Blender for Beginners: An Introduction to Rigging | Derek Prinzi | Skillshare

Playback Speed


  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

Blender for Beginners: An Introduction to Rigging

teacher avatar Derek Prinzi, 3D Artist

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

11 Lessons (1h 2m)
    • 1. Course Trailer

      0:47
    • 2. Inverse and Forward Kinematics

      3:13
    • 3. Weight Painting and Bendy Bones

      5:04
    • 4. Creating a Simple Box Rig

      6:25
    • 5. Human Rig: Initial Setup

      9:37
    • 6. Human Rig: Setting up the Lower Body

      6:18
    • 7. Human Rig: Setting up the Upper Body

      5:02
    • 8. Human Rig: Fingers & Bone Constraints

      8:51
    • 9. Human Rig: Skinning our Armature

      6:56
    • 10. Human Rig: Custom Bone Shapes

      8:24
    • 11. Thank You!

      0:56
  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.

1,024

Students

--

Projects

About This Class

Rigging can be intimidating for beginners just starting to dip their toe into this section of the CG pipeline. Between, weight painting, constraints, axis roll, Inverse/forward kinematics, there are alot of terms to keep straight!

In this Skillshare class, we'll be covering all of these topics. by the end, my goal is to help you become more familiar with terms and concepts associated with rigging so you can start creating more complex setups to bring your creations to life. Prior blender knowledge is encouraged but NOT required to complete this class. I will have all my keystrokes visible on the screen so you can see exactly what I'm doing.

Rigging is a specialized position in many larger studios that takes years to master. However, learning this skill and having it in your CG arsenal, will help make you a more well rounded CG artist.

Grab some coffee (or tea) and I'll see you in the first section!

ed68b599

Road map:

Lesson 1-2:

  • We'll start off learning some base concepts and techniques that will help later on when we go to rig and pose a complete human character (excluding facial rigging as this is a topic for another class). The base mesh was created using make human; a free open source program that you can download and learn more about here.

Lesson 3:

  • We'll take what we've learned thus far, and create a simple rig for the provided box asset that only consists of a few bones that will help reinforce these concepts before diving into the more complex human rig.

Lesson 4:

  • This section will be broken up into 6 different parts. I'll take you through the entire process of importing a human base mesh, adding a rig, applying constraints and controls and finally attaching the final rig to your human character.

Meet Your Teacher

Teacher Profile Image

Derek Prinzi

3D Artist

Teacher

I've been interested in and studying computer graphics for almost 10 years. I have a B.F.A in 3D Digital Design but started off learning computer code. However, I quickly fell in love with the artistic side instead. I currently reside just outside Pittsburgh, PA where I am a 2D/3D freelance motion graphics artist. I've been honored with being named an Adobe Top Talent and a semi-finalist for various personal projects as well as winning awards for company self-promotion. 

In my spare time, I love doing anything that allows me to express myself (photography, guitar, DIY electronics, anything CG). I'm also a pretty big mechanical keyboard nerd. I currently have about 4-5 different models that are all satisfying to type on. I also love my cat.

See full profile

Class Ratings

Expectations Met?
    Exceeded!
  • 0%
  • Yes
  • 0%
  • Somewhat
  • 0%
  • Not really
  • 0%
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.

Transcripts

1. Course Trailer: Hey, I'm Derek, and this is bloody for beginners and introduction. The rigging bringing is an important skill for any 30 yards. Have a basic understanding of being a blend years or for 10 plus years. Breaking was always a top of the frustrated me the most in this class. I'm gonna take you through important concepts and techniques that voter confidence and make rigging feel less intimidating facial ringing for characters of the more complex subsection of rigging that is best suited for another class. For the class project you were rigging, imposing a human character interacting with a prop. I'm providing source files so you can follow along. Step by step. This class is designed for anyone who was interested both blender and ring. Prior blender experience is recommended, but don't let that stop you. I'll be net rating showing my every move to follow along. Are you ready? Let's get started 2. Inverse and Forward Kinematics: and welcome to Lesson one. Glad to see you guys here start off. I wanted to go over to important concepts. When it comes to rigging forward and inverse schematics, forward cinematics is the easiest of the two to understand. So let's start there. I'm going to begin by hiding the ICAC section. Okay, So, like I said before Ford cinematics or SK, you can think of these as basically a action figure. Essentially, what you're dealing with is your moving the parent off the bone chain. And then there is this actually affecting the movement so you can see for the arm here by rotating the shoulder, which is acting as the parent. The subsequent Children bones L started right here are following because it's connected now . This is perfectly fine for static shocks if you have a character that you just wanna pose for a couple still renders or for turntable. But for animation not really desired, as don't have the flexibility and the ease, you know, for the ease of controls. Essentially, that's where I k No, that's to control tap, get outpost mode. That's where I K or inverse schematic. That's what that comes into play now like like for work in a Max. It's based off a parent child relationship, however, in I K, instead of the parent indicating you know the movement of the bones. In this case, the child now is affecting how the movement happens, so as you could imagine. Or as you can see, this is extremely useful in terms of hands and feet. So again, this would technically be the parent, and these are the Children. But sense feet and hands, you know, it's natural to move them like this. This is where this system comes in play. As you can see from the demonstration here, I ke systems. You normally move in more of a circular pattern because that's what's natural it specially for arms and feet. In contrast, if you look at the F K set up, the motion is more in a linear fashion, not you. Technique could make a case that there is a little bit of no nonlinear action. Howard. The process to get there is very linear. As in you have tow, rotate each bone step by step, and the next to last terms, we're gonna go over to smaller. But just as important, techniques that will really help out, especially when you start to create more complex rigs 3. Weight Painting and Bendy Bones: Hey, guys. And welcome to listen to in this section. I want to talk about weight painting and bending bones. First off, let's talk about weight painting. Now, if you take a look at this armature over here, archers are what is a sexy deforming the mash once we actually know skin it to an object. So if we take a look at our mash right here and freak control tab and go to the weight Peyton section, you'll know centers varying degrees of color on the model now. So if you select your armature and then go on to the armature settings over here and they go to view port display and click this in front button and a lot of allowing you to get a better picture. Okay, so let's go back to that and control Tab Goto weight painting. Now you will see how there's a very degrees of color. Essentially now, the blue indicates a influence of 0% where the red is basically 100% and then the green slash foolish that is in between. So, essentially over here, you'll know set all my bones air named, So if we go through each bone you'll notice that each part of the mesh is a different color . That's corresponding to how much influence the rig has the different parts of the mesh. Now, what's cool is that if we ever wanted to change the amount influence that we have on a certain part of MASH, we can do that very easily. Bless going to edit mode by President Tab and say that we want, you know, this full top circle to be influenced by bony, which was down here, if you remember. So I want to do is over in the Vertex Group section over here. Make sure you have your whole mesh like it. If it's not impress, L and that will select the whole mesh object and then go over and oppress a sign. Okay, and now if we tab again and go toe weight painting, you'll see now that the whole section is red. And basically now that saying is, 100% of this object is being influenced by bone A, which is down here. Conversely, if you wanted to remove personally or certain influences off your mesh, you do that by tabling again. Make sure your meshes selected that you want to delete and this press remove. And then, just like that, it's removed. And that is basically weight painting in a not show. Okay, And the second point I wanted to make in this lesson is the concept of bendy bones. Now again, if we refer to our original model here and make sure that we have in front select, you'll see that bones are very, I guess, faceted for like, a lack of a better term, meaning there really isn't any curve of them. In contrast, if we go over to the same brig just duplicated and this is Benny Bones enabled, which if you go over to the bone, come stream. And then over here on the right hand side, you'll see penny bones. You'll want to first control tab into pose mode, select a bone, and then over here, you you'll have the option of selecting the amount segments. Now, essentially, what this gives you is more curvature, you know, on a bone if you're familiar with with Betty a curves, that is essentially three idea is that you're giving it more curvature. I mean, you can illustrate that too, you know, annotate that right here see how it's very straight here with the non bending bones. And then over here it's more of a curve. More arc. It's very subtle, but it's extremely useful for, you know, arms or anything that naturally has, you know, a bend equality. And to further illustrate that point, let me just erase this grease pencil marks that made here, okay, and then if I play my look my quickly animation that I've, you know, whipped up, you can see how well, first, that's Heidi, you sick at you see what's going on. You can see how, especially pay attention to the decent three cylinder here, and you know that's going to the center of the circles You can see on this side. There's more of a natural deformation that's happening where on this side it looks a little choppy and not as convincing. So that's the main advantages of bendy bones 4. Creating a Simple Box Rig: Now that we have some of the basics other way, Let's apply this knowledge here. I have a simple box that we're gonna animate to open and close before we dive in. Let's take a look at what we have here. You can see that's our picture has three bones, one for the room, one for the top and one for the other hinge. Let's get started on Rick in this box. Now I'm going to start by deleting this armature and impressing shift A go down the armature and select single bone. Now you want to go or to the archer Constraints go over to view port display and check in front. This will essentially make the bone and X ray along us the see through a mesh. Now let's have some more bone to this archer. I'm gonna start off by going into edit mode for a meth here, sucking these two breath cylinders right here and right here hover over any part of the mesh and press. L do the same for the side. Now with those two selected Amadou shift US cursor to selected. This is essentially a quick and easy way to make sure that our bone is lined up properly. So we're a three d cursor oriented properly, a selector bone going to edit mode. Do shift day and you will see that all Mackley adds a new bone to the three d cursor. Great. Now let's do the same for this top hinge over here again. I'm going to edit mode and hover over any part of the mesh. You'll see that we don't have any verses that are visible right now. What we could do is press three directly above our letters and this will enter face lack mode. We then do the same methodology to be the last time by hovering over the mesh pressing l shift us. Kirsten. You selected? No. Here. You see, I still have these selected not a problem. Let's do all a the clear all the selections and induce once again over over the mesh press l 50 s curses you selected and then shifted at a new bone. You'll want to make sure that you are an edit Vote for the archer, not the mesh. Great. Before we go any further, let the name our bones money in this bottom one route. This back one top INGE and this one French from here, less side of some relationships for these bones. Once again, make sure you're in edit boat for the archer and going to wire frame. Now select the top. INGE Shifts like the route Press control P. Keep offset. And now you want to do the same thing for this bone right here. Select chefs like the top INGE Control P. Keep the offset. We now have the proper relationships in place. Now we can start assigning Vertex proof to selected parts of the mesh. Let's take care of this top half. First, it's going to solid view. Now you want to make sure that you select your mesh first and then the armature. What we're gonna be doing is we're gonna be assigning Vertex groups to this amateur. We could do this by control, P, although down here armature to form with empty groups. If we take a look at the Vertex panel here on the right, you'll see that the Vertex roof has been assigned for each bone that we've named Next. We want to assign this top Section two this top hinge bone. You do it simply by going into edit mode for your mesh and make sure that we select this top portion right here. This top hinge in this top. INGE. You also may want to make sure that you choose these little small parts as well as well is that top section? Now Make sure you're on the top hinge for text group and press a sign. Now, if we go into weight painting mode for a mesh, you'll see that that this top section is completely red. This means that this bone right here has 100% influence on the deformation of this mesh object right here. Can't let's do the same for our top it or are front hinge here? Rather, before I do that, let's make one minor adjustment. It's been attacked for our archer. Suck the fringe are X 1 80 So the bonus facing downwards. Now let's go back into edit mode for our mesh all any to clear the selection, make sure that the front end Vertex Group is selected. Now it is hover over the flap right here, Then press a sign now to think this rig off. Let's select all of the components that are part of this top inch and frontage for text groups. More simple trick you can dio is select top INGE press locked over here and then select fringe and press select Also. Now, if if we press control I to inverse the selection, we can now apply the rest of bones to the root And what this is gonna dio, we're going to pose mode for our armature. This will take all the access mesh components that are part of the Vertex groups assign into the root which, as you see, is controlling the whole rig. And that's really it. Breaking doesn't have to be difficult. In this case, it was a simple deciding certain vortex groups to certain parts of the mash and making sure our arms, your bones were set of correctly. And now we have a simple, easily rigged model that we could put anything inside here If you wish 5. Human Rig: Initial Setup: Hey, guys. And welcome to lessen for in this section working me, taking all the concept that we've learned thus far and apply them to this human face mesh. As you see, we're gonna be bringing this. So that has a natural movement using all the same ideas that we've used thus far we're gonna be covering. How did you hook up the arms and hands to have, like a system for easy natural movement. Also, the same theory and technique is gonna apply to the legs. And then also, we're gonna take a look at bendy bones and how they could be used in a real life scenario. In this case, the spine would be a perfect example. I'm gonna be breaking this section up into six different parts. The main goal for this first section is to import the mash that you see right here and apply the rig to it. From there. We're gonna arrange the bones in such a way that everything lines up properly for when we add in the I K system later on. Okay, great. So that out of the way, let's press control and start a new file. Okay, Cool. Now that we're in a new blender scene. Let's go up to file Import Fbx. Now you want to navigate whoever you say the source files too. And the file you'll be looking for us. Human based Mesta Fbx double click on that and you'll see that our human match has been imported. Okay, we can delete the default cube along with the default lamp and the camera as we're not gonna need that cast Press one. They're going to one on your number, Pet. They're going to front view now. We need to add the rig so lost you shift a archer human rhetoric and scale that up to Metro MASH. Now, very momentarily, I'm going to make sure our regus selected impress shift age. This is no ice like this. So we can see you a bit better Graph about. You'll notice that this has waiting me bone for our purposes, mainly the face. So we can easily go into edit mode by pressing tab and then just deleting all the ones that we don't need it. I worked my way around. Just delete all these extra bones already. So this is essentially is our skeleton. And we're gonna be applying our constraints of that. Before I go any further, I want to change the bone type. So we do that by going over to the army for sightings over here, Vieux port display. Display as and select Bebo. And you see, everything is way too big. So when you go in the tab and skilled us down by a person control all of s sorry. Okay. It's something like that. Should should do just fine. Probably for the hands we would like to scale down a little bit more. So this box looked all these already scared those down a little bit more. Maybe for the pelvis. Scaled it up a little bit. Okay, Great. And then for the next three here yet you have want to me, Bones. It looks like I forgot a face bone, so make sure you select a bonus. That's face and delete that. Okay? And let's do it. Want one of these neck bones? We're not gonna do that. You probably delete this one right here. Now, your nose. And now we have a gap in the hierarchy so we can fix that by Slaton. This neck bone select in this bone, right here. Make sure they're connected. So no, these two are connected, and we'll just have to scale these up and arrange them as appropriate. All right, let's on Haider base mash by pressing all h. Okay. Now, first thing alarm do is make sure armature is selected. Go or two where we changed the bone type and make sure in France checked it. This is gonna allow us to have an X ray view off our armature ever arranging the various body parts. Okay, next thing we're going to delete the right side of the rig by box selecting. And then do we now? I promise is there is a reason for this century. What we're gonna do is make sure everything is lined up on the left side. They're in a copy in mirror all the bones that right hand side, and then changed the names. Can you see right here? All the bones are already named in our outlining right here. You see? Also, you can see right here handout hand. I'll forearm upper arm, etcetera. Okay, let's start off by aligning the hands somewhat box. Looked all these joints press g and it's gonna move into place while pressing our to rotate that elbow junk up there and move his his shoulder joint up there. Okay, So more technique for lying the fingers is essentially go, you know, finger by finger from one side or sorry for one of you. And then from there you switched to top for you, and they do the same thing. So this is actually the the pink, earthy index finger made hand bone. Okay, just line these up, and then if we gonna talk to you being such a same bones and then make sure they are lined up properly going to wire view by pressing Z and then navigation and having your mouth score to wire from this offers this offer the benefit of being beyond a see through you mash. And we could see their thumb here isn't quite lined up with our thumb. It's less Move those into the crack spot. Okay, so in the interest of time, I'm gonna time lapse through me, arranging the rest of the bones. - Okay . Great. So now that the hand is fixed, let's do the same thing for the lower body here. The process is still the same. Except now we have a few less joins to worry about. As I make my way up the leg, I'm careful to keep the bend in the knee. This is important for me. Later, at the I K control system, I keep move my way around the foot carefully aligning the bones as appropriate. Okay, so it looks good to me Also, guys, while you're doing this process, don't feel discouraged. If you feel like it's taking a long time, it is very tedious. However, the more precise you are, that better result you will get when we come to actually skinning the rig later on this lesson here, I'm ally in the head and spine to beam or in line with center of mesh. I'm also Skilling some bones up as appropriate. Okay, so that's about gonna do it for this lesson and the next one we're gonna be looking at the lower body and start applying some constraints to make the foot behave like a normal foot would. So I will see you guys shortly in the next lesson. 6. Human Rig: Setting up the Lower Body: in the last section, we looked at how to properly on the bones and preparation for review in this section, we're going to focus on the lower half right here and get our foot and leg all set up with I k constraints. Let's get started. Okay. So the first thing I want to focus on is the foot bones right here. So if we tap into dad mode, let's grab this big ball drawing right here, press e to extrude. And then why? To get strange the Y axis and drag it out approximately right there. This is gonna act as our like a controller bone, which, if you remember, is going to drive the actual leg animation. Once you've done that, make sure it's selected. Do all to you to get rid this parent. Okay, Now what we want Dio next is select our foot that l bone and then this bone we just created Let's control be control P. Sorry, press connected. But now you will see that this isn't the result thereafter. That's because if we back up, we need to select this bone right click to bring up the armature, contacts money, and then do you switched direction. Now every sector Iike a controller bone and shift Select foot dial Press control P connected. You will see now that as properly aligned. And while we're at it, let's rename R I K Control Go. We could do it here in the outline. Er or I prefer to go to the bone tab right here and then rename it. Let's call like a foot dot Go. The dot L extension is critical when it comes to mirroring the armature. This is because when we go to copying pace animations, for example, blenders gonna look for the naming convention. Okay, so with that out of the way, now we have to ask you, let me let me show you. Now our foot bone is gonna act like you're stepping on your tippy toes. So the next thing we have to do now is have this phone selected shifts like this one. She flunked the hell do control P keep offset. And now all the bones are gonna follow because this one's kept it. That one that was captured on this one and this whole group is connected to the main foot. The heel is called. Okay, great Now let's add in the IAC a control system. What made you is put the I k for Dial Schiff. Luck. The Shin Dial press control shift in C That's gonna bring up our action straight menu. We're gonna navigate to inverse schematics right here. You will see that this bone is now in turn yellow. So we slept that bone and go work to the bunkum. Strange. You'll see that we have a new tab right here and see that everything has been hooked up accordingly. The target is the main rig. The bone is the I K foot bone. Poll target will go over very shortly. But the main thing you want make sure is that you have a chain length of two. Essentially, what this is referring to is there's two bones that we need to tell the i k system to automate the animation some. Now if we slept the football and drag it up, you will see now we have a natural movement. It was cool is now that we switch with the direction of the football right here he rotated . Now he can Protais tippy toes. Okay, One last thing to wrap up this lesson. Remember how I met in the poll target? We would worry about later. Let's tackle that now. So I'm going to press a make sure all the bonus selected and press Ulchi to reset position . No, I'm gonna go back into edit mode. Make sure this knee joint selected put shift us cursor to selected, and I'll place the three d cursor rate in the middle of that joint. Now I'm going to breath shift A to add a new bone. Okay. Never gonna drag that out and size it appropriately. This is gonna be Arnie controller, so we don't want to big. That's going to distract us from the rest of the rig. Okay, let's get that name. I'm gonna call me control l keeping that same naming convention. Now, what we wanna do is select your knee controller. Select this top own right here, control p and keep offset. Okay, Now, if you go back to our like a bone, never get to the Bunker Street. Now here under pull target, we can either I drop to get the armature alternately. You could just type that in. I find that I drop her to be more helpful Now we have this bone sub menu. Now it's navigates uni control that l Now you noticed that is jumped position Not to worry . All you have to do is just a pull ankle this case negative 90. And just like that, the leg has been reoriented properly. Now, if we move car leg bone, you'll see that the knee controller follows and now weaken just where the like points. How cool is that? In the next lesson, we're gonna tackle the upper body more specifically, the hands such we re creating this system just up here. 7. Human Rig: Setting up the Upper Body: in the last video, we looked at how to solve the I K system for the foot here. Now we're going to replicate this system and apply it to the upper body. Here. Let's get started. Must start off in top you and then rearranged the bones just so we have a more natural position and make sure that everything lined up great Nellis at and I can't control handed like we did for the foot down there. Make sure you have the handout l bone selected press shift e and they control all s making sure that pan dot l 0.0.0 wanted still selected. Scale it up to approximately the size. Now, before you do anything else, let's do all p and clear parent and then also given Name it by sucking the bone tab and calling it I k underscore hand dial. Okay, great. Once you have your new bone selected and named, make sure you're going to wire frame mode. And now select your bone if you d selected and then shift lucked hand dial a century. What we're gonna be doing, we're going to tell you the normal hand bone that is connected to the hierarchy to copy the rotation of the I K handle right here. It's like two bones control shift and see Copy rotation. Now, if we go to the bone concerned section for the handle bone, you'll see Now we have a copier rotation, Modify replied, and you want to make sure that world space and Rolls base are selected. Okay, Now let's add in the I k. So make sure you have your I can handle and then shifts left before our once again control shift and see this time in verse. Kinnah Matics. Okay, now change the chain length to to No, If we did everything correctly, we should have natural movement. You see how this bone is connected in the hierarchy? However, now we have this as toy independent off the hierarchy allows us to control the hand Just how you would in real life. Okay, the wrap this section up, let's begin by adding the controller here like we did for the foot. What we're gonna do is select rig press tab and like before we're in, select this joint right here. That shift us cursed to selected. That's gonna pop it right there. Now run do you ship day? And this will add a new bone with skilled us down. Something like that would work, then move on the y axis. And while we're at it, let's give the name elbow control. L was what? I'm gonna call death. No. Okay, great. Now, before we go any further, it's going to wire frame. Now make sure this is selected and the shift. Select the hand data. L not the i k hand. I'll do you control P Keep offset. Great. No, What we wanted to do was going to our forearm bone. That has the i k to it. Go to the bump constraints. Make sure that metering is something for poll target that under bone. Look for elbow control dial. You want to make sure that this is at night of 90 otherwise you're gonna have your bone rotated and the deformation is not gonna look correctly. But now, once you have everything set up, we should have a proper elbow control. Just like we have down here for the knee. This is great, because if you move the rig with his hand by his side, you can not control where's elbows pointing? Bring us up a little bit more. This is gonna offer us a lot of flexibility. Later on, when we come to you pose our figure. And they were wrap up the section guys just to summarize. We essentially took this whole like a system and just moved up here for the arm to give us a nice, easy controlled emotion that's gonna help us Later on in the next section, we're gonna look how to set the fingers by using a constraint based method like we've done for the hand in the I k hand Essentially workout to mimic the way your hand moves to make it way easier when it comes animating. 8. Human Rig: Fingers & Bone Constraints: now that we have, like a system set up for the foot and the hand, respectively. Now it's time to finish off the main components of the rig by applying some rotation constraints to the palm bones and the finger bones. Let's get started, OK? I'm gonna start off by going into top for you. I mean, zooming in here. Now, essentially, the idea is, if you look at your hand and how it moves, the pinky really controls the vast majority of the other fingers. Same thing with the bone and everything that has a natural curve to. That's the system that working, be trying to Emily here to begin. Let's select the poem 0.0, for the elbow and they shift. Select the next bone, which is 03 to control shift. See, Copy rotation. Now for this, you want to make sure that over here in the space section that is set to local space in local space, this is important because the bones needs to know how the rotate in respect to the other ones in this system. So now what we're gonna do, grab the other bone right here. Shift select. Now press F three and type out copy constraints to suck the bones. They're at the bottom. No, you press enter. It will copy this constraint over this bomb. Very cool. Now let's change the the influence that each bone has. So, for example, if we want that nice, curvy motion, let's drop it to around 0.75 And for this bone, we can drop it to something around 0.4 ish. Okay, that works. Now, if you suck our palm that 04 bone xrx, you can start to see the type of the fact that we're going after. Just be more pronounced. Once be applied this same idea to the main finger bones in all its Children. Before we go any further, I would just like to give a shadow to one of the teachers that I watched a lot of videos. I mean, my journey to learning Blender. His name is David Award, and I would like his YouTube page in description of this video. He's extremely influential person in my life, and he's helped me countless times. This system that he showed on his YouTube channel has become very effective, helping me understand how to get a natural curvature to the hands. Okay, let's work our way down the hand. Starting from the pinky, applying the same concept. Lets like the pinky bone right here, which is a factory effectively the base. Chefs luck. This middle one patrol ships, see copy rotation and, like before, make sure that you are in local space in local space. I also want to adjust the influence. Something around 0.8 should work just fine. Now, let's select this bone. The tip of the pinky shift like that press F three and then copy constraints to selected bones. Great. Now we have thes two bones copying the rotation of this made pinky bone at varying degrees of influence. I'm gonna do the same for each finger. Just working down the line. She flunked control. CFC copy, rotation 0.8. Okay. Space. Local space. Select Have three. I prefer doing it for the middle finger. Now 0.8 local. No. They select a three copy constraints and one more copy reputation. Eight. Can't do local. And then here we go. Last one, select F three copy constraints. All right, So then now that's all the way. Now, if you rotate the bone for president far that x twice. Make sure it's on this local access. You'll see now that each finger is copying the rotation of its parent, but at varying degrees of influence. Now, one last thing to wrap this up is we're gonna take the same technique. But this time we're gonna be sucking the main parent bones and applying the same concept. So it's like the main pinky bone and shift. Select the ring finger. Base control ship. See? Copy rotation. Make sure that you are in local and local. Okay, Now for this, you want to do something? That's yeah, A gradual decline and influence. So let's start off with 0.8 for that one. Select your middle finger shift. Select. Have three pose copy constraints. This one could be 0.6 and the same thing at three. This one could be around 10.45 Okay, great. Now, if we take our main master bone, if you will, our X twice you can see now we have a nice fluid finger animation all being controlled by this one bone. Now, if you want to, you can always adjust the's. As you will think of this as the base on how you want to get your hand in the proper position, and then these can be used at fine tuning. Say you won't make a fist. This is how you would do that. Alright. And just to wrap up here, too a all g r to reset everything and just to summarize. Essentially, we used the copy rotation it straight to achieve a more natural looking animation. One come, say to rigging the fingers. And if we take a look by bringing the arm down by decide do that. You see, if we could just take this main pinky bone R s, we get a nice looking hand. And now what I want to do is to apply the same concept to the thumb. So it's slumped. The main parent bone shift. Select the next one control shift. See copy, rotation pictures and local and local like we've been doing. Okay. And then shifts left shifts. Lucked of three proper constraints. Oh, and we forgot to change your influence. Not a big deal. Never go. No, just like the others. They will follow, given this nice fluid motion. All right. Just to summarize this lesson, we essentially use the copy constraints method to effectively create a very nice looking animation for our hands. With very minimal work, we can now control the vast majority of our hand movements with just one bone. Look at that. And for further illustration. Let's just bring us down to our sides right here. Okay, Forex. We see that 11 little bone is doing the vast majority of our like work for our handed nation. In the next lesson, we're gonna look at how to mirror and copy this side of the body to have it flipped, have the names be changed accordingly. And then finally, we're gonna be skinning our mesh to it rig and really start to see the fruits of our labor . 9. Human Rig: Skinning our Armature: All right. Cool. So now we have our like a patrol set up on both arms and legs as well as having our fingers and hands it up accordingly. Now we can begin the process of flipping this side of the armature over to the right side. The body. Let's get started. First, I'm going to front view and select all the bones on the left hand side. Now that we make sure that all the bones are selected, you want to make sure that the three D cursor is at the origin. If it's not, you can simply press shift, see to realize there. Okay, now, one other thing you want to do is change the pivot point. You could do this by pressing the period key directly below the L key, not the one on the num pad. Change that. Now. If you do shifty, it will make a duplicate of our bones. Now, right, click Press s ex negative one. Press enter, and immediately after that, you'll want to know that the Navy conventions are not quite right. We can fix this by pressing right click to bring up the contacts menu, go to names, flip names, make sure that this check box and is enabled. Now you'll see that all the bones have been renamed accordingly with a dot are Suffolk's. This will come in handy very soon as I'll show you how to copy and paste poses to the opposite side of the body. One other thing to note is the fact that, yes, we duplicated our bones. But now the role is a little off. These bones seem a little rotated compared to those we want to fix this as it's become problematic. So if you decide to tell the bones, make sure you sucked him once again on the left hand side. Okay, Now we want to press control I to inverse the selection. Now bring up the properties panel by pressing on. Go over to tool press X access mere right here. No press are 10 0 You'll notice that by pressing that all the bones have not been rotated properly. Now that the bones are properly rotated and aligned, we can start the skinning process of the rig now. All right, now here comes the fun part. Make sure that you select your mesh If you can't make sure you're out oppose mode. Now select your base mesh and shifts like the armature. Press control P. Make sure you're under our culture to form with automatic weights. No, you'll see if we go back in the post mode, we start our hand controller. We move now, the mesh will follow with us. Very nice. We have all the range of motion that we our after controlled. We can control the elbow. We can control the hips. We're gonna do a little dance. And if you look at the feet, they now follow correctly along with the knee controller. So let's press a all g alter to reset the pose. And now I wanna show you why we changed the suffixes to what we did. So let's take our hand controller and bring this down by his side. So with the current bone selected, if you press control, see and then select the bone on the opposite side. Press control ship V. You will see that now. The post has been mirrored. We can see the same thing if we choose control. See, on the right hand it's like that Bone control shifty. Oh, actually, you want to make sure that you actually have opposed for the mirror. Say you wanted, like, up press control, See control shift B And there we go. Proper naming conventions are very important for rigs because of this power that gives you okay, lets a all g o r the reset everything. And I'm wanting to touch upon the fact that if you guys may or may not have noticed, I added some bendy bones here at the spine. If we rotate our guy, you can see, especially in the abdomen. This gives a nice deformation effect, especially on his neck as well. This is a great use case for Benny Bones. Okay, so to close this lesson, I want to briefly touch upon weight painting and how we can use that to improve certain deformation areas. If we take a look at the foot, for example, remember how we Rick the bone so we could step on his tippy toes? Well, that's not exactly what we're after. It's almost like it's foot has been stuck in some gum. Let's fix that. That's patrol type out there and then tap into our mesh and navigate to foot l. If we press select, we can see that his heel. It's not part of that Vertex group, which is the reason why his foot is stuck to the ground. So if we simply go out of their go into weight painting and simply give it a little bit more influence, okay, that should be good. That's controlled about. Go back in the post mode now. You'll see that is hell isn't being stuck to the ground. We can refine this area as we see fit. This is a common area that usually takes a substantial amount of time to get correct. Wait. Painting is low finicky, So don't be discouraged if this takes longer than usual to summarize this. Listen, we copied the left side of our armature or to the right, with the proper constraints. We also he was weight painting to fix some areas in the foot in the next section, we're going to be going over custom bone shapes. I'll see you guys there 10. Human Rig: Custom Bone Shapes: if you're working in a production team and your duty is that rigor. Usually Reagan's come with custom bone shapes that helps animators make their job easier. What I mean by this is say that you want you animate the pelvis, but you really want to make sure that you grabbed it every time. Well, you can do this with custom bone shapes. Let's see how I'm going to start off by making sure that I'm not imposed mode. No, I'm not. I'm going to disliked everything. Press shift day at an empty in a circle. Now you'll see that it has added a empty circle right here, which is fine. I want to scale that up just a little bit. Okay, let's give it a name Over here in the outline. Er C b as in custom bone hip control. OK, no, let's select our pelvis. Now. If we go where to the bone properties right here and they go to view port display, you'll see that you can. You have an option for custom object search for your bony. You just named in this case right here and now you'll see that the bone has taken the shape of our empty than we just created, however, is still maintains all the properties. And now it's a lot more easy to see what you're animating. We can control the bone size of it right here just to give it a little bit more of an envelope. Very cool. Let's do the same for the hands. Now I'm going to press shifting again. Make sure you're out. Oppose mode, shift A. And this time I'm going to add a sphere can scale it up once more. Give it a name. C B I K control. Now let's do the same thing as we did before. Let's select the I K handles. Fatuous. Do you want that time? Start with the left hand side. Make sure over here and search for our new bone and a scaled down just a tad. All right, let's do the same for the right hand side skillet down. And there we are, We know have, um, or less obtrusive way of animating while still letting us know what parts of the rig do what just for a little housecleaning, less like these two employees that we select it or that we created press M. Moved to new collection and name it Custom bone shapes. Okay, now let's on leave you with this new collection that we just created so we could do that by personal. Oh, I hear that will hide the rig and the mesh. Now, my purpose for doing this is I want to show you how you can create your own custom shapes and not necessarily have to rely on empties. Must start off by hiding these empties and do 50 Adam mash circle. Now the amount doesn't really matter. Generally, the lower the better. Monday, 16 scale us up and they go to top you. And what we're gonna do is delete this half could be applying a mere modified to this to go to the modifier section, add modifier Mir and automatically hook up to the X axis. So now what I want to do is a sector create arrows on four sides of this. So let's start off by deleting this fert right here, and we can leave that one as well on the top and the bottom. Okay, so let's take these two right here, extrude on the x axis, something like that. And then extrude skill. Why and then extrude again. Now, with these two selected press, Haltom merge at center, and that will create are a ride. Now, what we need to do is select this grouping right here. Make sure your pivot point is set to three D cursor. Shifty. Rotate 90 degrees. Now make sure that this side, the left hand side, is deleted since the mere modifiers are reactive. Now it's like these two press F to create an edge right there and then do the same thing for the bottom. Here, make sure these air selected shifty Negative 90 this time. Also make sure that this is d suspected and deleted or it's like it and a leader and this like these to complete. All right. And now we have our custom shape. I'm going to give it a name like we've done before, CS Master. So now let's go back to our main collection, Haider Custom bone shapes. I won't make sure that we actually add this to the collection. You can do this by pressing m that ad at two collection custom bone shapes. Okay, great. Now, one thing that you'll notice is we never set up a master controller for this rig, meaning that we don't have a master bone that controls everything. Okay, So to create that master bone, all we have to do is tap into edit mode. Make sure you're 30 cursors at the origin, then press shift A that a new bone. Okay, let's get that name was called that metal rig Master. Okay, so now all we have to do is select the pelvis. The i k for both the left and the right hand as well as the foot bones, and then shifts. Lucked the master Control P keep the offset. And now you will see if we go back to the post mode. If we select the master bone, everything moves. Okay. Great. Now the final step is to add the custom bone shape. So let's do that over here. CS Masters, What we called it or what I called it. Now you'll notice that the rotation is not quite correct. We can fix this really simply we go back into her custom bow shapes collection, and we just rotated 90 degrees. Make sure to apply the rotation. You'll see that now the custom bow shape has been updated. Okay, lets go back into their and scale this up a little more. Let's hide the custom bow shapes collection. And now we have a clean representation of the master along else to know as animators that this guy could be moved in any which way direction that he pleases while still maintaining all the functionality that we previously had to summarize. Custom bone shapes really offer the advantage of clearing up the few poor allowing animators to do their job enemy. 11. Thank You!: Well, if you're listening me right now, it means he made it to end the class progress and thank you. I had a great time recording and making this class. I truly love blunder and how far it's come as a program and being able to teach that to others. It's such a treat. If you haven't already, I would really appreciate. If you tell me about your experience with this course in the review section, not only does it help me improve my teaching style, but also helped me out in areas that could be approved content wise. If you feel I deserve it, I would appreciate the follow here on school. Share is that tells me I'm doing something right and motivates me to put even more awesome content for you. And, of course, is the best way to know when I upload new courses. One less thing. I'm here to help, so don't be afraid. As a question in the discussion section, I love being able to talk and discuss anything that may be causing your headache. And if you have any suggested that what you would like to see in future classes, I love to hit as well once again. Thank you so much for watching, and I hope you'll be around for future classes