have the hip torso, the neck and the head. Now we need to rename these. Let's select this bone and let's come over to the bone panel right here and here we can see the name of the bones, so you've got bone bone one, 23 etcetera. So let's just grab this one here and let's call this the route bone. There we go. And then the next one let's just call this spine one. And this one we're gonna call spine, too. Uh, this when we can call neck and the one appear will call head. There we go. All right, well, that's a good beginning. But there's a problem here, I think. And I think we're gonna need to address this pretty quick. Let's tab back into object mode and I'll select the character and let me go to the front view. And if I tap into edit mode where we can see all the edges, I've got a joint here, but no edge. Remember I said how at every joint or every bend, you should probably have three edges the edge that it bends on and then edges on either side of that to maintain the shape Well, here we don't have anything, and that's gonna be a problem if we ever try and bend the torso at this point. So let's press control are and I'm gonna insert an edge loop right here at that joint, and then I'm gonna put edge loops on either side here and here, and that will allow us to bend the character at that point at that joint. All right, so that's gonna help there. The next thing we ought to do is now that I'm thinking about it, we should do that on the legs as well, too. So let's go ahead and do that. Let's, um, let's hit the three key here and let's create some edges here for a bend at the knee. We're not gonna have the character been the knees. Ah, whole lot. But I think it be helpful just to have him be ableto bend just a bit. So let's press control are and click here. And remember, we can flip between the two edges here. So if I hit the e key, we've got this edge. And if I hit the f key, we can flip back and forth between the edge down here in the shape of the edge up at the top. So I would just want it right year. Okay, so let's also do that on the other side, or press control are click and I'll hit E and it the F key and we go. So that flattened it out. I just wanted about the same place as the other one right there. Yeah, okay, So now let's some create an edge down here and an edge up here. Once again, I'll hit E and then F and there we go. So we need to do the same thing down here. I'll hit control are here. Control our and click E and F, and that should go there. So now what let's do is press control. Three to go to the left Ortho graphic view. And if I press Alz Z, I get this kind of transparent view. I'll hit G two times and that will take me into slide mode, and I'll just slide that edge right there. And then let's all to click this one control three and let's hit G twice and I'll slide that edge to there. So it's about the same place as the other side. Well, Z and there we go. Now it's Tab back into object mode, and for the next video, we're going to begin adding the bones for the legs and the arms 21. 21 Creating the Arm and Leg Bones: before we create the arm bones, I think I'd like to take these arms and rotate them up so they're in a T pose. When we take the character into unity, it's going to look for a T pose for the character. And I think we need to do that now before we go any further. So I'm gonna select the character and I will tap into edit mode. And I think what I need to do is select just this edge right here. I'll Ault click it right there, and I'm gonna put the cursor at this point so that I can rotate the arms up around that point right there. And I think that will also be where we put the upper arm joint as well. So let's go ahead and press shift s and put the cursor to the selected. Then what I'll do is change my pivot point to the three D cursor, and then I want to select this whole arm and hand. Go back to that front view and let's rotate this up and what I'm gonna do is hit the R key and hold down the control button. And if you look in the upper left hand corner of the three D view. You can see I'm rotating this, snapping it in increments of five degrees. And that's just so I can do the other one in the exact same way. And I think if I get the arm about right here, looks like that's 70 degrees. So if I click there and I've got the arm where I wanted here, so all we have to do now is come over to this one, do the same thing and rotate it up 70 degrees as well. So let's go back to that front view. Select the arm in the hand and now it's it are and control. And let's rotate this one up 70 degrees as well. There we go. So now we've got our character in a kind of A T pose. Now I'm gonna use that same process here to bring the cursor back over to this side cursor to selected there, and I'll change the pivot point back to medium point. You can also press the period key and get this same menu as well. So I think what I'll do now is go back to the armature, select it and go to edit mode. And now when I create a new bone here, it will pop into the three D cursor right there. So let's give it a trial press shift. A. And there it is. Now we can take this point and bring it down to the elbow. So I'll just hit G and bring it down about like this. Let's zoom in with period key here, and maybe I'll bring it about like this so it's more horizontal. Now let's go back the top view with E seven key and let's see where we can place this. Now we have those three edges on this character or on the arm here, and that should help us place this joint. But we can't see the edges currently. So what we need to do is tab back into object mode and select the character. And if we go over here to view port display under our object tab, we can come down here and check wire frame, and I'll also choose all edges here. So now when we go back to the armature tab back into edit mode, weaken, see these edges and we can place our joints more precisely right on this edge. Right on that edge. That will be that elbow. All right, so now that I've got this, I'm gonna hit B and we'll extend this on down to dear, and then we can hit B and extend this out for the hand and we go, and then we also need to create the bones for the hand here. And this is kind of a strange hand. It's really not much like anything else we might create, so we're gonna have to kind of wing it here as to how we should do this. Think what I'm gonna do is just take this point here and extruded up, maybe 1 to 3 times. So let's try that. I'll hit E up to here it again to here, and he again to here and let's see how that works. Well, it's way off access on her hand, and that's fine. We need to do some work here. So let me grab this one and move it. I'm gonna try and move them along this edge here, move it like this of this, like that. There we go. So that's a little bit more in line with the hand. Let's do that again. I'll select that tip and kind of a range the view. So it's kind of the side of the hand here again. E click there and I'm just trying toe. Place them on these edges here like that. And then let's go down on the bottom here. Try and line up the view and will try and place thes along that edge as well. Here we go. All right, so we have those before we mirror these over to the other side. We should do the legs as well. So for these, I think we also want to place that route joint or that upper leg joint right in the center of this cylinder. So what we need to do once again, is Tab back into object mode and select the character tab into edit mode. Let's go toe wire frame and let's see if we could just select these two points right here and here. Let's try this, and I think if we place the cursor right here will be pretty good. So let's press shift s and cursor to selected. All right, now, let's go back here. Select that are mature it the tab Key to go back into edit mode and now here in the front view again, I'm gonna create the bone at that cursor. So shift a and now let's take this guy and just move it down to the knee. I think what I'll do is I'll try and it g and press control. And it'll kind of snapped down here and hopefully it will be straight up and down. Yeah, that looks pretty vertical there. So I'll bring that up to the knee joint and then let's go to the side view and up here with the arm joint, we kind of automatically created a bend here because the arm was already bent down here at the leg. The leg is just purely straight, but we're gonna need a bend here in this one, especially because I'm gonna put in verse. Can a Matics or I keychain on the leg? I won't do it on the arms because I think it will be better to use forward Kinnah Matics, But I want to use I k here on the legs, so I need a slight bend in the leg. So Blender knows in its calculations which way the leg is supposed to bend, so I'll pull this forward just a bit. Kind of like this. And that will hit e. And let's bring this joint down to where the ankle might be right here. And then I'll hit E again. Bring that down to where the toe might bend. And then I'll hit E and dragged this straight out like that. There we go. So now we need to go through and name all of these. So let's ah, begin up here. This one all call up arm dot l. And this one will be low arm dot l. This one could be just hand dot l And these. I believe what I'm gonna do is call these fingers on the top and thumb on the bottom. Just a way to differentiate them. So I'm gonna call this finger one dot l That and this one. We can call finger to dot l and finger three dot L. Now down here, we're gonna call this thumb one dot l from two dot l and thumb three. There we go. All right. So we have those done down here with the leg. Let's call this up leg dot L this one would be low leg, don't l? This one would be foot dot l and then toe dot l Right here. There we go. Okay. So now we have these pretty much set up that is really all of the bones that we're gonna need for this very simple character. So in the next video, what let's do is let's mirror these over to the other side and lets parents the arm in the legs to the main torso. 22. 22 Adjusting Roll and Mirroring: Before we mirror this over, we should probably take a look at the rotation and the role of these bones and make sure it's what we want. So if we tap into edit mode, let's select this upper arm bone here and let's come up here to Global and go to normal transform orientation. And then I'm gonna choose the rotate tool. Okay, so now if we hit the n key and come over here to our sidebar, we have this role field here. What we can do is change the role of the bone to place it or arrange it. So it's the way we want. So what I usually try and do with this is have the X axis here be the main angle of rotation. So what way is this bone going to mainly turn? I would say it's gonna mainly turn forward and back. Maybe as he's running or walking. I don't think the main angle will be up and down, so I think Ford and back is fine for this. You can see the X axis is in a position where this would go forward and back along the X axis. Let's look at this one here. Now, I think the main angle of rotation would be for it to bend up at the elbow. Right. But currently, the Z axis is aligned to that particular axis of rotation. So what I think I'd like to do is maybe go to the front view here, and I want to turn this. So the X axis is pointing toward me instead of the Z axis so I can come over here to the role Field and Aiken, turn this so that X axis is pointing toward me. All right, let's come over here. Ah, and look at this one here. Now for this, The X axis is going up and down for the wrist, and I think that's probably what we want. That main axis would be the wrist bending up and down. It would also go side to side, but I don't think that would be the main axis. So let's now take a look. A this bone. I think we need to turn this if we kind of angle our view. So we're looking at this from the top like this. I think what I'd like to do is turn that X axis. So it points up like that. Let's also take this one and move it like this and this one. And let's move it like this. There we go. Let's give this a try. I'll also do this on the bottom, and we go like this and here and here. Now, what we can do is actually test this. We can go in tow, pose mode and see which way these they're turning. So if I come over here to edit, drop down and choose pose mode now, this is the mode that the character will actually be animating in. So if I take, say this bone, go to the rotate tool man, let's just see if we click on the X axis. It is rotating mainly in the X axis there. Let me look at this one and this one over. What I'm seeing is they're all moving in the negative. X Let me try this one here. This one's moving in the positive X and this one's positive. So I think this is OK. Yeah, let's go with this. I mean, you look at this one. It's turning up and down. So up is in the positive down is in the negative. That should be okay. This one is going to turn this way. That's good. And this one is going to turn this way. Good. Okay, I think that's gonna work. Let's go back to edit mode now. And let's select this bone down here and let's take a look at this. Now, the X axis is pointing to the side here, but these look like they're okay. So let's change this one. I'm gonna go to the front view here and let's click and drag on the roll. And let's change this one here. Like this. There we go. Now, if we go back to pose mode, we can turn these. Let's take this. Yep. That's going positive and negative. That's good. Negative. Positive? Yeah. I think these air gonna work. Everything is moving in the X axis just fine. And once again, I'm in the normal transformation orientation here as I do this. All right, so let's go back to edit mode now. And the next thing we should do is mirror these over. Now, Before I do that, I'd like to see all the names here in the view Port of the Bones and to do that we can come over here to the object data panel and we can click on names. And there we go. We can see the names in our view port. Now, let me get the Z key here. You can see him better here. So we have all the names in place for the left side of the rig and the center torso. We need to mere these over now. So let's begin with the legs down here. Let's move the cursor into the center of the grid with shift s cursor to world origin. And then I'm gonna go through and select all of these bones here, and I wanna make sure that I'm using the three d cursor as my pivot point here. You can see that there we change back to global transforms. Now let's do is duplicate this chain and then merit in the X axis. And when we do, it should mirror around this point here around our our pivot point, our three d cursor. So I'll press shift D and enter, and then a press control m control em. And then I'll hit the X key to mayor in the X axis and then I'll hit Enter and there we go . So now we have our chain over here, but we need to deal with our names. What we can do is right Click on the chain there and then go to names and we can choose flip names. And when we do that, you can see we've got up leg dot are low leg dot are etcetera. However, this 001 is still there and that really shouldn't be. I think this is a beta version issue that they haven't fixed yet in version 2.79 and earlier, when you flipped the names, it would change the L to R. And then it would also remove the 001 So I think they still need to work on that. But we can always come over here and do it the old fashioned way manually. Select each one of these and remove that 10.1 out of the name. That's not a problem. We can do that there and this one here. So I would imagine in a future version that will be cleaned up. Alright, let's try that again with the arm and hand, so I'll just select all of these bones here like that. And then let's do the same thing. Let's press shift D and enter. And then let's press control M and the X Key and that will mirror those over to the other side. And then I'll hit enter and then right click names, flip names. And then we got to go through and take away the 001 for each one of these. So I will do that before the next video and at that time will parent the arms and the legs to the main torso here, and then we'll try and bind the character mesh to the armature. 23. 23 Binding the Character to the Rig: When I was changing the name of these bones, I realized I could tell that the mirror didn't exactly work real well with the role on these. So let me go back to median point for our pivot point and let's go to normal transform orientation and you can see that the role is a bit off for these, so we should probably fix that. It looks like the hand bone is okay. The lower arm in the upper arm all seem to be fine, so let's just deal with the fingers before we do anything else, I'll tumble around here and let's just use this role field again and turn the X axis So it's aligned with the main axis of rotation for our fingers. And let's get this one here and we go and then I'll tumble down around here and let's do this one as well. Year. Roll this around in this and this one actually looks pretty good. Let's go with that. There we go. Okay, so I think that helps. Now we should do is parents, the arm chains and the leg chains to the torso here. So what I'll do is I'll select the upper arm bone here. Shift. Select this spine too endless Press control P and make the spine bone apparent of the arm bone and keep offset. Keep the position between the two there. Let me get rid of this rotate gizmo here, and I'll also go back to Global. Yeah, we're at a median point here, and that's fine. You can also see this relationship line that's been created between the arm bone and the spine, and that's just to let us know that there's a parent child relationship there. Let's select this bone now and then this one and then let's press control P and keep offset And down here, let's do the same thing. I'll select this shift. Select this bone the route bone press control P and keep offset. And here and the route and control P. And there we go. So now we've got all of those parented to each other, which means if we tab back into object mode and then go to pose mode, let's say we select this spine bone and we rotate this around. You can see the arms now come along with that spine bone, and that's that's what we want to remove the rotation from this bone. Here I compress Ault are and that will clear the rotation. Same thing down here. If I select this and move this around, you can see everything now is a child of this route bone. All right, once again alter our There we go. Okay, so now we've got the rig generally set up. Now, these air, all the deformed bones there's gonna be more bones that will create to control things like the foot roll controls and the control objects and things like that. But for now, this is what will actually be to forming the character when it's being animated. So what let's do is let's go ahead and bind the mesh to the armature so that when we move the bones here in post mode, it will actually move the character as well. I'll go back to solid mode here, and we don't really need to see the wire frame anymore. I'm gonna go back to object mode, select character and turn off wire frame here, and I'll turn off all edges as well. So what we're gonna do is parent the character to the rig, to the armature in much the same way that we just parented one bone to another. But when we do this, it's going to create a modifier over here. So I'm gonna open the modifiers panel so you can see what happens when we do this parenting . So the first thing I will do is select the character, and then I will shift Select the rig. Now what let's do is press control P. And we get a new menu now because it's seeing that one of the things we've selected is an armature, and we've got these choices here. We can choose to parent with armature to form with empty groups with envelope weights and with automatic weights. And what we're gonna do is use blenders, automatic weights and with this blender will take a look at the vergis is around each of the bones and try and set. The influence for each of the vergis is based on its position to the bone, how near, or how far it is from any specific bone. So let's go ahead and try this. I'm gonna choose automatic weights right there. And now if we go back to just selecting the character, look at what happened over here inthe e modifiers panel. We have a new armature modifier, and this is what is binding the character to a specific object to the armature itself. So the modifier is added to the character MASH, and the object that it is bound to is the armature. All right, So now that we've done this, let's give it a test. Let's choose the armature and then go back over to pose mode, choose the bone, and let's give this a try. So with this selected, I'm gonna change from global to local transformation and with this bone selected, let's just move this up and down. And sure enough, our character has been bound to the armature to the skeleton that we've created. So we could maybe take the neck bone here. Let's choose the neck bone and spend that around like this. Yeah, and we could maybe take the leg bone and rotated up like that. Now you can see there some problems. I don't think we want the hips to turn with the leg right, So there's some work we're still going to need to do. It did the best it could, and actually, it did pretty Well, it's just that it isn't perfect. Let me select everything with the a key, and I'm gonna press all our to clear the rotation of everything I did. So what we need to do now is use blenders, weight painting tools to go through and fix all the problems with the bind so that the character will animate and to form in the way that we want him to, so we'll work on that next. 24. 24 Weight Painting the Character: Now we can start posing our character and see if there's some issues that we need to take care of. As we saw, there is already one we know about here for the hips. What I'm gonna do first is go into weight paint mode, and to do that, I need to select the character. But I can't now because I'm in pose mode and the character doesn't have opposed mode, so I can't click it. But what I can do is come over here to edit and uncheck this lock object modes. And once I do that, I'll be able to select another mode object mode other than the one I'm in. So I'm currently in post mode, but now if I click on the character you can see I go to object mode. Now I need to click on the character one more time, and there we are. So with the character selected, I can come over here and now I have the modes for the character, and right here is wait paint mode and await is just an influence. How much influence a particular bone has over a particular vertex. So if we click this, we can see now some various colors displayed. Now that we have this upper leg bones selected here, remember, in texture painting mode, we had this face selection masking turned on. I'm gonna turn that off for just a minute here so you can see it just a little bit better. And you can see that when I select or when I have this bone selected this upper leg dot l selected This is the color, or this is the influence. The weights that are assigned to this bone. The color red signifies the strongest influence, and blue signifies no influence at all. But to demonstrate this, actually, I should probably go up to one of these torso bones. I think it's a little bit easier to see to select one of these bones. What I need to do is press shift and right click, and then I get a menu of the bones on the chain. So this is spine one. I need to click this one here. So now you can see all the influence that is happening for this spine. One. If I shift right click for this one, I can choose spine too. And that's the influence that we see if I come over here to the arm shift right, click and choose up arm L. And that's the influence. And you can see a pretty good gradation of influence here from the bright red, which is a lot of influence down to the orange, yellow, green, light, blue and then dark blue. And that's just kind of ah, fairly gradual Grady int from hi influence to none down here. So what we can do is use the weight painting tools to change the amount of influence. Ah, visually, here as we adjust our character. So once again, if we go to spine one, what I'd like to do is get the influence here at Spine one kind of similar to the upper arm at the bone itself, have a fairly strong red influence. And then, as we go up towards spine too, begin toe, gradually fall off and decrease the amount of influence. So let's shift right Click spine one right here and I'll go to the front view, and what I'd like to do is just paint a stronger influence here. You can see appear I've got my strength at one point. Oh, and the amount of weight that I'm painting at 1.0, or 100% here. And then if I go over to my active tool tab right here, you can see I've got the brush tools for the weight painting over here is well, so I think I'll click this icon here and switched from draw toe ad, and I've got my weight at 100%. My strength is currently over here at 0.2. If I dragged that up to 1.0, and now I can come over here and just click and drag, and I'm using the mouse currently and not the wake on tablet. I'm not using that for this, but if I just click and drag here, you can see I can increase the amount of of weight at this bone. Now, I'm only painting at the Vergis is, and it's kind of difficult to see where those are with the current view. So if we come over here to the object panel here and come down here, tow wire frame once again and we can even choose all edges weaken CR wire frame here, snake and see, as I paint are the influences only painted on the vergis ease. So I'll press the three key now and you can and I can click and drag down here enough to hear enough to here. And you can see this is as far as I want it to go here. Now go to the back view and press control one to do that and click and drag on these Vergis is here and here and get that painted and then I'll press control three to come around to this side and paint thes All right, back to the front view. Now I'm painting down here on the hips to I don't want to do that and I'll show you how we're going to fix that here in a minute. But now I want to come up here and subtract the weight that's up here. I don't need the weight of this spine. One reaching all the way up to the top of the torso. I want spine to to be controlling this area appear once again over to the active tool panel . I'm gonna switch from add to subtract, and once again, I'm gonna take this strength up all the way. And now if I click up here. You can see I'm removing influence up here. So back to that side view, then to the back view with control. One paint back here, control three and paint back here. Okay, so now I've got this influence taken away up here. Let's now go toe spine to and do the same thing. I'll press shift, right click and choose spine, too. And now we need to do a similar thing. So while I'm here in subtract minute, I'll go ahead and paint down here and let's keep going on around here like this. There we go. And then let's get some mawr influence up here is well, so we'll change from subtract back to add and then we'll click and drag up here to really add some influence up here. There we go. No, I've added it onto the fingers over here. You need to be careful and not do that. So let me control Z that undo that. We don't want that to happen. There we go. And I've also pan it'd onto the arm. We're gonna need to get rid of this as well. And I'll go over how to do that fairly easily. Here All right, so now we've got this painted for the top. Looks like I've gone a little overboard here. So what we can do for something like this? You see how this is kind of slanted like this? I kind of went a little overboard there. So let's go back to subtract. And instead of the weight being 1.0, let's take it down 2.5 and I'll hit the f key again to change the size of the brush. And let's just click on these. Vergis is right around here, and you can see how I'm removing weight. I'm removing 0.5 of the weight out of the vergis is where I click. So maybe over here I can click. Yeah, like that. Although that may be a little bit too much. I just hit control Z to undo that. Let's take this down. 2.25 year. There we go. And let's go to the back of you. I'm just gonna click on these here. Looks like I have a good green here. I don't want to take the green away too much here, and I'd like to add some of that green back. So maybe I'll come back to the ad tool. And with 0.25 still selected, I'll click in here. Yeah, so I can just add that back into that edge. All right, so now I've got the influence or the wait for spine One and spine to here. Now, I need to remove some of this from all this extraneous areas the hips, the arms, the legs. And that's where this face selection masking can come in handy here as well. If I turn this on now, I can come over and hover over this arm. Let's say and select that. Now, when I do, that, selection carries over into edit mode. So if I tab into edit mode, you can see that arm is selected as well. Which is helpful, because if we come over here to this panel right here the object data panel we have here a list of all the Vertex groups that were created when the character was bound to the bones bound to the armature. So for each bone in here, a vertex group was created, and all the vergis is that air influenced by this particular bone are in that Vertex group , so let me just de select everything here for just a moment and with spine to selected to come down here and choose Select. And you can see now that this is all of the vergis ease in that spine to group. And when I did the painting, I accidentally overdid the painting and added these extra points in there. Right, That shouldn't have happened. I didn't want to do that. So what I can do is I can remove. Vergis is from this group. Now let me de select everything and I'm gonna go back to wait paint mode by pressing tab. Now, you can see here that the current Vertex group is the upper leg group and we don't want that. We want the spine, someone a press shift, right. Click and choose spine too. You can see that over here. Now, if I select this arm with the l key tam into edit mode, this is selected. Spying to is selected, and we can click Remove. Now. Any of the vergis ease in this selection that was in that spine to Vertex group have been removed from that group. So if we tab back into weight paint mode you can see here if we choose that spine to bone again right there. There are no vergis ease being influenced by that one bone, so we can do the same thing for the right arm as well. Now we don't have to choose thieve urgencies here in weight paint mode. We could tab into edit mode and do the same thing here. So if we hover over the arm and hit the L A key, we can choose that week over over the head. Choose the L key there that will select those areas. And then we can come over here with E spine to Vertex Group still selected. We can click removed and there we go. Now it's tab back into weight paint mode. And if we shift right, click this and choose spine to let me try that again. Spine to There we go. Now you can see that all of that extraneous painting has been removed from being influenced by spine too. All right, let's take a look at spine one shift, right. Click spine one. Now here, I want to get rid of all the influence on the hips. So once again with the spine one Vertex Group selected in the tab into edit mode hover over one of these and the l Key to select that whole piece there and click Remove. Now it's tab back into weight paint mode. Shift right, click spine one. Now we've removed all the influence from the hips, but you can see here. Look at this. We've got influence from that bone on the legs as well, so we might as well tab into edit mode and hover over one of these Burgess ease and just select all of this down here and then hit removed. Now, if we tap back in shift, right clicks buying one. And there we go. So now that's pretty clean. We've cleaned the influence up for Spine one and spine, too, so that it's only influencing the things that we want buying to there. Find one. Is there good? We'll keep going with this. In the next video, we'll take a look at the hips and the legs 25. 25 Adjusting and Testing Weights: Let's take a look at the root bone here. I'll press shift, right click and choose route and let's see what's going on here. So it looks like there is some influence bleeding out onto the legs. If we choose the up leg L, we can see some problems here. We don't want the leg to be moving. The hips looks like the same things going on over here, so we've got some work to do. First of all, let's begin with the root bone for this when I selected here. It selects that Vertex group over in the list over here. So let's then tab into edit mode and hover over the legs and choose these and then let's click. Remove. Let's see how that worked. Shift right click route. Yeah, I think that will be good. Now let's select the upper leg bone. And for this one, we want to get rid of the hips. We want to remove all the vergis ease for the hips, so it's tab into edit mode. I will press l two. Select that and then let's click, remove and we goes. Try that. Yep, that worked there with Select this one now and same thing needs to happen here. Need to tap into edit mode over over that and press the l key and click Remove. Now, let's see how we're doing here. Okay, That looks good. That looks good. And shift right click. That looks OK there. Now I see a problem here in that we're not gonna have anything influencing these hips. I've taken away the hips for the torso and the legs. I think the route bone needs to be what controls the hips. So what we can do is tab and edit mode. Select all of the points for the hips, and then we can come over here and click a sign. We can actually assign the weights at 100% and assigned these Vergis ease to the root bone Vertex Group. So I'll click a sign. There we go. Now we turn back in, select the route bone. There we go. Now we've got the hips and that crotch area being influenced by the route bone. I think that's what we want. I think that will work pretty well. Well, okay, let's come up here and take a look at the arms. If we shift right click this, we can choose up arm L And frankly, I think that looks pretty good. We've got full influence up here and it falling off to here. That looks pretty good. However, I don't know that we need influence all the way down to hear from that bone. So what we could do for that is goto our active tool tab here, go to subtract, subtract 100%. And then maybe I'll hit the f key and expand the brush a bit. And then I'll also come appear in turn off that face selection mode and actually with that turned off Yeah, here we go. It doesn't look as bad with that turned off. Here we go. Just remove that a bit. Ah, let's press shift, right click and choose the lower arm. And that doesn't look too bad, except it's bleeding over here into the wrist. Let's also select the hand bone here and take a look at that. So I think what we need to do here is one increased the influence of the hand on the wrist polygons here, but also I think we need to remove the influence year on the wrist from the lower arm bone . I want to be able to rotate the hand in the wrist without any influence from the lower arm . What let's do is tab into edit mode. Let's go to face mode and I wanna press Ault and click on edge between two of the faces and select that whole face loop there. And then I'll come over here to the object data panel. And with the lower arms selected, I'll just click. Remove here. There we go. So if we tap back into weight paint mode, select this now the influence on the wrist is completely gone from the lower arm. Now let's select this the hand and let's tab back into edit mode. And let's assign 100% to those vortices there. There we go. Select that again and there we are. Okay, that's good. Now for these bones, I think I think these air probably gonna be just fine. I'm not going to really be using these a whole lot, if ever I think these air probably just fine. There we go. All right, so I need to go through and do this same thing on the right arm. So let's do that quickly. Let's select the lower arm. There it is. It's tab into edit mode. Select these faces here and remove and then will select that hand tab into edit mode in a sign. There we go. Okay, so now we have that taken care of. What about the head? Well, if we choose the neck, that's what we have right there. And if we choose the head, that's what we have right there. However, I think all we're really going to need is to use the neck to move the head, because the head is never going to really bend at the neck or the chin or anywhere else other than right down here at the connection of the torso. But I went ahead and created a neck and head bone because in unity it's going to be looking for that. But just because it's going to be looking for that doesn't mean we have to use it necessarily. So what I want to do is just control the head from the neck bone. Just the whole thing from the neck bone, and then the head bone will just be there, and we'll never really use it. So to do that I'm just gonna tab back into edit mode at the L Key for the head and the hair and with the neck Vertex Group selected, I'll click a sign. There we go. So now if we choose the neck there we have it. The head still has influenced, but it doesn't really matter cause we're never going to use it anyway. All right, so now what let's do is go back to object mode and then let's select the rig and let's give it a try here. I'm gonna select the neck, go to the rotate Tool, and I'm just going to click and drag in here in this sphere and you can see that's the way it's going to move there. And I think that's OK. Well, press cult are to remove the rotation there. Let's like this bone and move this around. Yeah, I think that'll work. Okay, I'm never gonna be moving it more than about like this or like this, just to give a little bit of squash and stretch when he hits the ground. Maybe are let's like this one do the same thing with this. Yeah, this is going to once again rotate right there between the hip and the torso, and that's fine. Bolt are, uh, let's take a look at the legs here. I'll click and drag this one in the X axis and you can see it's just moving the leg and that's good. And then if we take this one here, this will just be a little bit of a bend here. Now look at what's happening here. If I click and drag this, can you see how it's moving here? We don't really want this bone to be moving this part of the leg, so let's quickly try and fix that. I'll go back to object mode. So, like the character wait paint mode, Let's shift right click and select the lower leg and you can see where the influences up here. You see that? So what we can do is go to our active tool, go to subtract, and I will just try and paint some of this out like this and we go. We don't need all of that up in here. There we go. We should do the same thing over here. We don't need all of this either. All right, so that's our process we need to go through and figure out where we need to adjust the weights. There may be more we need to do in the foot area, but I'm gonna wait until we set up our reverse foot roll rig to then test the foot a little bit more precisely to see what we need in terms of the weight painting, so we'll begin that coming up next. 26. 26 Setting Up IK Legs: the most complicated part of the rig is going to be the foot role here, and what we want to do with that is be able to plant the foot on the heel, roll it forward and have it roll forward up onto the toes up onto the ball of the toe and roll back to the hell again. So that particular functionality is gonna take a bit to do. We're going to do this over the next few videos, and the reason why I'm going to be doing this in ah course that is fairly introductory is that I really think it's important if you're going to animate a character, the ability to plant and roll the foot when you're doing a walk cycle, a run jump, anything is really important, really adds believability to the animation. So even though we're going to keep the arms fairly simple with forward Canham attics and we'll talk more about forward Kinnah Matics, an inverse canna Matics here in a bit, Even though we're going to keep the arms fairly simple, we're going to set up a fairly complex rig for the feet. Let's now come out of weight paint mode to object mode here, and also we don't need our wire frame on the character anymore. I'll come over here and let's turn off wire frame and all edges so we don't see that. And then let's go back to the rig and let's go to edit mode for the rig here. What we need to do first is to create an eye keychain here on the leg, and we'll begin with the left leg first. And what I mean by I K or inverse Kinnah Matics is the ability to move the limb by just selecting, say, a foot bone and moving it around and the other joints on the limb adjust and adapt. So it's kind of like when someone shakes your hand, they can take your hand and move it back and forth, and your elbow and your shoulder adapt and move along with where the hand is as opposed to , say, forward Kinnah Matics, which we will do for the arm. This is more like a wooden toy. If you want the hand to be in a particular place for, say, a wooden toy, you would have to bend the arm at the shoulder and then at the elbow and then at the wrist to get that hand in a certain place, we'll be using both types of movement on this character, so I think you'll get a better idea of it as we go along. So to begin our inverse canna Matics chain here on the left leg, what we want to do is choose first of all the foot and let me go over here to this panel so we can see the names of the bones when we choose them. We can also see them here, which is going to help is, Well, first of all, here in edit mode, let's just duplicate this bone. I'll press shift D and then enter. And now we have this new bone here in the exact same place as the foot bone. So let's change the name of this. Let's call this foot. I k dot l There we go. And because we've duplicated this bone off of that main foot bone, it still has the parent child relationships of that original bone. So it is a child of the lower leg and a parent of the toe, and we want to clear that away. So to clear a parent child relationship. We compress Ault P and then choose clear parent. There we go. So now this bone here is a bone all on its own. Now, for the rest of this set up, we're gonna need to go to pose mode. So let's come back over here and go to pose mode. Here we go. And now we can go back to that original foot bone. I'm gonna click right in here, and that will switch me over to the foot dot l That original foot bone. Now I'm gonna come over here to the bone Constraints panel. And here is where we'll add that in verse can a Matics constraint. So I'll click here and let's choose Inverse Kinnah Matics. Now for the target, we're gonna want it to be the armature and then for the bone. We want to control this. We want to choose that foot. I k I haven't here, but we can also just type in f o t to filter the list and choose that foot. I k dot l There we have that now It looks kind of crazy like something has gone wrong here and it isn't that it's gone wrong is just We haven't completed the set up yet. So what's happening here is it's using the entire rig as the I K chain, and we only needed to extend to the lower leg and the upper leg two bones. So we need a Nike a chain length of two. And here we go chain length right here. So let's just increase this to one and then to and then instead of using the tail as the last element will use the tip of the bone so well, it's uncheck used tail. All right, so there we go. Now we've got that I keychain set up. So what does that mean? Well, we can come over here and click and let me just turn off that rotation gizmo there. And if we click on the bone and choose that foot, I K bone right here. You can see it here. And if I come back over here, you can see it here. So now we have that foot I k bone selected, and if we hit G can move it around. You can see just like shaking your hand. Weaken, Grab that one part of the chain and the hip and the knee bone. Then adjust to compensate to where you put that target bone, you see, so that is our I K chain. But the problem is look at the foot bone. As I move it, the foot bone and the foot like a bone become separated, and we don't want that. So let me just get the right mouse button to get out of that. Now we need to add a constraint to make sure the foot I k in the foot bone stay together. So what let's do is take that original foot bone again right here. Put dot L and we'll add a copy rotation constraints so it matches the rotation of the I K Bone. Let's come over here to the bone constraint panel and we'll click here to add a bone constraint. Copy rotation. There we go. Now for this one, we want once again the target to be the armature. We want the bone to be the foot I k again. Now if we come back and select that foot like a bone there we go. Notice here. We've got foot, I k Now if we hit G and move that around. You can see that original foot bone matches the rotation of the I K Bone and they stay together. So let me come up here and choose the route bone. And if we hit G, we can see that foot stays planted there. When we move the hips around, make that all right. So that is how we set up our inverse Kinnah Matics chain. Let's do that quickly again for the other side. Remember, we need to begin in edit mode, so let's select that foot dot are hit shift D and enter. Now it's changed this to foot I k dot are, and then we'll clear the parent Ault P clear parent. Now we go back to pose mode, select that original foot bone right here and we'll add in an inverse canna Matics constraint right there. Our target will be the armature. Bone will be the i k. Foot at kay dot are chain length to uncheck used tail. Now we constrain the foot bone to the I K bone by selecting that foot dot Are we have it selected here? Still adding a copy rotation target armature and bone I k There we go So now if we choose that I k bone right there and hit G, we get the same kind of functionality. There we go. So once again, we can select that route bone and hit G, and we can have him do The squad's Okay. All right, so now that we've set up the inverse canna Matics in the next video will begin working on setting up the foot roll rig. 27. 27 Creating the Foot Roll Bones: let's begin once again with the left foot here to set up our foot roll rig. As I mentioned, what this is for is to allow us to roll the foot back, pivoting at the heel and then roll it forward so it bends at the ball of the foot. Now we're gonna have to add several new bones to this, and these won't be directly deforming the character, but they will be moving these bones here in such a way that will give us that foot roll functionality. So to begin with, let's go back over into edit mode here and let's choose this joint right there. Actually, I want toe tumble around and choose it right here just to make sure we have it. I'll also turn on my move gizmo just so I can make sure and see where that selection is. It just helps me see what I'm doing here. Now I want to create a bone right here. So let's snap that cursor with shift s to the selected right here. And then let's once again press shift A And there we have our new bone. I'm gonna zoom out a bit, grab this and drag it down. So it's quite a bit smaller here. And then what I want to do is I want to move this down. So it's horizontal here, pointing out this way. So to do that, I'm gonna hit the G key and then I'm gonna hold the control key down and move it. And as I do, you can see it kind of snaps here, and it's snapping a little bit above horizontal and below horizontal. So what I'll also do is hold that shift key down and it'll snap in smaller increments. So I think I kind of like it right about right about here. Let's go with that because I'm gonna want another bone about this size back here is well, And to do that, I just need to move the cursor again. Shift s cursor to selected. Let's create another bone shift a and then we'll bring this down as well. I'm a grab that tip and just bring it down like this. And then I want to do a similar thing. I'm gonna hit G and Control and bring this down to about right year. But then, once again, I'll hold that shift key as well, and snap it in smaller increments. So maybe right about there. So this is kind of where we're going to roll that he'll back right here at that point. Now that I've got this, I want to select this bone, and I want to spin it around because I need this tip and this tip to be connected to each other, or at least in the exact same spot. So to do that, I'm gonna hit the R key and then once again press the control key. And as I spin this around, you can see up in the top left hand corner. I've got 180 degrees right here, and then I'll click there. So just holding that control key once again allowed me to rotate that in five degree increments. Now, there are two more bones we need to create right here at this ankle bone. I'm gonna tumble around and make sure I have the left one selected, not the right one over here. Okay, Now let's move the cursor to this shift deaths cursor to selected, and then we'll create a bone here, shift a and I'm gonna bring this down like this and for this one, we wanted to come out horizontally out the back of the heel or the back of the leg. So once again, g all the control key and bring it down over here and then shift in control and just bring it right up here. So it's just about horizontal, maybe kind of like that. All right now we only need one more coming from the same location here. So let's press shift a and bring this one down straight down in the Z to here. And then what I want to do is once again hold that control key. L press g old control and bring that all the way down like this and it looks like that's pretty good. That's pretty much straight up and down. That's good. So I clicked there and there we go. So those are the four bones we need to control the role of the foot, but they're just named bone bone 001002 etcetera. So we need to change that. That isn't going to help us any. Let's go to the bone panel here, select this bone and let's begin changing the name. So for this one. This one is going to help with the role of the toe. So let's call this toe roll dot l And this one is going to help us with the heel. So let's call this one hell roll, doc, tell this one is going to help us with controlling the role of the foot forward and back. So let's call this foot, roll dot tell and this one here, the last one we created is gonna be the control for the entire foot. So we'll be able to grab this one and move the whole foot around and rotated as well. So for this one, let's call this one foot control Dr Bell. There we go. So we've got to roll. He'll roll foot rule and foot control. Now, one thing I need to check is the heel roll bone here. I need to check the role of this bone to make sure that when we're rotating this up, we're doing so in the positive X. So recall that here in the sidebar, we have this role field here, and we could spend that around if we need to, but we need to first test it in opposed mode. So let's come over here to pose mode and let's switch to the rotation gizmo. Let's change from local to normal. And now let's take this and roll it up. And if we look over here in the X, we see that it's a negative value. So that's rolling, or that's turning in the wrong direction. We need to fix that. I'm gonna press. Ault are to clear the rotation and let's come over here to edit mode again. And let's use the role field once again. We could just click and drag in that and spend that around, and I wanted to come over to, Ah, 180 degrees. There we go. So now let's go back to pose mode and test it again. So let's go to pose mode here. Now let's click and drag it again. If we rotate it up, we see that we're turning in the positive X. That's good. That's what we want. And we could go down. That's into the negative, all right, that's the way we need it for this particular set up. So I'll press Ault are to clear that and let's go back to edit mode. Now let's now quickly take thes and mirror them over to the other side. So if we take the toe role, he'll roll foot roll and foot control right here and we go. And then if we move the cursor back to the center of the grid shift s cursor to world origin Also, we need to change or transform orientations to global. And we need to change our pivot point to three D cursor. Now in the same way that we mirrored the leg in the arm over. We can do that here. So if we press shift d and enter and then control em and ex and then enter, we can move those over to the other side. Now, once again, we can right click names, flip names, and we still got to go in and take away the 001 manually. All right, we can do that, so I'll go ahead and finish that up. But in the next video, what let's do is begin parenting these new bones in such a way that they control the rotation of the foot that's coming up next 28. 28 Foot Roll Parenting and Constraints: Now we're going to parent thes bones in such a way that we can control and rotate the foot and achieve that foot roll functionality. So first of all, let's begin with the left side here and let's come in and choose that foot. I k dot l It's choose this here. We've got the foot. L let me click it again. There we go. There it is foot i k dot l. And then I'll press shift and click and select this toe role. So keep in mind, we're still in edit mode here. Select the foot I k. And then the tow role. Now we can press control p two parent the foot i k to the toe roll and then click Keep offset because we want to keep the's in the same location in the same position as they are now. So we click that next. We want to make the hell role bone apparent of the toe role. So we'll click the toe shift, select the hell and same thing, control p and keep offset. Now we want to make the heel and the foot roll bone. Children of this foot control So the foot control is basically going to be the parent of all of these. So let's select the hell shift. Select the foot roll and then shift. Click the foot control bone and then control P and once again, keep offset. Let's take a look at what that did for us. I'm gonna come back over here to pose mode. Now let's select this foot control bone and we better change our median point back to our pivot point back to Median. And now, if we hit G and move this around, you can see that foot control bone moves everything. In addition, it also moves, or it also controls the rotation of everything as well. So that, as I said, is the parent of all of these bones. In addition, we should be able to take this bone here and roll it in the X, and you can see how we can roll it forward on that toe joint there. Then I'll press alter our and then here for this joint. We can roll this back now, but you can see how it's gonna kind of pivot on that Hell, it looks like we're gonna need to do a little weight painting back here. You can see how that hell is coming off the ground there. But that's why I wanted to wait until we were all done with the foot roll rig before we go in and do any more weight painting, All right, I'm gonna press alter our and let's go back to edit mode and do the same thing for the other side. So over here, let's select that foot like a bone here. Shift. Select the toe bone on press control P and keep offset. Now we select the toe and then he'll control P. Keep offset. And then we do the hell and the foot roll, Then the foot Control and control P and keep offset. Now, let's go test it out. So we go back to pose mode. This bone right here should be able to move everything and rotate everything. Yep. I'm gonna press alter our and all G and that'll take it back. And then this bone here, we should be able to roll forward on that toe bone. Yep. All our and this one. We should be able to roll back at the heel. Sure enough. Okay, so we're making progress. That's good. Now, what ultimately needs to happen is this bone here is going to be what controls the roll forward and back. When we roll it up, it'll roll onto the toe and when we roll it down, it'll roll back onto the hell old are to clear that. So let's go ahead and work on this to set that up. To do that, we're gonna use some constraints. So I'm gonna come over here to the toe roll. First of all, it's set this up, and if we come over here to the bone Constraints panel, let's add a copy rotation constraint right here. And of course, we want the target to be the armature. And we want the bone that we're getting the rotation from to be that foot role here. So it's like this scroll down a bit and here's that foot roll dot L. So let's like that. Now you can see it change just a little bit here. What we need to do is come in and change our space from world toe local here and here, and also we need to uncheck the Z and why axes? So let's see what we've done here. Let's select that foot roll bone. Let's turn it up and look at that. That turns that bone up as well so we can rotate on the toe. But now we don't want it to go all the way like this. We way. We need to kind of limit the rotation so we don't get crazy with it here. So I mean, for us all to our And if we select that toe bone again, let's add a limit. Rotation constraint as well. Let's limited in the X. Let's limited by what do you think? 30 degrees. I'm gonna try 30. I think that will work pretty well and local space. All right, So now if I select this bone here and I rotate it even though I keep going, it will quit at 30% being. That's what we want. All right, Bolt are now Let's do a similar thing for the hell back here for this one. Once again, let's also add a copy rotation constraint right here. Our target will be the armature. Let's turn off. Is he and why switch to local space and we'll select that foot roll dot L bone as well. Right here. There we go now for this one. We want to activate this to roll up when this bone rolls down. So we want to invert this. Just click, invert their nef. We select this bone and we roll it back like this. It worked pretty well, that that looks good, but if we roll it forward, it kind of goes all crazy. And that's because we need to limit that rotation the way we did for the toe role. So let me press alter our and let's go back to the hell role. Now let's add a limit rotation constraint here and then let's choose limiting the X will also put 30 degrees in here, and we'll change this from world space. Toe local. There we go. Now let's test it to go over to the foot roll. Let's roll this back. Yeah, that works pretty well. And let's roll it forward. Yep, the toe turns there, the hell turns there, and once again, the mesh is pulling here because we have to do a little bit of weight painting here and fix that. So that's fine. Old are to clear that. All right, let's do that same thing on the other side. So let's select that toe role bone. Let's add a copy rotation constraint. Turn off y and Z local space endless to the armature as the target and the bone as the foot roll dot are. Now let's add a limit. Rotation constraint. We'll call it 30 degrees local space and let's give it a test. We select this. Roll it forward. Good. All right, that's working pretty well. Now the hell. Once again, a copy rotation Turn off y and Z local space armature as the target foot role as the bone right here. And remember, for this one, we want to invert it. And also, let's add that limit rotation constraint. There we go. And let's give this 30 degrees and change from world toe Local. All right, so now let's test this one. We roll it back. Good. We roll it forward. Good. That works as well. Okay, so in the next video, Willis do is work on keeping these toes flat on the ground as we turn up on that joint. And also I'd like to add some controls for the knees as well so we can point the knees where we want them to go. So if say, this foot was turning like this, we could then take that knee and pointed in the same direction. All right, Cult are, and we'll work on that next. 29. 29 Setting Up the Toe and Knee Controls: as I mentioned, the next trick will be to get this toe bone to stay parallel to the ground when we turn the foot up. So we're gonna need to add a constraint to this as well. Me press Ault are and let's select the toe bone here, let's come up and choose add bone constraint and will at a copy rotation constraint once again will choose the armature as the target and for the bone here, we're gonna want to choose the toe role. So I'm just gonna type in tow and we'll choose to roll dot l and it goes crazy. Take a look at that. What we need to do is change from world toe local space for both of these, and also we want to turn off Z and why? And then instead of choosing invert, we actually want to select offset. So let's like this. Now let's give it a try. I'll select this foot roll bone and let's turn it forward and there we go. We've got the toe staying on the ground when we roll it forward. So there we go. That's that's really the kind of thing that we want. We want to be able to roll forward and plant that toe, and we want to be able to roll back up onto the hell. And as you can see once again, there is some weight painting we need to do as we turn this up. We need this part of the foot to stay flat on the ground. And as we rotate back, we need this hell edge right here to stay on the ground as well. But we can do that. We will do that here in just a bit. Press Ault are and let's do this for the other side. I'll select the toe. Let's add a copy rotation constraint. We'll choose armature and for this will choose toe role dot are and will change from world toe local. Lastly, we'll choose offset. And here we go. That should do it for us for this foot as well. Yeah, it's working pretty well. Okay, All are to clear the rotation for that. Now the knees. What we need to do is create controls for these knees that will allow us to manually point them in the direction that we want To do that, we're gonna need to add a new bone here for each of the knees. So let's go back over into edit mode, and I will select one of these knee joints here. And let's move the cursor to here. Shift s cursor to selected. Let's create a bone shift a and let's bring this down and get it down to be about the right size that we want. So let's say we want it to be about this big here. Let's also select that bone and duplicate it and put it on the other side as well. So if I may be moved the cursor over here cursor to selected and I select this bone, let's duplicate it with shift D and enter. And then let's move it over to the cursor here. So shift s selection to cursor, and that'll move it over there. So let's give these names as well. Uh, this one. We should probably call knee control dot L. And I'll just grab that. Copy it with control. See? Select that one over there. And let's control the and change the L to an are There we go. So now we have our two knee control bones. I'll take them both now and let's just move them straight out like this. So we're a little bit out from the character, Maybe like this, and I'm doing them together like this, so they're in the exact same place on each side. Now what we need to do is have this knee pointed these all the time. No matter where we move these, the knees should point at them. And what we're really going to do is not so much point the knees. But we're gonna point the i keychain at thes things. So to do that, we need to get back to that in verse. Can a Matics constraint panel. So let's go over to pose mode here. And let's select that foot bone. Let me go to the bone here. That's foot I k. There. We need to go to that foot dot l bone. So if we go to our constraints panel here, we can see here's that I K panel or that I k constraint. And in this I K constraint panel, we have this poll target, and that's what that is. We're gonna target that knee control in this poll Target field. First of all, though, we need to choose the armature here, then for the bone. We need to type in Ni and we'll choose that knee control dot l There we go. Now, once again, it goes crazy. But we can take this poll angle and click and drag on and you can see how we can begin to turn it like this. I'm turning it back negative. And we wanted to go to negative 90. There we go like that. So now that knee points at that knee control all the time. So if we maybe grab this knee control and hit G, look at how that turns along with that object, right? So if we select this ah, foot control, say and rotate it like this Now we want that need to move out and be in line with that. I can hit G and turn that like this and we can kind of control where that knee is pointing with this new control here. All right, so I'm gonna press Ault, are Ault g actually a better select everything and I'll press alter our O g. There we go. So now let's do that same thing for the other side. We want to select that foot dot are there it is. Let me make sure in the bone panel here there it is foot dot are Let's go to our constraint panel In the poll. Target Field will choose armature, and in that bone field will choose that knee control right here. Knee control are once again, it spins around and is really ugly. Let's just type in negative 90 and that spends it back around. And there we go. We should be able to grab that G and move it back and forth. Good. The last thing we should do here is make sure that these knee controls stay with the rig. So if we took this rig and maybe the ah foot controls down here like this, the route and those controls and hit G and moved it, we'd leave our knee controls behind. I'm gonna press all G to clear the location. So let's take these and parent them to a bone in the foot. We might as well just parent them to the foot controls themselves. So let's go back into edit mode and we'll select the knee control and then shift Click the foot control and then we'll choose control P and keep offset. And we go. Same thing over here. It's like that foot control, control P and keep offset. So what that means, actually, now is that when we rotate the foot, the knee control will come along and we can use that foot control to move it away from the direction of the foot. So let me show you what I mean here. If we go toe pose mode again and I'll select that control when we turn this now because this is parented the knee and the foot will turn in the same direction, so that just saves an extra step. Now, if we want it to be any different, we can take that and move it around like that. All right, so I'm gonna select everything with the A key. All are to clear the rotation, all g to clear the location, and here we go. So now we pretty much have the rig the way we want it now we need to do is adjust the weights of the feet so that toe and that he'll stays on the ground, and then we need to create control objects that we can use when we animate, because we don't want to actually select the bones here that deform or move the character when were animating. We want toe, select proxy objects, control objects and hide the rig away completely because if we accidentally select the wrong bone and move it or scale it or change it in any way, we can destroy the rigs. So we want to keep everything safe and hidden away and just use control objects to animate the character. In the next video, Let's work on cleaning up the waits for the toe and the heel. 30. 30 Finishing the Weight Painting: All right, let's now work on cleaning up that toe and heel now that we have the foot roll rig in place . First of all, I think all the names here going to get in the way for me. Someone had come back over to the object data panel. And let's turn off the names here, and that helps clean it up a bit. Now, what we need to do is fix this toast. So if I roll the toe forward, you can see it kind of tilts down here like that. And if I roll this back onto the hell, you can see how that he'll picks up off the ground there. So we need to clean these up. So the toe and the heel state planted when we roll the foot back and forth. So first of all, let's roll it forward like this. And let's take a look at what we can do here. I think what we need to do is maybe take this whole front part of the toe and just assign it completely to the toe bone. So let's go over to wait paint. Modi must select the character here, go over to wait paint. Ah, let's shift right click and select that toe and, yeah, you can see it's kind of green here. It really needs to be more bright red. So if we tap into edit mode, well, look at what happens. We go back to the default pose, so we need to be able to see our character deformed when we're in edit mode. So that's controlled in that armature modifier panel. Just like a subdivision surface modifier is. So we need to go back to object mode and select our character. And let's go over here to the modifiers panel and these two. Here we will turn on display modifier in edit mode, and we'll also show the edit cage, so that should help that. Let's now go back to wait paint mode. Let's select our toe bone. And if we tap into edit mode, there we go. Now we can see the mesh in edit mode is staying deformed as well. All right, so I think all I really want to do is just select these faces here, go over to our Vertex groups and with the toe dot L Vertex Group selected, I'm just going to click a sign at 100% and that pulled it back a bit. That's not bad. Yes, so that helps some there. All right, So what about this one here? Lets choose the foot dot l here. And that's got quite a bit of influence up here on the toe. I think that may be causing our problem. Let's go back to edit mode. And with this still selected let's remove all of this from the foot dot l vortex group click Remove. Oh, yeah, that helped quite a bit. Well, that's good. All right, so now the hell, I think for the hell what we need to do is maybe come back up here. Let's Ah well, first, let's take a look at the total press shift, right click and choose toe. And is there any influence happening down here from the toe? Well, it's possible. It's kind of hard to tell. I go ahead and tab into edit mode and I'll selected this edge and I'll remove that from the toe bone. Yeah, that moved it a bit back to Maybe we could go ahead and move. Remove a couple of these. Yeah, they are moving a bit as we click remove, although I think we need those with the toe. So maybe I shouldn't be so hasty. I'll just remove the hell. Let's do that. Then let's go back to wait paint mode and let's shift right. Click the lower leg, dear. And yeah, we've got quite a bit of influence happening here. So let's tap into edit mode and let's go ahead and do that same thing with this edge here, and we'll remove it from the lower leg Vertex Group. Oh, yeah, look at that. That's quite a bit of influence. So let's remove all of these. I think all of these down here at the bottom of the foot should be removed from that lower leg bones. So let's get all of these there and even maybe this one. Does this have any? Let's see. Remove. Oh, yeah, There was just a little bit there. You could see it move. Okay, so we've removed all of that. That's good. Let's go back to pose mode and see what we can see. So I'll go back to object mode here for the character, Select a bone. Let's go to the rotate tool and now let's try and rotate this up and back and that he'll Yeah. So you see what I mean? There that he'll stays planted when that toe stays planted. That's what we want. Now, there's this kind of very kind of, ah, sharp angle here. But you know what? He's a blocky character. I'm not sure I care. I I think that's OK, you know? Yeah, I think I'm okay with that. All right, so there we go. That's what we needed to do. We needed to remove some from the heel and the toe and even add a little bit on the toe as well. Okay, so I'm gonna press alter our Let's go do that on the other one. I'll select this, roll it forward. There we go. And let's ah, basically do the same thing. So if I select the character now and we go back to wait paint mode, I will shift right click and choose that toe bone. All right, So what we did is we selected this face here, right? And we added, Are we assigned at 100%? These points for the toe Vertex group click a sign there. Okay. And then what did we do. We removed these from the foot Vertex Group now, didn't we? So let's click. Remove. Oh, yeah. There it is. Okay, that's good. Now I think we also removed the influence for the toe back here. So let's select that toe and hit. Removed. Yeah, we did that. Um oh, the lower legs. So let's tab it back into weight paint mode shift right. Click. Lower leg. And now let's remove the influence from all of this on the bottom. So let's, um I'm gonna hit the three key to go to face mode, and I'll just hit the sea key, and then I can just click and drag and paint the selection here. So for all of this, we need to remove this from the lower leg. Vertex group. Remove. Okay. I think that's what we did, right? Let's take a look. So if we go back to object mode so, like this rotate tool. Now let's see what happens here. Let's rotated back and forward. Yeah, I think that toe and that he'll step stays pretty well planted now. Yeah. Okay, so I think that's what we needed to do. Let's Ah, I'm just going to select everything and press salt are all G just to make sure we get back to the default pose. And there we go. So let's go ahead and press control s and save. We can hit the look, Dev. And here we are. So now in the next video, let's begin working on creating those control objects, the object that will actually be using to select and animate the character. So that's coming up next. 31. 31 Creating the Control Object Bones: all right. Our next order of business is to create all the control objects that will use to animate the character. We won't actually see any of these bones while we're animating will only see the control objects. And as I said, that's just to be sure and keep the rig safe. So we don't accidentally select the wrong bone and destroy the rig. So the first thing we should do is create the control objects themselves. I'm gonna press shift s and move the cursor to the world origin here. Then I will press shift a and let's create a mesh circle. There we go. Let's call this control object about c o Underscore Circle. There we go. I will hide that from view and from the render. And then let's create a cube. Let's create a box per se. Let's press shift a mess cube. And for this, let's go ahead and call it, um, C O for control object box. There we go. And for this, let's go to our object data or object panel here. And let's choose wire frame here or wire so we only see it as a wire frame. Um, I think I'm gonna tab into edit mode and with everything selected, I'm just gonna press s and Z and scale in the Z just a bit like this, but I think that's how I'm gonna need it ultimately. So now we have our control object box, and I'll hide that away from the view and the render, and then we need one more. I'm gonna create a sphere, and I'm gonna do that out of circles. So it's so it's a wire frame. I'll press the shift day mesh circle and let's then tab into edit mode. I'll hit the one key to go to Vertex mode and with all of this selected, I'm gonna press shift d and enter. And then I'm gonna press are y 90 and there we go. Now I'm gonna duplicate this again, shift dd and enter. And then I'm gonna press rz 90 Here we go. So now we have this kind of sphere shape And for this, let's call this control object or c o underscore Sphere. There we go and we'll hide this in the view and hide it in the render. Now let's clean this up some. It's beginning to get kind of a mess in here. Let's create a new collection and we'll call these control objects and I'll just select these three objects in here and click and drag them right into that collection there. And we can also go ahead and hide this away as well. In addition, I'm not gonna need my hair sculpt or the reference objects anymore. In fact, those air probably going to get in the way as we do this. So I'm just gonna go ahead and right click and delete and right click and delete the reference object as well. There we go. Oh, I didn't delete the hierarchy. So the reference object stayed here even though the collection went away. I need to right click and delete eras well, So instead of just deleting what I should have done is right click and select hierarchy and then delete hierarchy. That's what I I should have done there. Okay, so now what let's do is begin creating all the bones that will tell the custom control objects where to go and in what orientation they need to be. So, for every control object, we're going to need a bone and weaken. Do that by selecting the rig going into edit mode. And here's where we'll create all the bones, just like we did before. But these bones won't be deforming or controlling the character per se. They will just be a placement object for the control object. Hopefully, it'll make sense as we go along here. So let's begin with, um, the top bone here to control the head. We're gonna place that circle shape up on top of the head, kind of like a halo to control the whole head. But we need to place a bone there to tell that circle where to be placed. So up here, I'm gonna move the cursor to here, and then what? I'll do his press shift. A. Let's bring this bone down like this and what I'm gonna do now is go to the side view and then what I'm gonna do is select this bone and then change too active element, and that will move its pivot point down to the base of the bone. Then what I can do is rotate that bone back 90 degrees, so I'll click the X axis, hold the control and you can see in the upper left hand corner. I can rotate this down 90 degrees and there we go. All right, so that will be the head control. So if I come over here to the bone panel, this will be ed control. So I will call this ed. Underscore CEO for control. Object. Now, let's do that again for spine to hear the control for the top of the torso. If I select spine too. Let's then go to shift s and cursor to selected. Now notice. I've got the cursor here. I need to move it back to individual origins and select this point right there. Now shift s and cursor to selected. There we go. I'm gonna create a bone here. Shift a and let's bring that straight down like this. Go to the side view. Let's give this one a name. I click and click again and I get it here. Let's change the name to ah, spine to underscore control. Object. There we go. This time, once again, I'll move the pivot point to the active element. I'll go to the rotate tool, click control. Move it. 90 degrees. There we go. So we've got two of them. So far. Let's go down to this one down here, right here. Let's move the cursor to this. And then let's create another bone here. Shift A. It's selected. And with that pivot point at the active element, I should be able to hit s and then just scale it and bring it down like this. And then let's turn it control like this and we go, Let's do that. Once again, let's select this point shift s cursor to selected shift A to create the bone will select it. It s move it down, turn it to the side and then hold control as we turn it back. 90 degrees. There we go. So now we need to go through and name these. We've done this one and this one. This one we need to call spine one. Underscore CEO. And this one we can call fruit. Underscore CEO. Here we go. All right. In the next video, we'll go ahead and create the bones for the arms and the legs. 32. 32 Finishing the Control Object Bones: Let's continue now with the arms and for these we're gonna create the bones sticking straight up so we won't have to turn them for these. Let's select one of these. Move the cursor to it cursor to selected shift A And then if we select the bone now, with our active elements selected, we can hit s and scale this down quite a bit. Let's do the same thing here cursor to selected. I'll press shift a So like that bone it s and bring it down like so we'll get the risk bone here as well. And I'm creating all of these in the front view just so they're consistent. Shift A select s scaled down like this. Now we need to do a similar thing for each of the finger bones. This congee get a little tedious, but it is well worth it. I think so. Let's select this tip right here. Move the cursor to it. I'm gonna go to the front of you again, Shift a and let's scale this one down like this cursor to selected shift a gale it down and then this one is well and scale it down. Now the good thing is, once we get them all done on one side, we're going to just mirror them over so we don't have to worry too much about it. I'm gonna get this right here. Let's move the cursor to it. There we go. Shift A s and scale this down. Now, what I am going to do for these is take this right here and just move it straight down. So I'm gonna hit G and Z and just drag straight down like that where we go just so we can see it a little better. Let's move the cursor to this one. Shift a scale it down. And as I said, I'll just drag this G and Z drag it down like that. Move the cursor once again, create the bone, scale it down. Grab that tip G and dizzy and drag it straight down. Okay, so there we have the hands. We need to take these and move these up above the hands just a bit because our control objects air going to hover over and under the hand just a bit. So I will just take these and move these up like this and I will take these and move these down like this. Just a little bit outside of the hand there. All right, let's keep going. I will Ah create a control object for the foot control right here. Let's go ahead and select this tip right there. Let's take the cursor to it. And then what let's do is create the bone. However, I don't think that will work. We want the center of that control object to be right at the base of the foot. When we take that control object and zero out the transforms, we want to know that it's flat on the ground. So what we should probably do instead is actually select the bottom of the foot and move the cursor to it. Let's take a look at that. I'll tap back into object mode and select the character, and now it's tab into edit mode, and I'm thinking that what we should do is select these points right along here, thes two edges. And if we change our pivot point to median point and go back to the move tool, you can see where the center of that selection is Now. I think maybe we want it more like here. If we select just that edge, maybe that's where we want it. We could slick this edge again and yeah, that moves it over a little too much. I kind of like it right there. So let's just move that cursor to this point now. Shift s cursor to selected. Yeah, now that's the way we want it. We don't want this particular control to be up at the ankle. We want it to be right flat on the ground. All right, so now let's create this bone. Let's go back to the rig and then we go to edit mode here with the cursor there. Let's press shift a and there's our bone but selected change back to active element. And now we can scale this down. But in addition, we need to rotate it back so it's flat on the ground. So let's do that. Let's go to our rotate tool, click and control. And let's turn that down 90 degrees there, and maybe I'll take this and move it back. Let's take this and move it straight back. Let me go back to our median point and I just want to move this straight back like this. Something like that. There we go. OK, so this is now going to be called Will call this foot control. Underscore CEO for control. Object now, Did I name these up here? No, I did not. So we're gonna need to go through and name all of these as well. Let's call this up arm. Underscore ceo dot Bell, we'll call this low arm. Underscore ceo dot L This one, we will call hand underscore ceo dot l And then we got to do all of these, so let's do Ah, finger one. Underscore CEO for control object dot l This will be finger to underscore ceo dot l finger three l There we go. And these down here, you know, let me just type in thumb one underscore ceo dot l And then I'll just select this. I should make that a one. Then I will select this press control. See to copy. And now let's select this. Click their press control V. And now it can change that one to a to, and we'll do that. Here is well, control V and change that 12 or three. There we go. All right, now, let's, um work on these bones. So we have this bone here that we're gonna use to control the foot. We've got this bone here that we're going to use to control the foot as well, or least the toe. And then we have this bone for the knee. So we need control objects for all of those as well. So, first of all of this one, um, let's just choose this tip right here and move the cursor to it and then I'll switch back to active element. Go to the front of you press shift day, select that bone and let's scale this down like this. Go to the side view. And, um, I think this will be just fine like this. Let's give it a name. Let's call this foot roll. Underscore ceo dot l and let's work on the toe. So for this Ah, if we select this and move the cursor to it, there we go. Now let's best shift day to create the bone. Let's scale it down. And for this one, I think we need it out just a little bit like this. Let's move it out like this. And let's also move it right about here. I just want it kind of in front of the toe. We're gonna have this one behind the heel, and this one can be up in front of the toe like that. So let's call this one toe. Underscore ceo dot L we go. And for this one, we need a control object out here is Well, so let's select, um, this bone and move the cursor to it right year. Well, I'd like it right here at the base of the bones. So let's change to individual or excuse me median points and just select that. Now let's move the cursor to it. There we go. And then if we change back to active element, we can press shift a create the bone selected scale it. And this time, once again, I'm gonna grab the tip of this bone and pull it straight down so cheesy and drop it down below like that. Okay, so this one is going to be knee. Underscore ceo dot L. All right. So do we have everything we've got? The knee, the toe, the foot control, the foot roll. We've got the hips, the two bones of the torso, the arms and hands. I think that's it. So what let's do in the next video is select all the bones on the left side of the character and mirror them over to the right, and then we'll begin parenting the bones so the control objects will eventually move with the character and the characters limbs. 33. 33 Mirroring and Parenting Control Bones: now, in the same way that we mirrored the arm and the leg bones. Let's mirror these control object bones. So I just need to go through in, select him. All of these Let me turn off the gizmo there so I can click all of these and we go and then we want to select all of these. So it was this one, This one? Oh, I see that. I didn't put a dot l at the end of this one here. I'll have to be sure and do that. This one and this one. All right. So those air, all of our control object bones that are on the left side of the character. Those are the only ones that need to be mirrored over. So let's now move the cursor shift s cursor to world origin. And then, let's say move the pivot point to the three D cursor. Now what we can do is press controlled D and enter, then control em and hit the X key, and that will pop them over to the other side and hit. Enter now with all of these selected, let's go ahead and choose flip names. Right click names flip names. There we go. Okay. Now, of course, we need to go through and remove the 001 from all of these. And let me see what happened with that foot Control. There's the foot control underscore CEO. And here's the CEO does. Here's your one. So that solitude, it just added a 001 to it. So I'll take this and I'll do dot are and also like this one, and I'll put dot l there. Okay, so now I've got to go through and remove all the 00 ones. And the last one, the knee. All right. Well, that was tedious. I hope the version you're using takes away, though. 00 ones for you. All right, Now we need to parent these bones appropriately. So they stay with the character and stay with the bone they're affecting. So, this bone up here on the top, we probably just need to parent this to the head bone, because ultimately, what we're gonna do is have this control object before the neck bone. If you recall, we're just going to control the neck bone. But when we controlled the neck bone, the head bone is going to come along since its parented as well. So let's parent it to the head bone. Also like this shift. Select the head bone press control P and choose Keep offset. Most are gonna change this back to median point here. All right, so now let's take a look at this one. This bone here, I don't think I wanted to stay parented to the upper arm bone. I wanted to stay parented to the spine to, so I'm gonna slick this Shifts like spine, too. Control p and keep offset. And then I'm gonna go through and parent these control P keep offset parent these and then I'm gonna go through in parent each one of these here. Control P keep offset These two, these two and on down here is Well, okay, we've got those. I think I better go do these while I'm here. Control P keep offset! And then each one of these, like this. Just like the other side. This one in this one and this and this up. I better turn off of the gizmo so I can click through there. This and this this and this. Okay, we've got those. Now it's now apparent This to spine one. Control P keep offset This spine 10 excuse me. That was spine to appear. Now, this one to spine one. Control P keep offset. And this will parent to the root here, down here. We should probably parent all of these bones. All of these that we created to that main foot control. So let's take this one. Select that one. The foot control control P keep offset. This one. And here, Control P keep offset and our toe bone here. So, like this Control P and keep offset. Okay, so all of those air parented to this main foot control bone, this one could be parented just to the knee bone Here, troll P and keep offset. And then we got to go to the other side and do the same thing. So this one and and foot control this one here, the foot control CEO and the main foot control control P keep offset. The toe, bone and foot control. And then the knee to the knee. Control P, Keep offset! Okay, so there we go. I think we have them all parented the way we want them Now. We can begin actually setting up the custom shapes. So let's go into pose mode for that. Let's come over here. Switch to pose mode now for this weaken. Begin setting up all the shapes. The 1st 1 let's do is the neck bone. Let's select that. Let's come over here to our bone panel and let's choose Vieux Port Display And here we can select a custom object. So for this, I want it to be a circle. So we'll click this and see how now the bone has been replaced by a Circle me. Click out of that here. You can see it's just now that circle that we created here on the grid that we hit away under our control objects. It's using that shaped to replace the bone. So what we want to do is place it up here on top of the head, and that's why we created that bone there. So over here, custom shape, transform, we click this. Now we find that head underscores CEO. So here it is. Head underscore. Control, object Right there. We'll click this and there it is, pops up to the top of the head. Now we can click and drag on the scale and make it as bigger as small as we want. So I think I'll just type in two. I think that'll be just fine. Now watch what happens when we select it and then I'll hit are two times. And there we go. So we're actually controlling the head from this control object. But it's rotating at the neck bone right here. Here we go. I'm gonna press alter our And so what we can do now is take this bone and this bone since we don't need it and move it to a new bone layer. Let's come over here to this panel, the object data panel, and you can see we have layers here. So what let's do is come over to pose, change bone layers and let's move it to the second layer. And there we go. Now you can see them over here, and here is everything else. So that's the way we're going to do it. We're going to create thes custom objects, clean the bones out from the rig, put them over here in this other layer so we'll have a nice clean set up with just the control objects and the character. Let's do one more here. Let's Ah, work on this one here. So let's come over to the bone panel. Select our custom object. I'm going to use a circle again. There it is. But it's going the wrong way. And that's why we created this bone here. So let's select that. That was what Spine One? I mean, scroll all the way down here. That was spine. No. Excuse me. That spine too. Underscore CEO. And there we go. So now we can increase the size of that. Maybe I'll increase it about like this. Well, let's call that. Let's try 1.4. Yeah, that. There you go. And your values? Maybe a little bit different, depending on how big you created the bone. That still seems a little too big. Let's try 1.3. Something like that. Yeah. Okay. So now if we select this bone here and hit are two times, we can rotate that around and there you go old are Now, let's stick this bone. Come over here. We wanna move it to this panel. Right? So let's go to pose, change bone layers. You move it over there and There they are. Okay, let's go back to this bone panel here and let's do one more. I'm just going to roll this up here. Let's do one more. Let's do this. Choose our custom object. It'll be a circle. Choose the bone. It'll be spine one this time. Right, spine one. Underscore CEO. There it is. And let's scale it out. And let's go with 1.4. No, we better make it 1.5. There we go. So this is how we're going to set up the entire character. So we only see these control objects. Let me grab this bone. Now. We don't need this one and go to pose, change bone layers, put it on Lear to and there it goes away. So if I select this that Aiken control the character like that All right, so in the next video will continue on creating our custom shapes 34. 34 Placing the Custom Shapes: now for the hips here. Let's use a different shape. Let's select that. Let's come over here and under our custom object. Let's choose the box right there now because it has three dimensions. It's a solid figure here. We can choose wire frame and clean that up. Now let's come over here and choose our custom shape. Transform. And that was root, I believe. Let's scroll down. Here it is root underscore CEO, and that spends that around now it's a little too small. I think it needs to be wider and it's not quite in the right place. So how do we fix that? Well, what we can do is actually go back to that original shape, go into edit mode and scale and move it. So let's go back to object mode over here. What's then open up our control objects and I'll unhygienic the collection and then also on hide the box here. So here it is, so keep an eye on the control object. As we change the box. Here, I'll tab into edit mode, and what let's do is let's scale out in the X s and X. You can see it moving there the control object. And then let's also raise it up. Can see it moving up in there as well. So maybe about like this. Yeah, that's looking pretty good. I think that'll work. There may be a little bit farther down. Let's try this. Yeah, I think I like that. So now that we've got that Lets Tab back in object mode, we can hide this away again. And then this now is our new control object for the hips. Let's go back to pose mode. Here we go. And let's now choose this bone here. And let's hide this away. Pose, change bone layer, layer two. And there it goes. All right, that's good. So if we grab this object and hit the g key, you can see we can move everything around. Here we go. Okay. How about the arms? Let's take a look at this. Let's choose this arm here. Go grab our custom object circle. And there it is. There. Let's choose our bone, which is gonna be up arm dot L. So here it is. Up arm control object dot l ok. And we've got that, but it's turned the wrong way. So what do we do with this? Well, just like changing the role of any other bone, weaken, select it, go into edit mode at the N Key and click and drag on the role here. And let's just turn it 90 degrees like this. Try that and then go back to pose mode. And there it is. Yeah, that's not bad. Let's let's go with that. Let's shrink it down a bit. Something like this. I'll just type in. Ah, 0.7. Let's go with that. There we go. And then let's select this. Move it to our layer two and there we go. So now if we take this weaken, move that around. I'll hit our and like this. There we go. OK, that works. Let's try this one. Now let's, um, create a circle control object Will call this lower arm low arm. Underscore CEO dot L. This, too, could be turned a bit. Let's select that bone. Go into edit mode and let's roll this about like this. I'm just gonna turn it about 45 degrees. Let's try this back to pose mode. Not too bad. I think I want to turn it a little bit more. Let's try. Ah, like this. Maybe 65. Let's try that. Those mode. There we go. Select it. Let's shrink it down a bit. Maybe. Let's Ah, we can maybe go with 0.6 on that as well. And let's work on the hand. Now, take this one custom object circle. Custom shape transform is gonna be the hand hand underscore ceo dot l and we go. And this needs to be turned a bit as well. And it let's turn it like this pose. Yeah, that's pretty good with Select this. Let's increase the size of this. Maybe we'll call this 1.5. Yeah, that'll work. And then let's go ahead and hide this bone and this bone or move them over to that other layer right here. There we go. Now, if we take this and turn it, you can see they all come along. We can take this one and bend it like this. All right. I'll select everything. Press alter our and all G to get us back to our original positions. And this one here, I feel like is maybe a little bit too big. I'll take that down. 2.5. There. There we go. Okay, now, let's work on the fingers. Let's select this bone here. Let's give it a Ah sphere. This time we've used circle and the box. Let's use a sphere. Now let's choose that finger One control object. L Let's do that. And let's shrink it down. Maybe 0.2. Let's try that. Let's do it again. Sphere. Finger to control. Object. El 0.2. Yeah, that works pretty well. This one. Sphere finger three ceo dot l And let's take it down to point to a swell. And then let's select all of these and move them over to the other layer. There we go. Okay. These Ah, let's once again use a sphere. And this is gonna be the thumb one, isn't it? Someone control. Object. There we go. 0.2 Sphere. This will be thumb, too, dear 0.2. And this one. We want a sphere, and this will be thumb three on the left side. There we go. And point to now we take all of these moving to the other lair. There we go. All right. We're getting there so you can begin to see what we're doing here. We're cleaning all this up so as we animate, the control objects will be present and visible, but not so much in the way will be able to see more of our character than the rig. All right, let's work on this side now doing the same thing. We're going to choose a circle. We're going to choose the up arm on the right, right here. Up arm CEO dot are. And we're gonna take this guy and we're gonna turn it 90 degrees over in the role field like this. Something like that. Let's go back to pose mode and we go. That looks pretty good. And, ah, let's shrink this down like about like this will type in 0.7. Let's do that. All right, now let's work on the upper Excuse me. The lower arm will make that a circle. It's again. Lower arm control. Object on the right. Well, select that and let's go into edit mode. And let's roll this around like this. Is that enough? Let's try that. Oh, no, that's not even close. Well, it's roll that this way like that. Let's try. That may be negative. 65 back to pose mode. Yeah, that's a little better what we have over here. 0.5. Okay, let's type in point. Five year. There's that hand. Let's Ah, choose the circle again. We'll need the hand control, object and control on the right. We will turn this quite a bit edit mode to turn it this way like that. Back to pose mode. What did I put it over here? This hand is 1.5. So let's do the same thing. Let's try that, Okay? Now it's select all of these and take them over to that other lair right here. Posed change, bone layers. There we go. All right. So I'm gonna leave this hand to you. I'm gonna go ahead and work on this before the next video. And in the next video, we'll come down here and work on creating the custom objects for the feet, the toes and the knees. So that's coming up 35. 35 Finishing the Rig: All right, let's begin with the actual foot control bone, This main foot control. I'll select that. And let's use a circle for this. Ah, select circle. And remember, we want to use that foot control ceo dot l right here. And that spins it around like that. And that's kind of nice. We could probably reduce the size just a little bit. Let me try 0.9 here. Just so it sticks out a little bit there like that, but isn't going over the center of the grid. Let me try 0.95 Yeah, I think that works pretty well. All right, so now let's take this bone here and hide it away onto earlier, too. Now let's work on this one here. This bone and this bone and the need, I think I'm gonna use a sphere for all of those. So let's select that foot roll bone. Let's choose a sphere. And let's also then find that foot roll control object here on the left. No, that's the foot control. I need the foot roll and that Here it is. Foot roll. Underscore ceo dot l. Let's move that there. And let's scale this down on click and drag and let's see, that's not bad. Let's go with point to their and let's take this bone then and move it away, too. The other layer. Okay, but there we have that. Let's Ah, work on the toe. Let's select the toe bone. Let's choose a sphere for this. Let's find that toe bone or that toe control object. Here it is. Toe control object dot l There it is. And let's shrink this down quite a bit. Let's go with 0.3 on that. And once again, your scale numbers will probably be different. Since the size of your control object bones will probably be a little different. All right, so let's now select the knee and this is well, we're gonna want a spear, and we want a knee control object. Knee control object dot L There we go, and we'll shrink this down like that. Help with that at 0.3. Okay, so let's select this bone and this bone. Move those two layer to right there so we don't see them, and then let's come over and do the same thing over here. So this foot control bone right here, we're gonna want a circle, and we want it to match the transform of that foot control. Here it is. Foot control object dot Are there we go and what I do. 0.95 I think so. Yep. There we go. And now let's take this bone and hide it away and layer to there we go. And this bone here, we want a sphere. And we want that to be at the same location as that foot roll control objects. So right here. And what did we do? Point to over here. So it's like that point to There we go. Now let's do the toe. That'll be a sphere is Well, we want toe control object that are right here. And I recall it was 0.3. That looks about right now. The knee sphere ni control object ni control object dot Are there we go. And was this 0.3 as well? Yep. It looks like it. Okay, so now we take this bone, this bone and this bone and hide them away in lier to and there we go. So now we've got all of those. Now we just really need to take these bones and hide them away as well. So if we take this and this in this and this and this hide these away Lear to No, there's one. Okay. And then these No may go in and get thes. Yes, and we'll probably have that. One more we've got to deal with. Yep. There it is. And there we go. OK, so now we have all of our bones over here. All of those control, object bones, etcetera, and our control objects over here. So now we can just select our control objects and move the character around. And this is how will animate him. So we can select this, Let's say and hit our and roll it up on the tow and back on the heel, right. We can select this foot control objects and move it around. So this is how well actually animate the character. But in doing so, it might be helpful to kind of color code these control objects, so we can see very easily which ones are on the right side. Which ones are on the left side and which ones are in the center. So let's work on that. I think what let's do is come over here to our bone groups panel right here. And what we can do is select, say, some of these. Let's select everything going down the center of the character, the torso, the hips. They had anything in the center. And let's create a new group and we'll call this Ah, center. We'll just call this our center bones, and we'll click a sign and there we go. Now what we can do is we can come up here and click on this default color pull down and I think for the center everything in the centre. I'm gonna make yellow. There we go. So anything in the middle is going to be yellow. Will be able to see that very easily, as were animating now everything on the right hand side. Let's make all of this red read for the right side. Let's create Ah, new group here. We'll call this right side. Click a sign and let's make this read right here. Yeah, there we go. We need toe. Add these down here. So let's grab this. This this and the knee on the right hand side as well. And let's click a sign. There we go. Okay, so now on this other side. Let's make this other side green or blue, whichever you want. I think I'll make mine green. I'll call this left side. Well, a sign. And then let's find a nice screen. Here's a nice bright green. Let's do that and we go. And these down here, Let's select this and these and let's sign those. There we go. So now everything on the right side is red on the left is green down, the center is yellow. So that's just gonna help us quickly identify what we need as were animating. In addition, what I'd like to do is turn off in front here must in turn this off so we don't see the back side of the control objects through the character, right? So if we're looking at this side, we only see the control objects for the arm on this side. We don't see the other ones over there that'll just once again make things a little easier to select. All right. And then, well, we could just close that and go over to our looked out of here. And there we go. There's how well animate our character. I think we're ready to go. So in the next section, we're gonna try and animate this character both the three D body and a two D face at the same time. But first we need to do a little set up so that we can draw the face on the head and we'll begin that coming up next. 36. 36 Setting Up for Animation: there aren't too many programs that has the ability to do this. But what I'd like to do is actually set up my screen here, set up my interface so that I can animate the three D body and the two D face all in the same view, all in the same interface. So since I'll be creating a two d face, I kind of want that two D animation screen layout. Now, we don't see it here. When you create a new scene, you have the option of choosing ah two d animation here, but it isn't up here in the tabs, at least currently in this version. So what we can do is click on the plus here and change to two D animation. Two D animation. Right here. So there we go. There. We've got R two D animation interface. Now, for me, the first thing I like to do is get rid of this white background. That, to me, is just too bright. So I'm gonna choose theme here, so that helps that I'm also gonna turn my look to have back on. There we go. So this is our two d animation screen layout and this is going to help us with some panels over here, but there's quite a bit of customization I want to do here before we actually get started. So the first thing I'd like to do is just come up here and grab this corner right here and drag over. So we get to windows here, and in addition, I'd like to grab this and move it up, and then I want to Windows here. So I want to grab this corner here and move it down like that to create a new window. All right, so this over here, I'm just gonna tumble around here, is going to be my three d view where I can see the character in three D. Now, over here, I want this to be my two d view where I'm gonna work on the face. But the problem is in the two d view, we usually do it through the camera. We usually have a camera that were looking through, and I had deleted the camera a long time ago. So let's create one here. The first thing I need to do is switch out of Poe's mode, so I'll go from posed to object mode. And now that we're in object mode here, I will go ahead and press shift a and then bring in a camera. Now, when I did that, look at where it went. It went over here into the control objects collection right here. And therefore we can't see it because that entire collection is hidden. So I'm just going to take that camera and drag it up into the main seen collection here. And there we go. So now you can see we are actually looking through the camera over here, and you can see that our camera is right here as well. Now, if we tumble out of here and we want to get back to our camera view, we can always just hit the zero key on the num pad and that will bring us back to our camera view. All right, so we need to move the camera around a bit, huh? So let's, um, select the camera and let's hope it up. This sidebar here and in here, what let's do is just clear the rotations here. I'm just going to click and drag in all of those fields and type in zero and enter, and that will just turn the camera straight down. Now we can turn it in the X A 90 degrees. That'll pop it back up there. Now, if we grab it and move it back and I want to just aim it right at the face right in here. So since the face is going to be a two dimensional image is going to be a sequence of images, actually, we're going to render out a sequence of images and apply it to an object on the face for it to animate there. And when we apply our texture, we're gonna want it to be a power of two. In other words, Square, we're gonna want to use textures like 10 24 or 2048 or 2 56 And I think that's what we want here. We're gonna want this two D face image to be 256 by 2 56 So let's come over and change that for the camera here. If we come over to the output right here, we want to change this 1920 by 10. 80 which is just standard HD resolution. I'm gonna change this to 2 56 by 2 56 And that is how big the texture is going to be for our our face images. Now we can scale the camera down here. It's pretty big and the sea and I'll just hit s and scale down like this just for our view , here in the three D view, It doesn't change anything. It just makes the representation of it in the three d view a little smaller, and I'll just grab this and move it. So it's about, I don't know, it's about like this. Let's give this a try. I kind of want to get it pretty close here like that. There we go. So we're gonna work on the two d face here in this view, and as we do this, we're gonna want this came or to stay put, no matter how we move the character around. So if we grab, say the head control up here, maybe I'll go to pose mode and select that if we just move this currently, the camera stays where it is. We wanted to move with the head. So I want a parent, this camera to the head bone of the character to do that, we need to enable this second layer again. So just press shift and click here. And then if I come down here to this panel, the object data and Vieux Port, we can choose in front again. We had turned it off previously, but for now we want to enable it so we can see in here. And this is the bone we want to parent the camera to. So let's do that. Let's select the camera right here. And then I'm gonna shift select this bone right here. So I clicked once a shift clicked once and now, Minna, shift click again Right here. Now we're gonna parent the camera to the bone with control P and I'm gonna choose bone. And there we go. So now if we turn this layer off right here and then select that head bone we can hit are two times again and now you can see the camera just rolls with the head. So no matter where that character goes, that camera's always gonna be there. And that's what we want. Now we'll be able to draw an animate the two d face here while the character is moving around in the three D view. All right, so let's go ahead and hide that camera away. Now, we'll just click here to hide that. All right? Now, the next thing we need to do is create an object that we're gonna apply those textures to. Once we get into unity, we're gonna need an object to apply our image sequences too. So what we need to do now is come back into object mode here, select our character, and then we're gonna tab into edit mode, and here we're gonna maybe go to face select, and we need to select the faces that are going to be the face. So I think all we're gonna need is just these bases here. I don't think we're gonna have the I spin around to the side of the head or the mouth go down below the chin or anything. So I think this is pretty much the bounds of the two d face. So with these selected what let's do, I'm gonna select the character seen collection right over here. So with these selected, let's go ahead and duplicate thes with shift D and enter and then I just want to pull him out just a little bit. So I'll go to the my move tool here and hit the period. Kato, zoom in and let's just pull this out just a tiny little bit. I'm just gonna pull it out in the Why just a smidge like that. It's still it's out from the mess, just a tiny bit. And then once I've done that, I'm gonna split it out as its own object. To do that, I'm gonna press the peaky, and that will bring up the separate menu and we can choose selection. And there we go by Tab, back in the object mode, Aiken select just that piece, and there it is. We've got it called Character 001 but that's not what we want. Let's call this something that will really help us once for in Unity know what is what I think. What we need to do is let's call this, um, geometry. Let's call this Geo base idol. Let's do that so we know what it is. And we know it's geometry as opposed to a material, and that that's going to be or that can get confusing here as we go into the future. All right, so now we've got this as its own object. What we should do is take away any of the modifiers that the original object had on it. If we go over to the modifiers panel here, you can see we've still got that armature modifier on that face. And we don't want that. So let's just delete this armature modifier from this new object. We still have it here with our character. We need it here. But for this we don't need it. Now, what let's do is go ahead and do the same thing we did with the camera parent. This object to the head bone because we want this to move with the head bone before we do that, Let's make sure the origin of the object is where we want it to be. I think where I'd like it to be is right in the center of the face right here. So if I go toe edge mode and select that edge, maybe right, there would be good. Let me move the cursor with shift s cursor to selected. And it looks like I may have turned off the cursor. Let me come over here to overlays. Sure enough, Let me turn on cursor there. There we go so we can see the three D cursor there. Now it's tab back into object mode and go to object, set origin and origin to three D cursor, and that will bring the origin of this object right there. That's good. Now let's parent it. Let's go back to our rig. Turn on that layer to will go to pose mode. Me dragged this over. We'll go to post mode here. Then we'll select that new object shift, click the bone, and once again and there we go control P and parent to Bone. Now, if we select that object right there or that control, now we can see that that object is parented to the head bone as well. And that's good. That's the object that we're going to apply the two D images to. All right, we're making progress here, but in the next video, we will continue with setting up the interface, and we need to work on these timelines down here 37. 37 Finishing the Interface Set up: continuing with the set up of the interface. Let's take a look at the timelines. Now we're gonna need a grease pencil timeline that we have here. We're also gonna need a dope sheet timeline right here. So let's choose that. In addition, we're going to need to see several unrelated channels. Um, we're going to need to see the grease pencil, and we're going to need to be able to see the character impose mode and see those key frames. So this button right here, this only include channels relating to selected objects. We're gonna need to uncheck this cause we're gonna want to see everything here on our timeline. Also, when I scroll the mouse Well, here, you can see that one timeline can move independently of the other timeline. And even though this is the same time, the same thing happening toe have them two different sizes like this can be really confusing. So what let's do is come over here to view and let's choose lock timeto other windows. And also down here on this timeline view lock time to other windows and there we go. So now if we scroll and move these around you can see they stay locked together. And that's really helpful as we go forward with this now I think what we ought to do is work on the material of the face object. Currently, it's got the same material that the character does, and I don't think that's gonna work. So let's come over here to our shading tab right here, and I'll hit the period key to zoom in and let's ah, just select that one face object. And as you can see, it's got the character material on it here. What I'd like to do is create a transparent material here. It's just a temporary material that we're gonna be using here in Blender just so we can see the two D face as were animating and also so we can test it. Once we render the animation out, we're going to create a whole new, transparent material once we get to unity. But for here, I think it's good to have it while we're testing. So what let's do is here. Let's go ahead and remove the character slot for the Geo face Idol object. I'll just hit the minus button here, and then let's click New and let's give this a new name. I'm gonna call this B m A t for blender material just so we can keep it straight. And then I'll call this base idol that Okay, so now that we've done that, let's try and make it transparent to do that. I think first we're gonna need a transparent shader. So let's press shift a and shoes Shader transparent right there. There we go. And then we're going to want to mix these two together. Celeste press, shift a and create a mix shader right here. And I'll drop it right here and it'll connect up. But I kind of want this one on the top socket. So we'll put that there and the other one will automatically move down. And then any do connect something up to the factor socket here in the mix. Shader. So what let's do is let's just create a blank image texture note and just plug that in some of the press shift A and we'll go to texture, image, texture, and I don't even need to bring a texture into this. I'm just gonna take the Alfa and drag it right over here. There we go now. If we were in evey, that should have worked. But if you recall a long time ago we switched over to cycles render engine to do that bake . So let's switch back to evey here and then in our materials panel right here. If we scroll down or twirl down the principle be sdf shader, I'll just twirl this down. Now if we scroll all the way down here under settings we've got a blend mode and we can change this from opaque to Alfa blend. And now we've got a clear material here and that's what we want. As I said, this is a tent material for working on our animation here and blender, but I think it will be helpful. All right, now that we have that, what we should probably do is also UV map. This object because we're going to be applying to d textures to it both here in blender and in unity So we can go over to our UV editing tab over here, and I'll hit the period key. And there we go so we can get rid of this normal map here. We can click the X here and get rid of that. Now what let's do is just select all of this. I'll just hover over here and hit the Elke, and you can see our UV map here from when this was a part of the character. Before we do anything, let's go ahead and tab into object node and press control a Anil, it's Ah, Apply the rotation and scale here. Now it's tab back into edit mode. Press you and unwrap. There we go. Now it's turned. I want to turn it. So this part right here near the chin is at the bottom. But let's test Ah, conform. Allow here. See if that helps. That actually helped a bit now, didn't it? So what do that? Let's go ahead and turn it over here in the UV editor. All press our 90 and that'll turn it. Now, I'd like to make sure that all of these edges air perfectly straight. And of course I want to pack it into the 0 to 1 space here. Let's ah, come up to UV and let's choose pack islands, and that puts it in there. But I'm gonna turn it unchecked. The rotate box here and that puts it within the 0 to 1 space. So let's make sure all the edges air straight, hero press alter A to de select. And then, since I'm in Vertex mode here, I compress the B key and border Select these and I wanna ensure that those air perfectly straight up and down. So what I'll do is right. Click and then I will choose a line X and that will make those perfectly straight. Let's do that again. Here, let me zoom out of bed and no un select those and impress B and then do this right. Click the line X. There we go. And I'm just gonna go through and do this for all of these here, right? Click a line X and over here is Well okay, So now we've got those. Let's do the horizontal ones. Are Border selected this and choose a line? Why now? And that just ensures that those air all perfectly straight, right click align. Why wouldn't be for border Select right? Click align. Why? Okay, so that ensures that all of that is perfectly straight. Okay, so we have our face UV map. Now let's now go back to R two d animation screen layout and let's work on this here. We can hide some of these objects just in this view, so all we see is R two D screen here. So let's come up to this. Pull down this object types visibility and let's turn off the mesh visibility for this view . And let's also turn off the armature visibility. There we go. And then over here in overlays, we could turn off the grid right here. There we go. All right, I think that looks pretty good. I just wanted that clean. So all we see is R two D strokes and then let's go ahead and create our grease pencil object that will be using to actually draw the face. So with the cursor is still here in the center of the face, what I'll do is go ahead and press shift a and I'll choose grease, pencil and blank, and that pops it right into where the three D cursor is Now. We've got this object over here. It's called G pencil. Let's change the name to ah GP face. Here we go. OK, and now we need to parent it to that head bone just like we did the face object. So with this selected, let's go ahead and shift, click the Bono. We better go into pose mode here, so I'm gonna select that GP base shift, click the bone and then shift. Click it again. Now it's press control p and parent it to the bone. So if we choose the head bone now up here and hit are two times. We can roll that around and we can see that the grease pencil object comes along for the ride. That's good. Okay, now the last thing I want to get rid of this relationship line and that origin. So once again, we can come over to overlays and turn off the relationship line and the origin there. So we've got a nice clean interface ready to go for us. Oh, and one last thing. Let's go ahead and hide the bone. So let's shift. Click this layer to and there we go. All right, so I think everything is in place Now. We've got the grease pencil object, the face idol object, all parented to the head bone. Our timelines sync up and R two d view all cleaned up Well, so in the next video, what let's do is begin drawing out the face of the character 38. 38 Drawing the 2D Face: to begin using the grease pencil to draw R two d face. We need to first switch over to object mode so we can select that GP face object. Let's do that now with that grease pencil object selected weaken switch from object mode to draw mode. Here we go, and we've got these new tools now to draw. We need to create a new layer. So let's come over here and just click new and we can call this one our eyes layer cause we're gonna create eyes with that and let's come down to our materials panel here and now we've got this material. Let's call this one black Phil, because we want to create a filled circle with this. So let's come down here to stroke. We want a line, yes, color black, but we also want it to be filled. So let's choose this as well. So we've got solid and black as well. So with our new layer created and our material created, let's come over here to the brush size. Let's take the brush size pretty far down because I think that's going to be pretty small. Let's let's initially take it down to three and see how that works. We could, ah, increase our strength all the way here. And then let's come over here to the circle. Let's choose that. And in here, let's just click and drag and see what happens. And you can see there is are filled circle. I'm gonna hold the shift key down so it constrains it to a circle instead of an oval. And let's just, ah, create it right there. That's good. Now weaken doom or adjusting with these, but I don't think we need to right now, so I'll just hit Enter and there we go. Now look over here. There it is, right so you can see it on the face. Now it's pulled out a bit from from the face and and that's okay, because once again, this is just a temp set up so we can see our two d face on the character. Now, I'd like to make that a bit smaller. So just like any object, weaken tab into edit mode, and then we can hit the aching and select that whole thing. Then we can hit s and scale it in our inner out. We can take our move tool and move it around and we go like that. I think I'd like to get rid of the three d cursor in the origin here just for now as well. In this view, let's come over here and under overlays. Let's get rid of Ah, the origin and three D cursor. There we go just to clean that up a bit. So let's put that about right here. There we go. All tab back in object mode. Um, for this character and for what we're doing here, I'm gonna have the eyes. Ah, moving at the same time all the time. I'm not gonna have one eye blinking when the other one is open. So let me tap back into edit mode and I'm just going to hit shift D and enter, and then I'm gonna drag over, and that's gonna create the other I there. Okay, so if we tap into edit mode there we have our eyes. They still look a little bit too big. Let me go ahead and select everything over here, and I'll just scale them down just a bit and maybe all move them out a bit. I'll just hit the B key and move this one out. Some all to a be key border. Select thes and move them out some. Let's try that. Okay, so that's a good beginning there. Now, we're also gonna need a mouth, So let's go ahead and create a new layer. I'll hit the plus Call it mouth. And when I do this, notice that these layers are popping up over here on the grease pencil timeline. Right? So each time we create a layer here, it appears over here. All right, so let me create a new grease pencil stroke by coming over here to draw. And for this, I'm gonna create on Ark. I'm just gonna click, and then I'll click and drag and look at this. Now we've got something that almost looks like a mouth like a frown, but it's filled. I don't want that. I'll hit, enter and I'll press control Z And let's figure out what the problem is here. What the issue is is we're using this black film material again. Whereas we were using that for the eyes. We need just a stroke for the mouth. So let's come over here to the materials. Let's create a new material here and I click new and let's call this black stroke that now we have stroke line Black and Phil is unchecked, so that's good. Let's try it again. Now come over here with this selected click and drag and there we go. Now we can see we've got that drawn out once again with a frown weaken. Take this handle right here and click and drag and drag that down like that and then lets it enter. Now that's OK, but I think it's too thin. Let's some undo this control Z and I'm gonna come up to the radius and let's type in five and let's see how this works now. When I clicked and dragged this way, I got a frown Would see what happens if I click and drag this way There we go Now we have a smile so I'll kind of put this right there it enter and there we go We've got a cheesy smile I think I'd like the smile to be not quite so arched So I'm gonna press control Z one more time and I'm gonna click and drag this way like this again and then I'm gonna grab this handle and kind of move it up like that Just a little bit like this. There we go and I'll hit. Enter And there we go. Now we got the smile ID like the eyebrows as well. And for the eyebrows. I think I may want to move those independently of each other. So we may need to create a new grease pencil layer for each one so we can move him easier. Now we could do it with all all one layer. But let me try it with two here. So I'm gonna hit the plus and we'll call this brow. Underscore are and then I'll hit the plus and we'll call this brow. Underscore. L Okay, let's try this for the brow on the right. Let's go ahead and use this line tool here, and I'll just click and drag like this and hit Enter. That may be a little bit too big. Let's control Z and try that again. Something like this. Maybe and hit enter. Okay. And then for the other side, I'll do the same thing like that and hit enter. Okay. Now, if we want, we can go in and change these So with e. L selected here, I'll hit the tab key and weaken with the point selection tool enabled. Weaken. Select a point and I can hit the geeky and move this out and make it longer. Aiken, delete that point and make it shorter so you can adjust these however you want. Maybe I'll do like that. Let's try that. I think they're too high. Me? Ah, Tab into edit mode. I'll hit the Beaky and Border. Select this one. Move this down. That Well, it's Ah, Porter. Slick. This one here. Let's move that down like that. Okay, there we go. Um, I think now I want to adjust this a bit. I feel like the eyes and the routes can come down some. So if I tap back into edit mode, we just grab this and move these down a bit like this. Let's try that. Yeah, that's good. I also think the eyes should be a little bit smaller, so I'm gonna try this. I'm gonna select. Actually, I'll select them individually. I'll hit s and scale this down a bit, and then I'll grab this one and scale it down a bit. A swell just like that. All right now, I think he's looking a little bit better. So now that we have the face drawn and pretty much in place, if we select the rig, let me move over and select the rig here and change to pose mode. And if we select the head control and see that that two D face stays with the character, but you can see over on the left hand side this doesn't move at all. And this is how we're going to do our animation. This is how we're going to be able to animate the character on the right here while having the two D face locked in place so we can do our drawing here. All right, let me press. Ault are to get that back the way it was, and in the next video, let's go ahead and work on creating the Idol animation for the body. Get that timed out, and then we'll create blink animations and maybe move the eyebrows around in sync with the three D body that's coming up next 39. 39 Creating the Idle Animation: for the idol of the character. I think I'm gonna make it about six seconds long. And if we look in our output panel over here, we can see that our frame rate is currently 24 frames per second. And that's fine. I'm gonna leave it at that. So for six seconds of animation, at 24 frames per second, that would be 100 and 44. Right? So let's come over here and type in 1 44 down here. Now we have a timeline of 144 frames. Let's go ahead and begin getting him in his first pose. So maybe if I go to the front view here, I'm just going to select one of the arms and I'll hit are and turn it down like this. And keep in mind, I'm here on frame one and what I should do, actually, let me undo that on the press. Alter our what I should do. First of all is turn on the automatic key frame insertion. So let's click this. And now if we do anything to the rig, if I hit our and pull this down to say right here, you can see we get our key frames automatically inserted. We could do it manually by pushing the I key and choosing location and rotation. And that would be fine if you want to do it manually each time. But I think it goes a little quicker. If you have blender, do it automatically. So I'm just going to hit our and rotate this down and that'll be our beginning. Pose for the arms for this for the route bone or the hips. Maybe I'd like to move this down just a bit. Here. Kind of bend the legs just a bit like this. And I may I may turn these a bit, too. I'll hit the three key If I select this control the spine to and hit are I can turn it just a bit And maybe I'll turn this one just a bit. That spine one I'm gonna hit are and turn him forward just a little bit just to give him some room to kind of breathin. So what I'm gonna do is kind of have him breathe in and the arms come out of it and then relax and do that a few times over the period of six seconds. Okay, so we've got this. What we're gonna need is all of this to be duplicated back over here at the end of our cycle because we need the first frame of the cycle and the last frame of the cycle to be exactly the same. So to do that, I'm just gonna with all these still selected, I'm gonna press shift D and just move them all the way down here like that. Okay, Now, I'm not really sure how many times he's going to take a breath here. Ah, let's see if I right, click on the timeline and click and drag with the right mouse button, I can move this timeline cursor to where I wanted to be. So I was on frame one. Let's move it up, Teoh. I don't know. I don't know how long a breath should take. Let's try 20 frames. So what I'll do here is select that hips control and let's move it back to where it was all press, all G and that will move it back up to where it was. And when we do that, that will also create key frames. So if I right click and drag. You can see he's going from down here up to here. See him kind of moving up and down at frame 20 as well. I think maybe I will go ahead and take these and I'll press Ault are to bring them back up to where they were. All right, so he's gonna kind of maybe take a breath. You see how he's kind of taking a breath? You have toe make the sound effects, you know, So we can Just taking a breath there. Okay, Um, in addition, I think I want that head bone to or that head control the head to kind of move forward a bit. So if we come over here and let's choose this head bone, I'm gonna insert a key frame here, but the I key location and rotation I'm doing that because I need to add a key frame, but I'm not changing anything, Right? So now if I move this up to here now, I think what I'd like to do is roll this forward just a bit. So hit the r key and rotated forward just a tiny little bit, like All right, so let's see how that works. Let's see what that looks like. So we begin down here. He kind of goes up and down so that maybe a bit too much. Well, let's give it a try. That maybe. OK, let's try it. So what I want to do is take these key frames here. Oh, let me do the arms. Let me do the arms. So I think what I'll do is for the arms. I want to move these out just a bit. So I'll hit the r key and move him out just a smidge and then the R key and moved this out . Just a smidge. There we go. But now let's see how that works. Yeah, kind of goes like that. Okay, so we don't really know how the timing is on this. We're gonna have to get some other key frames in here to know what the timing is. So what let's do is I'm gonna press alter a down here to de select everything, and then I'll press the B key and border select all of these, and then I'll duplicate thes so shift D, and then I'll just drag this way. And I don't know How long at this point in time? Maybe 15 frames to frame 35. Let's say and then let's do the same thing over here. I'm gonna border select all of these and press shift D and move these over to here. So now let's see how this works. I'm gonna go back to the beginning of the timeline with shift left arrow. There we go. And then I'm gonna hit the space bar. Okay, so the timing on that isn't quite right. A little bit too slow on everything. Okay, so let's de select with all to a Oh, I need to do all day over here in the timeline. I'll hit the Beaky and let's border select these. It g moved them in some. And then let's do this. I may not need extra frame's here, but let's try it. I'm gonna take thes and border slick porters like these and hit the G can move these back to here. So let's try this. Go back to the beginning with shift and left, arrow and play. Yeah. See, I don't think I need this here Toe. Hold that. So I'm gonna hit B and border Select and just delete these, hit the delete key and choose delete key frames. So now what let's do is let's put these on frame. Ah, 15. And then let's put these on frame 30. I'll hit the G key and move these to frame 30. Now let's try this shift left Arrow and let's hit the space bar. Seems to be a little bit too fast, all right, we're getting there, though. I will move these out to frame 20. Then let's try that all to a to de select, be to border Select G to move. And let's move these to frame 40 shift and left arrow and hit the space bar. Yeah, let's try that. OK, so now what let's do is go ahead and do this throughout the whole thing. So let's take Ah, these two rows of key frames, a press, the Beaky and let's grab these. And so let's press shift D duplicate thes and move these out to frame. Ah, 60. Let's do that. All right, click. Move it down to one frame. One. Hit the space bar a little bit too much. He's moving a little bit too much, but let's go ahead and get this all timed out. So once again, let's take these to be key border selectees. Two rows shift D and move these down to, um well, from 100. Let's try that shift and left arrow key, and then let's hit the space bar. All right? I think what we could do is slow it down some and move this row here to the very end. Let's try this. What I'm gonna do is border. Select these and delete them. Here we go. Now I'm gonna select everything here, hit the a key, and let's move this cursor all the way back to frame one. And then if we hit the s key and scale these, it will scale from the point of the timeline cursor here. So Well, let's do is just hit the s key and scale these out until that last column of key frames is right at the end at 1 44 Alright, let's try this. All right? Yeah. Okay. I will go with that for now. That's okay. It's not great, but I think that'll work for now. All right, so now that we've got him kind of breathing in an idol cycle, there in the next video. Let's work on moving the head back and forth. Let's turn the head one way so he can look to the side and then look back and then back to the center before the end of the cycle that's coming up next. 40. 40 Animating the Head Turns and Blinks: Now let's animate the head, turning back and forth. So if we select that head control up here, we can see we've got a key frame on that right down here, right there. So what let's do is maybe right about here. Let's haven't begin turning and maybe looking to the left. So let's go ahead and add a key frame here. A press I and choose location and rotation. Here we go, so you can see it's been placed there. Now let's move forward and let's turn the head. So if we select that again, I'm gonna hit the R key two times and I'm gonna just turn him like this. Maybe all it are and turn it back like that. So he's just kind of taking a look around. It's kind of that may be a little quick. Let me grab this one here. Just this key frame and kind of move it back some. Let's try this. I'm gonna hit the space bar. There we go. Yeah, I think that was a good turn. Noticed that it snapped back. And that's because we have this key frame here. Still, so it just kind of snapped back between here and here. Let's go ahead and delete this one. I'll hit delete and delete key frames. Now let's take a look at this. If we hit the space bar again, turn, it will begin turning back because we have this key frame here as well. So we could get rid of this key frame, this key frame and this key frame. We want to keep these at the beginning in the end, right? So we have the exact same position at the beginning in the end of the cycle. But we could delete these. So let's hit X and delete. Now it's come back here and hit the space bar again. He turns maybe a little too quick. Me Grab that key frame, hit the G key and move it out. Some like that. Alright, let's try it again. Play it turns. Yeah, Okay. Maybe a little bit too slow. So now he's gonna come back to the other side here, But we want him to hold just a moment as he looks this way. So I want to take this key frame and duplicated so he holds it a bit shift D and move this out like that Let's try this. Hit the space bar looks olds. Now he's gonna turn. OK, so now we want him to kind of turn from here. He wants to turn over to the right side. So I'll grab that head bone at the R key. I'll hit it two times and kind of rotating around like this, The r key again and kind of moving back like that. Yeah. So we kind of turns that way now. All right, shift left arrow at that space bar, he turns, he turns. Okay. And now he's got to come back to his original position here. So we need to take this key frame right here. Just select this one duplicated with shifty. And let's move it over here. Now let's try it again. Shift left arrow, space bar. He turns, he turns, he turns back. There we go. All right, now, I'm gonna go ahead and hit Control s and save here. Now, what let's do is let's work on the two d face animation while he's doing his idol and looking around. So really, all I want is just him to kind of blink and maybe move on eyebrow up or down. as he looks around. So I want him to blink a couple of times in here. Let's say I want him to blink. Um, all right, in here and again have there. So maybe only two times. But to do that, we're gonna need to draw a new stroke for the closed eyes. Which means we're gonna need to access that grease pencil object again. So let's go back from pose mo to object mode. Select that grease, pencil face object. Come back over to draw and here we go. Now, over here in our layers, we're gonna need to add a blink layer as well. Let's come over here and hit the plus button. Here we go, and we'll call this. Ah, Link. How's that? Well, it looks like we lost the mouth. Yeah, we've got some. There we go. I just had to click to get it back. I'm gonna press control ass just to make sure we don't lose anything. Now for the eyes. What I'd like to do is just draw a little curve right here so that it looks like he's blinking to do that. I think I'll maybe take the radius down to three and, um, let's use this arc again here. And what I'll do is I'm just going to click with this blink layer still selected. I'm just going to click and drag this way like this. And let's kind of get it. Let me move this up a bit. Something like this. Let's see how this works and I'll hit. Enter. I need to select that. Let me turn the eyes off over here so you can see it there, and I'll tab into edit mode and hit the B key and border selected. Let me just try and move it around. Maybe turning a bit like this. All right, so let's bring those eyes back. How we doing? Yeah, so I kind of want him to be right there, right? Kind of at the bottom of the I. That may be too big. Let me hit the s key and scale it down a bit. Kind of move it up into here, something like that. And then let's press shift d enter. And I'm just gonna drag it straight over here like this, that there we go. So now if I turned the eyes on and off, was it kind of looks like he's blinking. Kind of does. I think if you look at him over here in the three d view, it kind of kind of kind of does. Okay, So what we need to do is at particular points in the cycle. We need to turn the blink on and turn the eyes off. So we're actually gonna animate the visibility of the layers here, and we're going to see those key frames down in the dope sheet. We won't actually see them here in the grease pencil timeline, so let's give it a try. I'm gonna actually take this and kind of move it up a bit. So we have a bit more room down here. So where do we want these to be? Well, I think we probably I kind of want the blink to happen just before the turn. We tend to blink our eyes as we're turning our head. So I think maybe right in year, I'd like it to begin right about there. So that's frame 35. Okay, let's add a key frame back here. It frame one toe. Hold it. So for the eyes, I'll select the eyes and I'll right click on the eyeball and choose Insert key frame right here and you can see that poppin down here. Let me scroll the armature key frames up so we can see these. So there's that eyes channel right there. Right? In addition, we need to create a key frame for the blink with it off. So let's right. Click on the I and choose insert key frame. And there we go. There's our eyes and our blink. Now I said frame 35. Let's come up to here. Do I want the blink to begin here? I guess I do. So I'm gonna go back to frame 34. And here is where I'm gonna duplicate these key frames as well. So let me de select everything, and I'm gonna slick these two key frames and I'm gonna duplicate thes with shifty and move them over. Drop him there. Move forward One frame to frame 35. And now what I'm gonna do is turn the blink on and the eyes off. And with auto key framing selected, we get our key frames automatically there. I'm gonna kind of zoom in scrolling the middle mouse button, and I'll move that over here. Okay, so there we have our blink. Now, let me de select everything with all today, and I want to select these two key frames right here, and I'm gonna duplicate them and move them down to key frames or two frames. Shifty. There's one frame. Two frames right there. So what I'm gonna do is have a one frame. I close, they're gonna be closed for two frames and then a one frame I open. So de select everything. Select thes two key frames again, and I'm gonna duplicate them and put them over here. Shifty. Move him over here. There we go. So now, as I said, we've got a one frame. I close. There it is. Two frames closed. One frame I open. Let's see how it looks. Yeah, well, did you see that? Where did you blink? Let's try it again. Shift left Arrow. Space bar. Yeah, that looks OK. Trying that again. Yeah. So now that we've established thes blinks, what we can do is just duplicate them wherever else we want them. So if we hit play again, I'll duplicate him again. Maybe is he's turning here. Let's try that. O de select everything in the timeline at the B key border. Select these and then let's just hit Shifty moving down here. There we go. So let's try this. A de select shift left arrow to go back to the beginning. Get the space bar. He blinks there. He blinks there. You think we need one more over here? Well, let's try it. Grab those shifty and move him down. Yeah, moving to here. Okay, let's try this again. Go back to the beginning. Space bar. He blinks. He blinks again. He blinks again. OK, I think these are a little bit too late. Let's hit the Beaky and I just want to hit g and move these back some. Maybe about there. Let's try this link Link Blink. Yeah, Why not? Uh, all right. Good. Now one last thing I want to do here is I'd like to move the end point of the cycle from 1 44 toe 1 43 And why do I want to do that? Well, currently, the way it is, we've got this frame happening two times. So this pose at the very end on 1 44 is exactly the same as this pose on frame one, and we don't need that happening twice. So what I'm gonna do is just shrink the timeline. One frame toe, 1 43 it enter. Now let's see how it works. I'll hit the space bar again and there we go. Yeah, I think that's a pretty smooth transition between the end and the beginning, All right, I think that's looking pretty good. So in the next video, what let's do is let's go ahead and render out the two D face animation to an image sequence, and what will do then is we'll bring it back in and apply it to the G o face Idol object. And if that works out all right, then what we can do is begin creating new face on Tex will duplicate the geo face idle for a geo base run geo face jump, and we'll do the animations for those as well 41. 41 Rendering and Testing the 2D Animation: well since the last video, I went ahead and downloaded the very latest version of Blender 2.8 data. And, of course, since it's still a development version, things can change. And sure enough, the look of the timeline has changed since the last version. So still all the same key frames and everything just a little bit different aesthetic to it . That's all, I guess. So before we create our geo face, run and jump, let's go ahead and render this two D animation out to an image sequence, and then we're going to bring it back, apply it to our Geo face Idol, object and see if it's the right size. And if it isn't, then we'll scale the UV island up or down to get it to be just the right size. And once we do that, then we know we can duplicate these and use them for the other face animations as well. So let's give this a try. First of all, um, we're not going to need to see the character in the render for this so I can turn off the render view here. We're not gonna need to see this geo face Idol in the Render. We will need to see the grease pencil objects so we'll leave that. And we won't need to see the armature in the Render, either. So I'll just click that. So we're just taking all these away, hiding them away in the render. All right, let's go over here to the output tab right here and, as we said before, were at 24 frames per second. We've already set up our resolution to be 256 pixels. Let's come down here and under the output. Let's point this to a particular folder, so I'll click here and I'll browse Tamara folder and in here I'm going to create a new folder. I'll just click right here and we'll call this renders. And in that folder, what I'd also like to do is create a folder and I'll call this idol. There we go. So this is the folder that we want to actually send are rendered images to, so a click accept when you can see Here is the path now currently were going to be out putting P and G's, which is fine, and we also want this rgb A. We want the A for Alfa. That Alfa Channel is going toe. Allow everything that isn't the grease pencil strokes to be clear, to be transparent. Now, to ensure we get that transparency, we should come over to the render panel here and under film. We should choose instead of sky for the Alfa. We wanted to be transparent right there. Okay, so we still have the e v render engine. We've got the Alfa transparent and we've created the folder in which all the renders are going to go. All right, so let's go back to that boulder here. So here's our folder with the Renders and we've got the Idol folder here. That's where it's going to go. So here we go. We're going to go to render render animation And there it goes, All right. It has rendered all of our frames. Let's go ahead and close this and I'll open up that folder again. And here it issue, concede them all from one all the way to 1 43 All right, so if we open one up, you can see that's all we have. Just a small face. Now here comes the fun part. What we need to do is map that back onto our geo face Idol object as a texture. So to do that, let's go back to our shading tab. And really, all we need to do is just bring it into this image texture note. But before we do that, let's hide the grease pencil object for just a moment. Let's come over here and hide that here, there it is. Now let's bring in our image sequence here so I'll click open It says Detect sequences here and that's checked. So that's good. We go into renders and idle, and we click on the first frame. Let's now come over here to open image, and instead of single image, we can change this to image sequence. Let's do that now. Currently, the color is white. If we take the base color here and drag that all the way down, weaken, turn it black and that's what we want. And once again, this is just a temporary set up. We're just doing this to see how big that UV map or that you ve island should be. And it looks to me like that they should be a little bit bigger. So Let's go over to our UV editing tab. Let's come over here. And with all of these selected all of these you ve selected, let's if the s key and let's just scale it down a bit and you can see as we dio we can make it bigger. We're smaller, however we want here. But if I move this up about like this and then also I think I'd like to move it up some. So let's take this and move it up a bit. And I'm just gonna move this around until I get it about where I want it. All right? So then I'll hit the s key again and scale this up a bit. Is that about right? Oh, I feel like it needs to be a little bit bigger. Here. There. Let's try that all tab back into object mode. And there he is on the move that cursor back to the world origin. Ah, I think, though maybe it needs to come up just a little bit. Let me do this again. I'm gonna hit Ah g. And why? And slide that up just a bit like that. There we go. I think that's gonna be how I want it. Yes. So now you can see that two D image on the actual object we're gonna use in unity now. If we then come down here and hit the space bar, what happens? I'll do that. And we're not seeing the blink. So why is that? Well, I think I may know Let's press shift, arrow and go back to the beginning. And if we go back to our UV editing screen layout No, I'm sorry, Our shading screen layout here. Look at this. This says image sequence. But it says how many frames? And we need to put in 1 43 right there. And while we're here, let's go ahead and turn on auto refresh as well, so it will refresh each frame as it goes along. Okay, so I think we're ready. Let's go back to R two D animation and hit that space bar. Let's see what happens. Here we go there. He's blinking now. The actual quality of the images pretty poor because we're doing this in real time. So the image quality is going to be quite a bit better in unity, but you can see the actual texture, playing through the image sequence as well as the character animating with the animation cycle. So it works. That's I think, what we needed to see. So since that's the case, we can now come over and duplicate these duplicate this object because we now have the object parented to the head bone. We have a transparent material on it. We have UV mapped the object so that the UV map is the proper size, and we've tested the image sequence on it as well. So I think we're ready to go ahead and duplicate this. So let's do that. Let's select that. Let's press shift D and enter. And instead of Geo Face Idol, let's go ahead and call this Geo face run and will duplicate this and we'll call this geo face jump and there we go. Now let's come down here to the materials. I'm gonna go back over to our shading here. Let's come over to our materials now and for the jump. Let's go ahead and duplicate the material. The idol material. It's duplicated for the jump. Now I can just delete this or remove the material slot here and then create a new material , but I want to make a copy of it. And to do that I need to click this button here. So click this and we'll call this jump and we go and I'll go ahead and remove that image sequence out of here cause we don't need that. There we go. And then let's go ahead and for the face run. Once again, Let's duplicate this and call this base Run. There we go. So now we have three different objects with three different materials. Oh, I can go ahead and remove the image sequence out of here, all parented to the head bone and ready to go. So with all of that done now, weaken due in the next video is begin creating our run animation. We will hide the idol and the jump will bring back the grease pencil object and will begin creating the run animation 42. 42 Starting the Run Animation Cycle: Before I begin the run animation, I'd like toe get rid of all these key frames and threes and wise I like toe work between one and whatever I like toe have the beginning of my animation or my animation that cycle. Begin it frame one. It's just easier for me to think about. So I want to preserve this so I can export this out to unity. I've been saving versions as we go. We're here on version 42 now, but I also want to be able to come back to it easily and find it. So what I'm gonna do is I'm gonna make a copy of this. I'm gonna goto file, save copy. And then I'm gonna go to my exports folder here, and I will call this player underscore Idol. We'll just call it that. So I know that when I'm ready to export the FB X for the idol animation out to unity, I can come back to this blend file and get it done. So I'm just gonna choose save. And since I've chosen to make a copy, I'm still here in my original number 42 blend file here. So if I would have chosen, save as I would have reverted to that new file. But as it is, I'm still here in the same file. Now that we've done that, I think what I want to do is pretty much delete all of this. So once again, be sure you're saving inversions and be sure you save a copy of what you've just done here cause we're going to need that to export to unity. All right, so what I'm gonna do down here is I'm just gonna hit the a key and I'll hit, delete and delete key frames. Now, if you want to keep anything from this, like if you want to keep ah, say the eye blinks or something like that, be sure and do that, go ahead and only select the other key frames. But for me, I'm not going to need an eye blink for the run. We're gonna do a six frame run, the if he blinks. It's kind of look very strange. So I don't need a blink for the run animation, so I'm just gonna select everything it delete and delete key frames. And there we go, um, up here in the grease pencil. I think I'm gonna keep all of these for now. So let's come up here and select the rig. Let's go to pose mode. I'm gonna go ahead and hit the A key, disliked everything, and then I'm gonna press. Um, Ault are all G and that will get him back to his original pose there. So, as I said, the run cycle is only going to be about six or seven frames, so we could probably change our playback range from 143 frames. Let's just choose. Ah, 13 frames. Let's do that. And, um, let's go ahead and get him blocked out in three D before we begin changing the two d face. I think for the two d face, I'm gonna turn the eyebrows down and haven't be kind of angry and determined while he runs . But for now, this is fine. So I think what I'll do is begin, say, on the right side here and what I'm gonna do is pose him for that first frame of the run cycle. And to do that, I think first of all, this leg here should probably come out a bit. Maybe I'll even bring this down Some. Let me bring this down like this. Kind of a squat there. And then this leg, the left leg should probably come out and I'll turn it up like this. What kind of stretches out like that? Something like that. And the other leg where the right leg should probably ah, rotate like this and I'll bring it up and back. Kind of like this. We go, Let's see how that's working. Okay, um, I'll take this hips or root bone and turn it forward of it. We could turn anyone of these forward a bit. I'll hit are and can turn that. What were the bet? The head should probably look up like that so you can see where he's going, and then we will adjust the arms. Now the arms are always going to be the opposite of the legs. So, um, if we're dealing with this arm, it's going to be the opposite of the same legs, so I'll bring that down. And since this leg is forward, then that means this arm should be back, right? A press control three to spin around to the other side. And let's select Ah, the upper arm. Oh, let me go to the front view here instead and bring this down. And ah, Then maybe I'll bring it forward like this and we go, Let's try this. Okay, so we've got him kind of in that beginning pose. That's good. Now, just like we did before that beginning pose is gonna have to be at the very end as well. So with all of these selected, I'll go ahead and hit a and I'll press shift D and let's bring this all the way down to 12 . Here. Let's do that. Me change that in point to 12. There we go. Now we need to go to frame seven. And we basically need to do the opposite of what we have here. So if this leg is out here, then this leg needs to be out there now. Weaken. Try to use the paste and flip feature of blender. But with a character like this, it might not work real well. But we can try it. Let me select this and this and we moved this and this. Let's give this a try and see. So if we copied these, if we went to key copy Key frames back. Ah, let back on frame one. Let's let's do that. Let's go to key Copy. Key frames. Then if we go to frame seven, we could say key paced, flipped key frames. And my guess is this isn't going to work for this character, and my guess is correct. So, yeah, that's not going to work here. So we need to do that manually. So let's go ahead and give it a try. It isn't that hard. I'm gonna take this, but here and move it forward, rotated and kind of get it up where this foot is like this. And then I'm gonna take this foot and move it back, rotated and put it back about where that one was as well about like that. Let's see. I'm gonna click over here and then click back. Yeah, you can see a little bit of movement there, but not bad. So maybe this could come up a bit, and maybe this could come down a bit like this. So I'm just clicking on frame one with the right mouse button and then on frame seven just to see how they match up. All right, that looks pretty good. Let's take on frame seven. Let's take the right arm and I'm gonna hit the R key and spin it up like this and we go and then I want to take this one and spin it back like this. And let's see how we did. Brain one Brain seven. Not bad. Let me rotate this down. Just a hair like this. Yeah, So as I click between one and seven, you can see there's minimal movement here. Yeah, that's good. And then on frame 12 we have that original key frame. Original key set. Okay, so now if we hit play, this is what we get right? Very basic run. But I think we can do a little bit more than this. So let's give it a try. Let's go back to frame to here and on frame to He kind of needs to come down on the ground . He needs to kind of hit the ground flat footed. The weight of the character needs to come down, go to the side view. And so, as I said, the weight of the character should come down the foot here. Let's press alter our and then let's press all G and get that back on the ground. And then let's slide that forward right there. So you see how he's kind of and it bringing that foot down flat on the ground. If we go back to frame one, this is kind of what we get here. All right? And then this foot here isn't too bad, But I think it should come forward. Maybe even Ah, we could kind of go like that. Let's try that. Let's go back to frame one. So you see how they're kind of moving closer together? The two feet are moving closer together as he comes down and puts the weight of the body on the foot here like that. Now, the arms should ah, probably swing in just a bit. So from here, we should probably have him bring the arm down like this. And on the other side, control three. Maybe he should bring the arms in just a bit like this. All right. So let's see how that works. That Yeah, it kind of hits the ground. Now, he might be able to come down a little bit more. Probably not too much. But this is really what they call the down position. He should be at his lowest point here on frame to all right, here we go. All right, let's go. Quickly. Do that. Over here on frame eight. We need to do the same thing. So here we have him with that foot here. Right? We need to Here. We need to take that same foot and put it flat on the ground. Ault are all G. Slide it forward a bit, and then we'll take this foot and move it forward just a little bit like that. We'll do the same things with the arms. Bin them down a bit. Control our control. Three. Excuse me and move this in a bit. Let's see how that works. Okay? Yeah. So we've got framed too. And frame 80 we need to bring this down some. You're like this. Bring that down frame. Eight frame to eight. That's a little bit too far. All right. It looks like what I did is the, um the down position of the hips. What carried? Carried over into my frame. Seven key frame. So what we need to do is we need to take the key frames. I mean, press Ault Abe, down here. We need to select the key frame for the hips here for the route right here. And duplicate that over here so you can see Here it is up. And here he's down. He needs to be the He needs to be at the same place here. So let's take that one key frame and put and press shift D and move that over to here. There we go. So now one and seven is the same. Only opposite, right? That and so now, too. And eight should be the same. Only opposite as well. All right, so if we hit the space bar, that's what we have so far. He's pretty good. Didn't bad, but we can do a little bit more. So in the next video, we will continue working on the run animation. 43. 43 Continuing the Run Animation: All right, We've got frame one and two and seven and eight, which were pretty much the same things. If we hit the space bar, that's what we have so far. And it's pretty amazing how much you can get from just two main key frames there. But there's more that we can do here. So after frame to that foot that's on the ground here. That really needs to stay on the ground. But if we moved to frame three, look, see how it's already pulled up. So because of the interpolation between this key frame and this key frame frame, three is pulled up of it. So what let's do is let's grab that Ah, left foot right there. And let's press control our control or alter our and all G. Let's do that. Maybe we could move that up. Oh, right about here. Let's see you're there. Yeah, we may want to move him up just a little bit more like that. This Yeah. Down slide. There we go. And notice how the right foot is. Ah, passing here. I'm gonna press control three again. How? It's passing by. And that's good. We want that. I might rotate this just a bit like this. Ah, With these short, stubby legs, it's gonna be hard to keep the toe from crossing into the ground plane. But I think that's gonna be okay. It's gonna happen so quickly that I don't know that that's gonna be a problem, per se, but let's let's give that a try. So now we need that hips to come up just a bit. So we've had it go down now, we should have it come back up. Just a smidge like this. And these arms, I think, are actually pretty good. They're pretty close to being what we need. Um, we could take this one and move it back, just a smidge. And then we could take this one and move it. Bull were just a smidge like that. Have been come back to our, um, rig tab here and choose in front so he can see the two controls on either side. If you want to do that instead of switching back and forth, I'm gonna go ahead and keep it off just because it cleans up the view. All right, so maybe with this, I'll rotate this bank just a bit like that. Okay, so let's see how this works. 12 three. Yep. Okay, that's That's actually pretty good. Um, let's do the same thing over here. It frame nine. This foot is flat on the ground. So on frame nine, that should still be flat on the ground. So let's press all tar all g and get that flat on the ground there. And I think we want to move it forward just a bit. Let's Ah, click on frame three. Okay. It looks like I've got the other foot back a bit like this. Yep. And maybe tilted forward just a bit like that, Okay? And we need to bring up that hips control just a bit like that. So click on 39 Well, let's see. It looks like I've got Yeah, that should come down a little bit more like that. There we go. Ah, we need to deal with the arms. Right? So let's do that. Let's bring this arm forward. Some control three. And let's bring this arm back some. Right. Let's give that a try. Let's see how that works. Hit the space bar. Okay, there he goes. All right, let's go back to frame three and let's move forward again. So if we move now up to frame four, what should be happening here? We've got the left foot here is on its heel. We've got that foot flat. Got that foot flat again. It's come up off the ground plan again on this frame, but it's kind of doing what we want it to. But we have a special foot control to do this. We want the foot to begin coming up onto the toe, right? This is why we created that foot roll right here. So let's take this and press Ault are all G. Let's move this back a bit. Let's select that foot Roll control right there and let's hit our and roll that up. And that's what we want. That foot beginning to roll up a bit like this. We take that control and move it back a bit. Yeah, I think something like that and the other side should probably Well, we could 10 a. Tilt it down and it's beginning to come forward like this. Maybe, and we want that hips control to come back up to about where it was at frame one in fact, I guess what we should do is just take that control that route bone key frame right there, and just press shift d and move it right there. So let's try this. Yes. So it goes down, comes back up to where it waas. Yeah. Okay, So that's the same key frame as this one back here for the route. Now for the arms on this, this is probably going to continue to come forward like this, Control three. And this is probably going to continue to go back like that, right? Let's see. Yeah, that's what we want. Okay, let's do that same thing. Now, over here on frame 10. So once again, we've gotta have the right foot now on the ground. So we've got him on the ground here. Right? Let me press control three and go around to this side. We have it on the ground here. We needed to stay on the ground on frame 10. Tillis, press alter our and all G, and then we can put it right about here, I guess. Select that foot control hit our and roll that forward some. Maybe bring that back a little like this. Let's also take this one, and Oh, now take a look at this. So let me roll this back here, okay? I'm gonna go over to the other side here now, as we go forward here, we've changed the key frame on our foot roll here. Unframed four. Right here. Well, we had a key frame for that on frame one, but we didn't have a key frame for it on two or three. So you can see it coming up off of that as we get to frame four. Let's see where that is. If I hit the period key weaken, go down and see that right there. It'll frame that up. So here's that foot control. But here, right here is that foot roll. So we have a frame here with the foot roll inactive and a frame here with it active with it rolled forward. So we need to add a key frame here, maybe duplicate this key frame shifty, and move it up to here toe. Hold that flat as he takes a step right. And then it comes up at frame for In addition, if we go out here, look at it here. So that's ugly. Let's go and select that foot control or foot roll again. Come down to the timeline. Hit the period key. And here we are. So what we should probably do is take this key frame and just duplicated again shift D and move it to here. So it's flat. We'll need to do that with this one as well. See how it's up like that. If we select that foot roll, here it is, right here. So let's press shift d and move that all the way over to there. There we go. Now that flattens it out. So all we're doing is just making sure that things aren't activated. Don't begin moving until we want them to. So we have to sometimes duplicate a key frame toe. Hold that position until it begins to move again. All right, so let's go forward to frame 10 and see how we're doing here. Ah, we're not doing too bad. Is that where we want it to be? Not really. So we kind of want this to be more like this, right? I'm gonna click on frame four, and it looks like we could take this and slide it back, maybe move this back. Let's try that for 10. 10. Not too far off. Here we go. Also. We need to grab the hips key frame so we'll select the route. Here it is, right here, shifty, and move it to their. So that brings it up again. All right, so we have frame 123 and four with the contact pose. When the hell is contacting the ground, The down pose, where the weight comes down as far as it's going to in the cycle, we have framed three here as it's coming back up, we have framed four or the passing pose where one foot passes the other. So with frame 10 we need to move those arms now it looks like So we need to have the arms move back a bit like this. Control three, maybe. Move this forward. Is that right? I think so. Yeah. Okay, now number five frame five. We could call the up, posed the up position because he's gonna be up as far as he's gonna be throughout the cycle . But that foot still needs to be on the ground. That toe still need to be barely touching the ground. So let's grab the left foot here. Let's press. Ault are all G. Put that on the ground. Let's pull it back some and let's choose that foot roll control and hit our and roll it up as far as it will go. There we go. And then let's take the hips and move them up as far as they're going to go. So we don't want to break the limb like that. We don't want to depend backwards, but we do want to be able to kind of bring it up like that. Let's see if it's from here to here. Yeah, it goes up some. That's good. So let's see if we can move this back a little. Here we go. And then this foot should probably ah, come forward like this. We go, It's take a look at this. Okay. All right. So we have the contact down passing pose and the up right here. Alright, let's try and do the same up pose on the other side. So at frame 11 over here, let's try and do that same thing. So I'm gonna grab the hips right here and press shift e and move that over to 11 So it goes from 10 up to 11. Let's put this on the ground. Let's press. Ault are all G. Put that on the ground. Let's turn this up The put control up as far as it will go. And then let's pull this back as far as we think, it can go without it breaking without it bending backwards. So about like that, let's say. All right, let's click on five. Okay, that's where the foot is. I'm gonna grab that and move it. Give it up. Turn it a bit. It was that. Not bad. Be like this. Should come back a little bit. This should come up a little bit. All right? Yeah. We're getting there now. The arms. We could take this forward just a bit. Well, actually, they're pretty good. Let me see. Here and here. Yeah, they're pretty good, I think. The arms air. Okay. All right. Well, let's hit play and see what happens. All right? That isn't too bad. Um, I think what let's do now is let's choose all of these key frames right here. This whole row, I'm gonna click on the top one, and I'm gonna move that out 13 and then what we put on six will be the same as 12. So if we there we go, that moves a little smoother. I think, yeah, I think that's OK. I think that's pretty good. So what let's do in the next video is let's go ahead and work on changing the expression of the face over here in the two D and then we'll have the run animation pretty much done. 44. 44 Finishing the Run Cycle: now, one of the thing that distinguishes a very fast walk from a run is that at some point in time, in a run cycle, both feet are up off the ground and the way I have it here, the problem is let me go back to the side view here. Problem is here. Even at frame six, there's a toast still on the ground, all right, and then we go to the contact here for the right foot. So my problem is, is that he's never really completely off the ground, So I need to get that right here. Let's take that foot. Control that foot roll and let's press. Ault are and clear the rotation on that, and then let's grab the actual foot control and let's move this up and rotate it. So we're kind of like this. We're kind of up in the air like this, like that, and that's probably all we need for that. Let's go over to frame 12 here and yeah, let's do the same thing here. Let's take that Ah, foot roll press, alter our and then let's grab the foot control and bring it up and rotate it back like that . All right, Cream. Six. 12. Yeah. Let's Ah, kind of like this a little bit better. Let's go like this. Okay. Frame six. Bring 12. Six. Well, there's a bit of movement with the hips here that I'm not. Yeah, let's select those hips. Let me de select everything down here. Select the hips, and ah, let's get, um Well, let's see. So this frame five and 11 are pretty good, right? In terms of the hips and the position frames, six comes down just a bit and frame 12 comes down. Even Mawr. So that's not quite right, huh? Well, what let's do is take this and let's go and create a key frame. I'm gonna press I and choose location and rotation. And now with this created, I'm just gonna duplicated shift D and move it over to here. So let's see how that works. Yeah, that's better. Now we just need to get the feet into the correct position. Six and 12. There we go. That's not too bad. Yeah, All right. So now let's give it a try. Um de select everything. We can also come over here and hide the armature. Fight it right here and then we can get the space far. Let's see how he's doing. We can tumble around and see him go. Yeah, I think, uh, I think that works pretty well. Okay, good. I'll hit the space bar. I'll go and bring the armature back. Here we go. Now let's think about the two d face the entire animation here. The entire cycle is only half a second long. So if we had him blink anywhere in here or really do anything in here, he would do it twice a second. And that's a lot. So I don't think we can really have an animation happening during the run cycle. But what we can do is change his expression and just have that one expression hold while he runs. So I think what we really need to do is just change his eyebrows and change the mouth. Let's go ahead and come out of Poe's mode to object mode, and then we can select that grease pencil object and then let's come over here from object and go to draw. All right, so now we can see our layers over here for the browse. Well, let's go to Brow l here and and we can access all of these at the same time in edit mode, because it's all one object. It's like having a three D model with a bunch of different pieces. But all one object kind, like the character. We've got the head in the arms and the hair and the legs, but we've combine them all into one object, same kind of thing with the grease pencil over here as well. So I'm gonna tab into edit mode, and what I'll do is I'll just select one of these and I'll hit, are and let's turn him down and make him angry. Determined. Mary goes something like this. Let's see. Oh, that's that's very angry leaving. Not that much about something like this. Maybe he's more devious than angry. Let's let's let's go with that, huh? All right, so we've got But I accidentally tumbled around and went into user perspective over here in the two D view. So what I need to do is go back to look through the camera. To do that, I can just hit the zero key on the num pad. There we go. Okay. You know what? I'm gonna do. I'm gonna take the mouth layer here, and I'm gonna turn it off to create a new layer. And I'm gonna call it mouth sneer. Here we go. And in this layer, I will take this line tool, and I'll just Ah, how do I want to do this? I want to make it straight. Ah, let me undo that. That isn't quite thick enough. I'll take it back up to five pixels, Let's say and I'll draw like this hit. Enter. Now it's tab into edit mode and select that. And let's ah, rotated. I'm not sure how he should. Maybe you should kind of be like this. Okay, He's very determined there on the ah, move it over just a bit and tilted. Not quite so much. Let's try that. Yeah, so maybe there you go. He's very determined. Yeah, Let's Let's go with that. Okay, so there we go. Now, we've got our two d face as well for the run cycle. What we can do here is we can render this out. Just this single frame to be used when he runs. Let's make sure everything is still correct, will goto our output, and we've got. Ah, this going to the Idol folder? I don't think we want that. Let's create a new folder here and call it run and we'll select that and had, Except we've still got it at 24 frames per 2nd 256 pixels. That's good. If we go to the render panel, we still got film Alfa transparent. That's good. So what? Let's do this time with our character and other objects hidden in the render view. Let's come over here to render and render image. All right, so now that we've rendered that one frame out, we just need to go to Image Save As. And let's put it in that run, Boulder renders run, and we'll call this Ah, run base image. Here we go. Save as All right, Let's go check it out. So here's the Idol folder with all the renders in it. Let's go back to the Renders folder, the run folder and there is our run face image. There we go. Okay, so we now have the run animation complete. I'm gonna press control s and save the scene, but I'm also going to go to file save a copy here and let's go into our exports and we'll call this player Run right here and save. There we go. So now we've got our idol and are run. The next stuff is our jump, so we'll start working on that coming up next. 45. 45 Creating the Jump Animation: I noticed one thing while playing this back. Um, if we take a look at the foot here and we scroll forward, we see it's contacting with the hell. It's flat, it's flat. Then it turns up it's still on the toe and then it's up. Whereas if we take a look at this foot right here, I noticed this foot has the contact, it's flat and then it pulls up. And then it's up on the toe for these two frames as well. But right here it still pulls up, and I feel like I should probably fix that. So to do that, what I'm gonna do is just select this guy right here and let's press alter our and see how that works. Here we go. Yeah, and that adds a key frame there as well. So now let's go back. Here we go. Contact flat on the ground, flat on the ground, on the toe and up on the toe. Yep, there we go. So that's all that needed to happen there. And now that I've done this, let's go ahead and save the file and goto file. Save copy, and I'll put that in my exports Here's that player run. I'll go ahead and right over that. They're OK. So now we've got it. Ready to go for the jump? Um, once again and I'm gonna delete all of these down here. I'll hover over the timeline down in the dope sheet and press the a key. And I'll just delete all of these hit, delete and delete key frames. And there we go. Now, on frame one, I'll select everything in post mode and then press Ault are all G to bring him back to his default t pose there now for the jump. What I want for this I think what I want is, uh, kind of a super Mario type thing with one leg forward and one arm forward. At least that's how I picture him in my head. But there, that's actually what he's doing or not. I don't know, but that's what I want is kind of Ah, um, as if he's leaping over a hurdle or or something like that. Now, we're probably gonna need more key frames here. I'm not exactly sure how maney we're gonna need, um let's take it up to 48 frames just to give us two seconds. Let's do that all once again, Work on the body first, and then we'll take a look at the face. I think I do know that I want his arms down. So I'm gonna go ahead and select the shoulder controls here and it the R key and turn these down like that. And I'm not gonna worry about him moving up in the Z axis. I'm just gonna move the arms and the legs. Once we get to unity, we're going to script a force upward to make him jump. So we don't need to apply that force here or move him at all. All we need to do is just animate the arms and legs. So from here, let's just move up to I don't know, frame 24. One second. Let's see how this works. And what I