Modelling The Head : In Blender Vol 1

1. Modelling THe Head Intro: Welcome to head modelling tutorial right here in Blender Volume One, the human face is quite complicated to model in 3D than what you might have guessed. This is because of the way the lips go around the nose, the mouth, the eyes, and around the ears. As a beginner, it will be extremely difficult for you to figure out how to collect, restructure these loops. When I first started learning modelling, I hate to go through a whole lot of tutorials on how to model the human face and the workflow was very painful and difficult to understand. In this course, I'll teach you how to model the human face using very simple techniques that I've developed over the years. Even if you don't know how to draw in 2D, this is going to be a lot of fun, Tulane. Believe me or not, this is the only cost that you need for you to be able to model the human face with good topology. After completing this course, you'll be able to understand and structure the lips around the nose, the mouth, the eyes, and around the ears. With our struggle, Let's get started. I'll see you in the course. 2. Downloading blender: Okay guys, welcome to the course and in this lecture we're going to be downloading and installing blender. Alright, so if you can go to www.google.com, you'll be able to search for Blender download. So you just going to type in here Blender download. You can hit end. So we're going to look for the one that is written download blend or you just want to click right here in these texts you to the blender website and we got blend at 3.41 available. Now, if you're using Mac, Linux and other versions, you just need to come in here and download. Alright, so since I'm using Windows, I'm just going to come in here and click here. Wastes are written download Blender 3.41. So I'm just going to hit this banner. And you can see now that blend at 3.41 is now downloading. I believe now that Blender, it's finished downloading. So if you can go to your downloads, you'll be able to see there. Alright, so we've got blender 3.41 here. Alright, I'm just going to double-click for us to be able to install it. Okay. And I'm gonna hit Next and I'm going to accept the license agreement. Then I'm going to go next. And I'm going to go next and I'm going to install, alright. Alright, so you can see now that the installation is finished now, so I'm just going to click Finish. And if I can minimize this and come here to my desktop, you can see now that we got blend a three-point for installed. So I'm just going to double-click to open it up. All right. Congratulations. You have successfully installed blender 3.41 into your system. If it is first-time, this is what blend that looks like. Alright, so that's it for this lecture. In the next lecture, we're going to come back and I'm going to show you the blender interface and we're going to take it from there. Alright. 3. Interface overview: Okay guys, welcome back to the course and in this lecture, I'm going to be showing you the blender interface. Alright, so I'm just going to press a on the keyboard to select all these objects. And I'm going to press X to delete. Alright? Okay, so this is the 3D view and this is where you do most of the modelling. So if you want to add an object right here, you just need to come here to this menu here and you go to Mesh, and you can add a cube right here. And the other way you can add objects right here is by pressing Shift a on your keyboard. And that will give you the Edit menu. So you can come to mesh again and you can choose probably a con. And you can actually move it either in the y-axis or in the z-axis. Alright? And right here we go the tools shelf here, and we got this Rotate tool here. So this one is actually for the rotation of an object that you might have right here on the 3D view. And we've got the scale. The scale will help you to scale this then the z-axis or in the y-axis. So that's basically what you need to know in terms of this tool shelf here. I'm going to explain more things as we go along the coast. Alright? The other thing, if you press N on your keyboard and select an object, let's say like a cube, you can be able to see the location of that object. And you can see now that this object is rotated a little bit in the z there. Alright, so if I can put zero here, you can see now that it's rotated zero degrees in the sea there. Alright? And we also got this panel here, and this panel is called the outline saw. This outliner helps us to organize our mesh here, okay? And this is where you can rename this lake. You can call it box, and you can rename this as well too, in other name that you may like. If you can see here these things are in a collection. So if you want to move this to another collection, or you just need to do is you need to press M on your keyboard and you say new collection. And let's say we call it box. And hit Enter, Okay, and then hit Okay. Then you can see now that we've got a box collection here and this box items actually sitting inside there. Alright, so you can take some of these objects like the top view. You can drag it and put it into this collection there. I'm just going to undo that, right? And you can also hide this collection, and you can also hide this collection. So let's take e.g. that you have got a lot of objects in this collection like here you can see we've got three and we just want to hide just one of these, let's say the con. So what you need to do is you need to, you don't need to hide the whole collection. What you need to do is you need to come to the corn and click on this eye here. Alright, they need that way you'll be able to hide this con, alright, coming here, you can see now that will go to file and this will actually help us to open the files and to save. If you want to save, you just come here and save. If you want to import, you just have to come here to import. And this is where you do the export as well. Alright, and we got this edit tab here. So if I come down here to preferences, you can see now that we got the interface and will go the theme. And we go to also this add-on section here. If you want to install an add-on that you downloaded some way, you'll just click on Install and to locate it, the new heating store it on, then you can be able to have it on the list here. Alright? And if you come here to system, you can see now that we've got Cycles render device divisor. If you've got a graphic card, your graphic has to be listed here, then you can be able to select it from the drop-down menu. If you've got a graphic card, please just come here and select your graphic card. Then you'll be able to use it and blend. Alright? And after you've done that, you just need to come here and click Save Preferences, alright, then you'll be able to have your graphic card always working right here and blend. So I'll be explaining these ones as we move along the course. I'm going to explain this section in the coming lectures and coming here. This one is called the X-ray mode. So if you are in x-ray mode, you can be able to see other things that you have on the other side. So you can actually be able to see the edge of this cube from that other side. Alright, perfect. And if I click this icon here, it gets me into wireframe mode and I can be able to see the wires that actually mix-ups these objects that we have right here. Alright? And if I click this one and deactivate this x-ray mode, you can see now that we are big way we started. So this is called the viewport shading. And if I come here, let me just come in here and create a colorful this, right? And I'm gonna change this to red. You can see now that we can be able to see this color of this object, alright? But if I am in object mode, you cannot be able to see that. Okay, So this is good for things like texturing and it didn't basic materials. So I'm going to show you how this works in the future. And we got this random mod here. So if you've got a camera, you can be able to render whatever project that you have here, right in blender. You can be able to export it out. Alright? And we also got this other section here. We can add things like materials to an object, just like we just did here. And you know, we have course things like verdict groups. And we got things like modifiers. If we want a smooth this object right here, let me come back to viewport shading. If you want to smooth it, you come to this panel and you can just choose probably subdivision surface, then you can be able to smooth this object. Alright? So this is basically two in terms of the interface and coming here, we've got different kinds of modes ear. So we got what we call object mode. And this is the object mode for this object, and we'll go to Edit mode. So if we're in edit mode, then we will be able to manipulate the points on this object here so I can tweak the ship right here, okay? And if I'm in scout mode, I can be able to sculpt on this object here, alright? And if I am in vertex paint, I'll be able to paint some vertex is here. And if I am in weight paint, I'll be able to paint as well, the weights and texture pane to be able to add some colors to this object right here. Okay? So this is all you just need to know for now in terms of the interface, then most of you two, we're gonna go through it as we go along the cost. So that's basically it in terms of the interface overview, I will see you in the next lecture where we're going to go through some Viewport navigation. And I'm going to teach you how to navigate through this interface. Alright, I'll see you in the next lecture. 4. Viewport navigation: Okay guys, welcome back to the cost. And in this lecture I'm going to teach you how to navigate through this Blender interface, alright, so if you ever want it to rotate this viewport, all you just need to do is you need to press and hold your middle mouse button. Alright, so you press and hold your middle mouse button, you'll be able to rotate through this viewport. Alright? And the other way you can do it is you can come here to this navigation gizmo, and you could just click and hold and ten things around. So this way you can be able to rotate through the viewport, alright? And if you wanted to pan things, all we just need to do is you need to press Shift on your keyboard and press and hold your middle mouse button, right? This way you can be able to pan things. The other way you can do it is you can come here to here we go this hand here, and you can just click and move it around to where your marijuana to go. Alright, if you want to zoom this viewport, all we just need to do is you need to scroll your middle mouse button. Alright? So you'll scroll it, then you can be able to dissolve. Alright? You zoom in, you can zoom out. Alright, the other way you can do it is you can come here to this plus or magnifying icon here, then you can actually do the very same thing. Alright? If you want to rotate, press and hold your middle mouse button and just start moving. Alright? If you want to pan, press Shift on your keyboard and press and hold your middle mouse button, then you can pan. You want a Zoom, scroll your middle mouse button, alright, like this, then you can zoom in and out. Alright, so that's it in terms of rotating, panning and zooming. Okay, for us to be able to design things properly, right-hand blend that we need to know where we can get our front view, our side view, and our top few. Alright, if you wanna get your front view right here and blend at all, we just need to do is you need to place one on a numeric keyboard. You can be able to get your front view. Alright, the other way you can get it right here in Blender is you can come here to view a right? And you can go to viewpoint, and you can go friend. Alright, Perfect. Then if you wanna get your side view, you can press three on your keyboard. Then you can actually get your side view. Alright? You're right. Orthographic view. The other way also is just coming here and you can get your, your right orthographic view right here. Okay, Perfect. And if you wanna get your top view, you can press seven on a numeric keyboard, then you can get your top few. Alright, the same way, you can just come in here viewpoint and you can get your top. Okay, So this is all you need in terms of navigating through the view port right here in Blender. And I encourage you to know these shortcuts. Alright, so I'll just make sure that for your front view, you'll press one. For your side view, your press three or numeric keyboard, and for your top view, your press seven. Alright, and this will actually make our life a little bit easier and faster right-hand blend. That's it from me and I'll see you in the next lecture. And I'm going to teach you how to manipulate this objects that you have right here in Blender allright. 5. Moving, rotating and scaling objects: Okay guys, welcome back to the cost. And in this lecture, I'm going to be teaching you how to manipulate these objects that you have right here and blend. Alright? So for you to be able to select an object right here in blender, you just need to left-click on the objects. So you left-click on the object, then you can select this object, alright? And you want to select this one, you left-click, you want to select this one, you left-click. Alright? So it's as simple as that. If you want to select all this object at once, you just press a on your keyboard. And if you want to delete all of these objects, you just press X on your keyboard. Then you'll get this menu here, and you just press Enter, then you'll be able to delete all those objects. Alright? Okay, so I'm just going to undo what I just did right now. And I'm going to bring back all those three objects, alright? For you to be able to move these objects that we have here. First, you have to select it, all right? And you can come here to this, move to here, alright? Alright, in Blender, we got three axes. Here. We go the z-axis which is going up, and we got the x-axis which is going in this direction. And we also go the y-axis, which is going in this direction. So you can move this object in three directions, alright? So you can choose it to move it in the x direction, or you can move it in the y, alright? Or you can also manipulate the set axis for this object. Okay, Perfect. So that's basically it in terms of moving an object, you just need to select the object and you can move it either on the x, on the y, and on the z. Alright? And the other way of moving objects right here and blend is by using keyboard shortcuts. If you select this object and you can press G on your keyboard, you'll be able to grab this object and you have to tell it in which direction you want to grab it. So if you press X on your keyboard, then you can be able to grab it through the x-axis. Alright, Let's say e.g. you want to move these objects five units in the x. So all you just need to do is you hit G for grape, alright, in your press X to specify the axis, then I'll press F5 on your, on your Medicare. But then you can see now that we managed to move this object five units in the x axis. And if you can press N to bring the Properties menu, you can see we move to this object by 5 m. All right, you can move it in the negative direction as well, but just by doing the very same thing, Alright, let me just zero this one out. Okay? So that's it in terms of moving objects right here in Blender. And if you want to rotate this objects, you just need to do is you need to come here to this rotation gizmo right here. Okay? So you can see now that this rotation gives more. I have got the x axis and the y-axis, which is green here, the x is rate, and the z axis, which is actually blue. Okay? So if you want to rotate through the x-axis, you just click here and you continue holding and you turn things around. Alright? And if you want to use increments, you could actually press Control on your keyboard, then you can snap it to a five degree angle so that way you can be precise, alright? And if you want to rotate slowly, you press Shift on your keyboard. These can rotate very slowly. Alright, perfect. The same applies to the Xerox is click on the z axis and you can just rotate in the z axis. Press Control to snap it to the degree angle that you might want. Alright? And the same applies to the y-axis. You can rotate in the y-axis as well. Alright, so I'm just going to undo all that I've just done there. Alright, so that's one way of rotating objects, right hand blender. Most of the time when you are rotating things right hand blender, you just need to be fast and quick. You might not need to come here to this rotation gizmo, if you want to rotate in the z axis by 30 degrees, you just hit R for rotation, is it for the axis and fit? Alright? Then you can be able to see now that we've rotated this theta degrees, okay? So that's it in terms of rotating objects right here and blend. Let's talk a little bit about scaling now. So if I select this object, I can come here to the Scale Gizmo here. And I can scale it in the y, e.g. I. Can scale it this way, alright? And I can also scale it in the X like that. Alright? And I can scale it in this z like that. Alright? So this way you can be able to manipulate the scale of this object, alright, the other way you could do that without coming here to this skill, gizmo is you could actually stay right here on your Move Tool. And if you want to scale this object in the x-axis, it's the very same thing. You're just press S for scale and X4 axis and you can save three, then you can be able to see that we can scale this object three times in the x-axis. Alright, so these are the hand keyboard shortcuts that you need to know right-hand blender. And most of the time I might be using the keyboard shortcuts. Alright, that's it for me. I'll see you in the next lecture. 6. Extruding, inserting and aligning objects: To be able to manipulate the points on this object, you just need to come here and change these to edit mod, alright, so you can actually manipulate these individual points. So these individual points that you have here is called vertices. Alright? So this is a vertex, a vertex, a vertex, and the vertex, alright? So this is the vertex select mode. Alright? And do we have this thing like a line? So every time you can click here, you can see we've got something like an H. So this is the edge mode, alright? And you can select the edge like this and you can move it as well in any direction that you might want to move it. Alright? And we also got this thing like a polygon. So this is actually called polygon model face mode. So you select this face here and you can see this face. I've got four sides. Alright? You can see it go to 1234 and this is called acquired. Alright? So this is what we are looking for every time we'll be modeling right here and blend or we need to make sure that we maintain clients. In a matter of fact, we need these quads to be almost of the same size. We might not get them exactly the same size, but we need to make sure that they almost look the same. Alright? If you want, I'm unemployed, you're vertices just clicky on the vertice mode and you can just manipulate, alright, if you want your age mode, click here and you can get your AUC. If you want your face mode, you can just come in here and you can select your face mode. Alright? So let me teach you a little bit about what we call extruding. Alright, so if you select this face here, you can extrude it. Alright? So the way you do that right hand blender is you can come here to this thing here. So you click on this, it gives you this plus. So it's letting me know that you are about to expand that by extruding so you can push this. You can see now that we've got a new face that is just created out of these array. So that's basically extruding right here and blend, alright, the other way you can extrude things right hand blender is by pressing E. So you press E on your keyboard, alright, and press Enter. Then that polygon that you extrude, it is just sitting on top of that. So you just need to move it in the axis that I want to move it. So you can see now I can move it in the wider. If I select this one and I hit E for Extrude and press Enter, I can now move it in the x-direction. Alright, so this is how you can actually start manipulating this object's, alright. And if you want to rotate the orientation of this face, you can do that as well. You can come in here, you can just rotate that in this Z, okay, perfect. And you can just come here and click this extrude region and you can extrude it. Alright? And you can see now that is conforming to the direction of the rotation that we have right here. Okay, Perfect. So that's it in terms of extruding objects right here in Blender. And we go to another one that we call inserting. For you to be able to insert a face right here and blender, you can come right here and you can click right here. And it's the region inset faces. Okay, So you can click here, alright? And you can just insert a fist like that. Alright, perfect. And after inserting a face, probably Let's say you want to extrude this. You might hit E on your keyboard to extrude that. Or you can still come to face and you can say extrude faces and you can see what you come up with. Alright, then you can put this thing inside there, something like that. Then you can insert again. You can come in here and press I and you can inset. Alright, Perfect. Then if you want to extrude again, you can either hit E, alright? And you can specify the axis by hitting Y, then you can just move it out to something like that. Alright, so that's basically it in terms of extruding and inserting faces. Alright, now, the other thing that I need to teach you right now is what we call aligning objects are learning whatever face, vertex or whatever I tease. Alright, so if you come right here, you can see we've got this thing that looks like a magnet, and this is called a snip tool. And let's say e.g. we want these to be exactly aligned to this edge here. And if you want to try to manually is going to be a little bit complicated for you, no matter how much you can try your manner, getting 100%, alright? The best way you can do to align things perfectly right in Blender is especially if you are doing design work, you need to be very precise. So you can come here to our snap to, and you can click on it. Alright, and you can come here to where we got this arrow here. And you just need to choose one of these so you can choose vertex snapping option, alright, and let me show you how you're going to snip. Now. You come here and you drag, Let's say you want to snip this in the y-direction, so you drag and you can click right on that point. We've got a vertex there. Alright? Then this thing is aligned perfectly. Alright? If you want to align with edge, alright, It's very simple. You just need to point on this edge. So you click the axis that you want to align, like the y-axis, then you can click on that edge. Then this thing will be aligned properly. Alright? So this is one thing that is very, very important. You need to make sure that you align things hundred per cent right here and blend. Let's come to the vertex is here. Alright? Let's say I move this vertex like this, alright? And I would want this vertex to be aligned exactly on the same position with this one. The best ways I have to come here and choose vertex, alright? And I just need to align it. I can see that the axis that I need to align it is the x-axis. So I just need to move this and hold, and I point on this other vertex. And you can see now that this thing is aligned perfectly in the x-axis there. Alright, so that's it in terms of aligning objects, light here and blender. That's it from me. I'll see you in the next lecture. 7. Loop cuts and beveling objects: Okay guys, welcome back to the course and in this lecture, I'm going to be teaching you how to bear for objects, as well as adding loop cuts to an object. Alright? And as you can see here on this scene, we get our climate, our cube and light. So I'm just going to go ahead and select this cube. Alright? And if I want to get into edit mode, I just want to come here to waste written object mode and I'm going to select Edit Mode. Then you can be able to see that we can manipulate this object a little bit better. The other way you could do it as well is you can just tip Tab on your keyboard. Then you can see you are in edit mode. Then you can be able to manipulate the points inside here. Once you are done with what you're doing, you can hit Tab again, then you can go back to object mode. This is a good way of getting into edit mode and object mode. So you just press Tab, you're in edit mode. Press Tab again, you and object mode. Alright, so we want to bear for this object a little bit, but before we bear volatile, I want to teach you how to add loop cuts. Alright, so to add loop cuts on your object, all you need to do is you need to come down here, alright? And you can see this object here we tend to look at. So you click on it. Then you can be able to click anywhere on your cube and you can be able to add some loop cuts. Alright, let me go back to my move to here. Alright, the other way you could do it as well is you can hit Control and arrow on your keyboard. And the good thing about this is if you scroll your mouse wheel, you can actually add more edge loops Friday so you can scroll up and down to it. As men age ellipsis you need, alright, so I'm going to add three for now, alright? And I'm going to hit Control R again, and I'm going to scroll my mouse wheel and two, I get three there. Then I'm going to click. So you can see the keyboard shortcuts help us to be a little bit faster right-hand blend. Alright, then there's something that we call beveling and objects right hand blender to bear for is just to mix something a little bit smoother or write or to round the corners of that object. Let's say e.g. I want to select this slope here, going all this way. I could come here with this vertex selected here, and I could select 123 like that. And this is a long process. If you hold Alt on your keyboard and click alright, then you can be able to select the whole loop right here at once. And if you want to add another edge loop to this one, which you already have, you press Alt and you press Shift. Then you can click, then you can have some more. So let's do it again. Shift click, then you'll have more edge loops selected. And you can see this one is going all the way to the back there because this age yellow pea is going like that. Alright, and if I want to deselect, Let's say the middle one, all you need to do is you need to click Alt Shift and click on that edge loop that you want to deselect. Then you can see now that that edge loop is deselected. So this is how you add an edge loop. I'm going to show you a little bit of it in the next future. Alright? And if we want a beer for an edge like this, edge is a little bit rough. So we went around it some more. So I'm going to hit Alt and click on this edge, and I'm going to click Control D on my keyboard. And this way you can be able to run that. So if you scroll your mouse wheel, you can see now you can add one or two or three edge loops there. Alright? So you can see now that we were able to round this geometry little bit, Let's come to this side and I'm going to Alt, click on this edge here to select it. And if you wanna do it manually, right here in blender, you have to come to edge and you'll choose bevel edges. So you get the very same kind of thing. And you can just scroll your mouse wheel to add one or two edges in between there. Alright, let's say I come here to this face select mode, and I want to select all these phases. So if I click, I will have to hold Shift and select this end. You know, this is a painful way of doing things. So let's do it here. Press this polygon and press Alt on your keyboard and select this edge here because we want this one, alright? And if we want this one in the y-axis, you need to select these and make sure that you select an edge pointing in the y-direction like that. Alright, so that's basically it in terms of babbling objects and selecting lobe costs right here and blend this. I'll see you in the next lesson where we're going to start loading reference images for our current. Alright. 8. Loading reference images: Okay guys, welcome back to the course. In this lecture, we're going to be importing reference images for our character model. And I'm going to press a on my keyboard, select all the items in the scene, and I'm going to press X and I'm going to hit Delete. Alright? Okay. I'm going to press one to go to our front view, and I'm going to go to the folder where my reference images are stored. So you just need to go to the location where you downloaded your reference images to. Alright, and I'm just going to come in here to the Swan written character front. So I'm just going to drag this one here, and I'm just going to put it and drop it right here in the front view. And if I can press N on the keyboard, and I can come here to do the transform properties. I wanted this location right here, so I'm just going to click and drag to select everything. And I'm just going to zero out everything here. And I'm going to come right here on this panel to where we got this kind of a cube thing with a dot and a triangle in there. And this is called the image properties. Alright? So I'm just going to come here to opacity and I'm going to check this box and I'm going to dial down the opacity of the image. I'm just going to doubt it. Probably 2.25 or something like this, so that it's not too much harsh to our eyes. Alright, after this, I'm going to come back here to our transform properties, and I'm just going to push this z going up. Alright? I think these images are not quite matching properly. So what I'm gonna do is I'm going to use this profile view so that I can be able to align it properly. So I'm just going to bring the profile down until it touches the ground. I think somewhere, like they could be good to go. And I'm going to copy this value of 1.74. So I'm just going to hit Control C on the keyboard to copy it. So we got this image plane now, sit, so we're going to name this and we're going to call it character. And I scroll. Let's call this front. Okay, perfect. And I'm going to press 32, go to this side view. And what I wanna do now is I'm gonna go back to the folder where we got the reference images and then I'm going to take this one written character profile and I'm just going to drag it straight into Blender, alright, and I'm going to drop it right here on the right orthographic view. And I'm going to come here and I'm going to zero everything to begin with. All right? And I'm going to come here to the Z properties, and I'm just going to paste the value that we had from the front. Alright? And I'm going to come here to the image properties and opacity. I'm just going to change this to 0.25 again, alright, so that it might not be too harsh for us to work with. Alright? The other thing that we wanna do is let's come here to the perspective view. You can see that this image planes I actually sitting on the center of the grid and this is where we're gonna be doing the modelling. And we don't want this to happen. So we want to hide this image planes from the center of the grid. So what you can do is you can just click probably this character front. Let me just double-click and copy this. And I'm just going to paste it in here. And I'm going to call this one profile. Okay, and I'm gonna hit Enter, alright, with a character profile image plane selected. I'm just going to come in here to the image planes and I'm going to come your way, it's written Show in orthographic perspective. I'm just going to make sure that I deactivate expected. Alright, I'm going to select this one as well, and I'm going to do the same thing. Alright? So now we got one problem solved. Now, if I can hit one, you can see that we got our front view in place there, but we also got a line running through here. And this is the image plane from the profile view that is actually doing that you can see as I select here. So what we wanna do is we want to disable these. Now, if I can come in here to my perspective view and I can hit Shift a and I'm going to go to Mesh and eta cube. And I'm going to come here to the move tool. And I'm just going to pan in a little bit. Alright, you can see now that the top view is actually defined by the zed axis, alright? And the front view is actually defined by the y-axis and this side is defined by the x-axis. Alright, I'm gonna press one on the keyboard to come to our front view. And I'm going to press X and I'm just going to delete that cube. Alright? So what we wanna do is we want to deactivate this line. And if I hit three, you can see that it's also showing on the profile view. So we wanna deactivate this image planes from destructing us. Alright, so what we wanna do is we want to come to the front view by pressing one end. And the front view is actually aligned with the y axis. So we need to come here to the location and we look for y-axis. So what we can do is we can just doubt these two, the negative direction so we can go -100. Alright? And if I can go to the side view, you can see now that we don't have that image plane destructing us here, let me go to the front. The saw, the profile view is actually defined by the x-axis. So what we wanna do is we want to come to the profile V and go to the x-axis and we just want to dial minus hundred on the location value. Then you can see now that we don't have that. And the other thing that you wanna do before you start modelling is that you'll want to come here to where we got this Kindle Fire located here. And you want to click right here. And you want to activate this thing that looks like a pointing arrow. Alright? And you can see now it's over this side. So what you wanna do is you want to click to deselect your character profile view and click this character front. This will actually hide the image plane so that you're not accidentally select them as you do the modeling. So this is what we need to do in terms of importing reference images for our character model. Alright, I'll see you in the next lecture. 9. Box modelling the head: Okay guys, welcome back to the cost. And on this lecture we're going to be starting the head geometry with a cube. Alright? So we're going to go ahead and press Shift a on our keyboard. Alright? And we're gonna go to Mesh. Then you're gonna go cube. Let's tab into edit mode, okay? And we want to add a center line here so that we can be able to mirror the head geometry to the other side. Traditionally, we could come here and hit Control R on our keyboard and add one edge loop right here, okay, just to divide the cube so that we can work on one side of it and it will be mirrored over to the other side. I realized that just adding one line on the center line instead of blocking out takes a little bit of time. Well, it's the easy way to model, but it might take you a little bit of time. Okay, so what we're gonna do instead is that we're going to add probably three lines day, okay? Alright, something like that. Okay, so we need one line here for the center line because we're going to split it and delete half of this cube. Okay, so we're going to delete it right here on this line here. And we need at least a line for the eyes. This is the front of the head. We will need about three lines, I guess. Okay. Let's see. That's right. Okay, so we added three lines Initially there. We need a line for the forehead. Alright, so this line here is going to be for the forehead. And we need a line for the eyes, which is this one. And we need a line for the mouth. Later on, our mouth is going to come out from this geometry right here. Let's go to the side. And I go Control R on my keyboard again, and I'm going to scroll my middle mouse button and I'm just going to add three again, something like that. Okay? So it looks like it's a little bit density, but it's not. The reason why I'm adding a little bit of geometry on this cube is that I want to round it off initially, because most of the time if we put one line here and one line on the side, you got to do a whole lot of shipping and this is time-consuming. So the next thing you wanna do is when I hit a on your keyboard to select all the polygons there, alright, then you're going to click Alt, Shift and S on the keyboard. And that way you'll be able to round the corners of this cube. Okay, So you can just click and we can actually control the roundness. So with these two sphere factor here, okay? So we want to come up here and round this thing. Probably somewhere around 0.8 can do. Something like they can do, is round enough. Alright, once we have achieved this, we can hit one on our keyboard to go to the front view. We want to start scaling this object because it's a little bit too much, okay? And we want to move it up in the z axis. And we want to position it right on the head of the character. Alright, if you hit Shift Z on your keyboard, you'll be able to see the wireframe there. Then you can start scaling. Alright? So we want to scale until the edges of this fear touches the corners of the head there. Okay, so we wanna keep on scaling until it fits a little bit closer. Alright, so I'm going to hit S again and I'm going to continue scaling. Alright, somewhere there ways, almost like It's fitting there. Alright, the head is actually ending right here where I've put an indication on our drawing here. We want to scale this cube until it fits properly. Before I scale it, I just want to make sure that it's only me do off the top of the head and the chin here. So probably somewhere there I think could do. Then I'm going to say scale by hitting S and Z. Alright, then I'm just going to scale in the z-axis. Okay, now that we have this, so we're going to press three on our keyboard. You usually want to start shipping on your, on your profile view or side view. Okay? I'm gonna come in here and I'm going to select the vertices here. Okay? I want to start shipping, alright? And make sure that you come in here and make sure that you go to select box selected here, alright? Then you're going to select this and you're just going to drag from where we have this circle here. Just click there and you can drink. Okay. We don't want to waste a lot of times we start blocking out the head geometry. Now. We want to put it right on the line. I think you can see where the line of the head is there. Alright, k. And we want to come in here. I'm going to select all these. And I'm just going to push it behind the forehead there. Alright? And I'm gonna take this guy here and I'm just going to put this guy right here on the bottom of the chin. Okay. And let me just bring this one a little bit some more down. Okay? We are not much worried about a lot of things right now. We just trying to put these things in space. Okay. Then probably we could just slipped up this one a little bit better. Okay? And I'm going to push these two, actually, let me push this a little bit forward. This line is going to end up being our jaw line. Alright, let me box select these two. And we just want to move them inside like so. Okay. And this we want to move it down somewhere like that. I think could do. Alright. Actually we need to bring this line of the ice down here on the middle of the eye is somewhere there. Okay. Yeah, Some were there probably could be the middle of the eye. And I'm just going to bring these lines a little bit down because I want to drop this line here to come on the mouth and you can see these lines that actually blocking that. So I'm just going to push them a little bit closer. Alright, so I'll make sure that you are box selecting. Don't click one. When it is like this and push, you'll realize that the other one is left behind. So you need to be booked selecting like this, your box select. You can push down, alright. Box select. Then you can push down. Alright. I'm just trying to make sure that they are a little bit closer to each other. Okay, so let's push them down. Box select and list. Push them down here. Alright, we'll push it down a little bit some more. We can do the same thing right here. Okay, That's perfect. Okay, So right now we are just mindlessly pushing things. There's nothing much that is being done here. We're just pushing things according to how the profile view looks, alright? And the jaw line is somewhere here, but for now we can put it somewhere there. Alright? And I'm going to push this a little bit down here. Alright, this line here, What's gonna be the line for the forehead? But I think way T's, it's quite good there. We can actually add another line. So let's hit Control R on our keyboard to add another line and we click, alright, then I can take this and I can push back a little bit. Alright? So we go something like this is going to be the line for our forehead there. Alright, great. So let's go to the front view by pressing one on our keyboard. Alright? Okay, If we can go to the viewport shading, you can see what kind of a hair do we have. You can see now that the profiles already shipped and look at the back. We already have the roundness done for us. That's why I was saying sometimes it's better to start off with a little bit of resolution rather than starting with one line, then you have to do all the round. Okay? So this is what we have so far. So we're going to press one to go to a front view. And right here you can see that some videos is a little bit out and we need to do a little bit of pulling right here. But before we do that, I'm going to box select all these vertices here. If you don't pass this middle line here, you will not be able to select some of the faces. Then I'm going to go x and I'm going to say delete faces. Okay? The reason why we're doing that is because we just want the mirror modifier. So you'll come here to the modifies tab. And you can see with this panel here, okay? Alright, and you come here and say Add Modifier, and you'll look for something called mirror. Okay, then you got to press this cage here to activate it and make sure that you click this guy called clipping. I'm going to show you what it does in a little while. Then we're going to pan a little bit our view here, okay, So if we wake on one side, you can see the other side is being mirrored over and that's what we want. Alright, so what we wanna do now is we just want to start pushing things so that it can be on the line. Remember that line, that dotted line that I did put there. And we want to push this guy to be on that line. Okay? Perfect. Alright. You can come here and it's quite in place. And we can come here. Actually, I'm just going to push these two, alright, because they are a little bit off, right? Okay, so now when you come here now you can see that things are a little bit crazy here. That's one thing that can give you a trouble in terms of understanding what is, what, what can you do now, alright, but I don't want you to be afraid of this, okay? So why did you just need to do is you just need to go and grab it. It's that you see that is outside and just put it right on the line, just like that. Alright. You can grab these two or you can even go one by one if you wish. So I'm going to grab these two anyway, and I'm going to put them right on the line, just like that. Alright. And I'm going to grab this one. I got a FedEx here. Just grab it and put it on the land. You just got to push these things mindlessly. You don't have to be worried about nothing. Select these three. They are a little bit close to each other. Just push them on the line. Okay? You don't have to be too much realistic at this point in view. You don't have to be worried about detail at this stage, alright? Then you take this one is out and you just want to put it back on the line, okay, So you are attacking process. You are taking it back to the line here. Alright, so that's the good thing of having a reference image. You can see this is the line for the eyes that we're talking about is cutting through the center of the eye. I'm just going to drop it a little bit so that it can be on the center. Alright, and we have this one on the mouth, or I don't want about this line at the bag. If this line here is just at the back of the character. So if we turn our character around, you can see now what kind of a head shape we have. Alright, so I want you to practice how to do this probably three times before we can move on to the next lesson. Once you know how to do this, then we can move on to the next lesson. And on the next lesson, we're going to come back and we're going to start drawing a loops for the mouth where our mouth is going to come from. Remember this the center line, and we're going to draw loops for the nose. The nose is gonna be somewhere in-between here. And this is the eye. So we need to put something like an eye socket the way the eye is going to sit. Alright, and that's it from me. I'll see you in the next lecture. 10. Drawing the lines for the mouth, nose and eyes: Okay guys, welcome back to the course and on this lecture we're going to be drawing out the lines for the mouth, nose, and eyes. Alright, if you know how to draw in 2D, this is going to be a wonderful moment for you because that's what we want to try to mimic. Then later on we're going to try to push it into 3D. So to begin with, we're going to come in here to the line of the mouth. If you press one on your keyboard and press this wireframe thing here, you can see that the mouth is sitting right there. Okay? So we want to start right there to draw the lines for the mouth. Alright? And I remember this is the line for the eyes going down here. And this is also the line for the middle of the eye horizontally, so they meet right here. Okay, so we want to start drawing those lines for the mouth and the nonce. Then we'll finish off with the eye socket. I'm going to press K to get an F2. Then I'm going to click here on this line, and I'm going to click on this line, and I'm going to click somewhere on this line. Then I'm going to press Enter. Alright, so you can start to see now that this opening here looks like an opening for the mouth. Before we can go too far, I want you to go to Edge mode by pressing here and select this line here, alright? And press X on your keyboard and go to Dissolve. So we want this line to be actually getting inside of the mouth. Allright perfect. And we're going to come in here. So what do we wanna do is we want to put G twice on our keyboards. So you go twice and you can move that towards the center or something like that. Alright? This vertex here tip you twice and you can move. It's something like that. Alright, now we want to draw where the nose is going to go through. So I'm going to press K again on the keyboard, and I'm going to click here, and I'm going to click right here on the line of the eyes. Okay? I'm going to draw the eye socket straight away from here. Alright, so I'm going to come here on the middle of this line. And I'm going to click, then I'm going to come here on the middle of this line. I'm going to click and I'm going to come anywhere here. And I'm just going to click the center line here. Alright, then I'm going to press Enter these polygons here. Later on will become our nose. And we can as well go ahead and box select these three vertices here. And we want to push this three vertices here to where the bottom of the nose is. Okay? So we could push like that and you can see now that the head is singing there, and that's not what we want. Alright? Remember what we tip the double G and we're going to push something like that, okay, for us to be able to position it properly, we need to go to the front view. So let's hit one on the keyboard and let's press the wireframe. You can see actually went a little bit higher. So we're going to tip double G again and we're going to push it somewhere there on the bottom of the nose. Alright. We go this line here, and this is the line for the eye socket. We're just going to tap double G and we want to push it of this vertex is here. It will help us to define the mouth a little bit more. So I'm just going to pull it. Okay. Something like that. Okay, so if I go to my viewport shading, you can see what we have. Alright, so we've got something that looks like scar. I'm just going to drag this and push it a little bit to the middle there. Alright. So you can see now this is where the mouth is going to come from. So let's go back to the front view and let's tap into wireframe mode. And this vertex here, you can see it's actually quite on place. Yep. Alright, and this one should be going outside of the eye and we want to continue drawing. So we want to click again on a keyboard and we want to draw a line, and it comes here. Alright, the reason why we're doing that is because we want to ship this ISO get a little bit better. Okay? So we want the ISO get to go and touch the brow there and come down like this. Okay? Alright. Because it's not the actual eye. This vertex here is a little bit in, so we want to push it on the line. You can see that line here going down like that. Okay, so we wanna define that line. So we're going to come in here and we're going to push this line again, something like that. And we're going to do the same here. We're going to push this line here, okay, so don't worry about the nodes on the outside here because we're going to extrude it. Alright, perfect. If we come in here, you can see what do we have now? The bridge of the nose is ending here. Let's just extend it a little bit. Okay, so we're going to press K on the keyboard to get the knife tool and we're going to click here and bliss ended on the middle of this line here. Alright, perfect, something like that. Alright. And right here, let's go back to the front view and we go to wireframe mode. You can see that we need something. We need a vertex here so that we can be able to ship this ISO get a little bit better so we can. A key on our keyboard and we can click here. And let's click somewhere there to join with that vertex there. If you don't see, it is this vertex right here. And we're just going to come in here and push. Alright, let's go to our front view and see whether we are doing the right thing. Okay, That's alright, so we're going to push it somewhere there. Alright. Then you can see also right here, we, we need to pull this down, but we don't have geometry to do that. So what do we can do is we come back to the viewport shading. We're going to press K on the keyboard and we're going to click here. And let's just push this into the mouth. Okay? Something like that. Alright, and we can push it down, something like that. You can go to your front view and see how you are shipping the model. But I'm just going to ship it from here for now. Then I'll go there and check. Alright, if you look here, you can see that we've got one where i'm, I'm going to be counting the edges here. So we've got 123456, we got a six-sided polygon into doing one that we just want to fix this right now. Okay, So I'm going to throw an edge loop right here and we're going to journey together, then it will give us quite okay. So let's go Control R on the keyboard. And I'm going to click there. Alright, and I'm going to hold, and I'm just going to scale it a little bit out so that it conforms to the shape. We don't want something that will be singing on the model. Alright, then I'm going to go to get an F2 and I'm going to click that vertex and I'm doing a join it to null, then I press Enter. Alright, let's go to the front view and see how things are doing there. Alright? And we can see this is the vertex that we just added. I'm just going to push it down a little bit. And this one would have pushed it out a little bit, but it's being blocked by this. We're going to deal with it within a short while. Okay? And the mouth is quiet in place. And let's go to the side view and see how things are behaving. They're alright. And we just want to push these guys a little bit up just to space things. Nothing much. Alright, so let's get this. We're going to space a little bit more. Okay? And I'm going to come here now and I'm just going to bring this lying down. Okay. Yeah. Bring it down. You can see that the mouth is a little bit higher right there. Okay. So I'm just going to bring this line down and I'm just gonna do the same here. I'm just going to bring this line down. Alright, let's bring this line down. We're getting even go but more down than that. Alright. Okay, Perfect. Let's do this on this one, alright? And we can either bring this one up, like so, and we take those three and we'll bring them down. Alright, then this way we can be able to come here and Sheree ship them out. Something like that. Let's get this one. Make sure your book selecting and bliss get this one. And we're going to bring it down. This one, bring it down. So probably somewhere there. Thus way we're going to have the jaw line is here on the drawing, but I think I put it a little bit down so somewhere they can do, alright. And we can bring down this one. Alright? Something like that. Alright. Okay, so this is what we have so far. Let's just deal with the mouth right now. You can see our mouth. The socket is a little bit too far. So why do we wanna do now is we want to go too. Actually, we can do it here. So we can push in annexes to this one. Alright? And this is the center of the mouth here. Okay? So this is the center of the mouth eye socket. So we want to pull it. Let's go to the front view and let's see how that is actually doing. Some way they could do. It's not bad. Alright. We're going to come in here and make this radius is surrounded mouth, something like that. And this vertex is here. We just want to push it down a little bit to create space. To write. Limit, limit, take this one and I'm just going to push it down. That'll be some more. Okay. This one, I think I'm going to bring it down some more. C, okay? Something like that. Alright. You can see now some of these viruses they went out to you again, just come back and tuck them. It's not a big deal. Just put them right on the line. Okay. Something like that. Just push them on the line there mindlessly. That's the good thing of having an image plane. You don't have to be worried. Do just mindlessly push things in place. If we're going to come to the viewport shading now you can actually see what we have. One more thing that we need to do here is we need to make sure that we add a line for the smile line. Okay, let me show you how we're going to establish that. There's go to the front view and let's go to wireframe. If you can see here to the top of the nose where the nose is actually coming in, caving in. There is a smile line that comes down here and probably other corner of his mouth already right here. And it goes around again like that. So we want to try to mimic that. We can actually draw those lines, okay? And probably we can bring them here down like this, and we can actually join that line here. Then this line, you can see it's actually going around the mouth. So I think that can do, Alright, so let's just go around and do that for now. So we're going to press K on our keyboard and we're going to just click, alright. We just drawing that line for the smile line there. Alright. And we'll press Enter so you can actually see that line there. Actually, I put that line on the wrong place. Alright? So as you can do, if you do a mistake, you click somewhere else. You can just select these three vertices and press M on the keyboard and say major send. Okay, So this is the line that we are talking about, but do we need to shape it a little bit? Okay, so I'm gonna bring this one down a bit. And let's go to the brand, okay? And let's go to wireframe. Let's select these three. This line should go on top of the North somewhere there. That's why initially we posted this line to be on top here. Okay, perfect. And this line you can see now is coming, it should come down. It should be closer to this line here. Alright, so we're going to bring it down like that. Alright? And we can see here, so you can come to your viewport shading and you can actually bring this line closer, something like that. Alright. Okay, let's go to the front view again. And by placing one and tap into wireframe mode, you can actually see why do we have there. This is the kind of loop that we've been looking for. Alright, so congratulations, if you managed to reach this stage, you have successfully drawn the lines that we need. Once you get this lines, believe me or not, to, the whole process is going to be 0s. Okay, That's it from me. And I'll see you in the next lecture. 11. Restructuring head loops: Okay guys, welcome back to the cost. And on this lecture we're going to be really shaping the head geometry. Alright, so we got this line that we drew in 2D and everything is looking pretty good, but we need this to look like a 3D thing, alright? E.g. if you can look at this vertex here and we tap three on our keyboard, you can see that this line here should be behind the eye socket here. Okay, let me just put a wireframe. You can see the ISO get easier. So these things should be here at the back here. Alright? And the same applies to this one. Should be actually further than this corner here of the eye. Alright, so this line here is actually blocking us from doing that. Let me divide this view into two so that you can be able to see your viewport shading and you'll be able to see the left view as well. I'm going to come in here until I see these plants. Then I'm going to click and drag something like that. Okay, perfect. Alright. Then I'm going to keep this left view and I'm just going to zoom in a little bit that we can be able to see this guy here. I'm going to make it to be our 3D view. If you can see the viewport shading, you can go Shift Delete on your keyboard, or you can just submit a price your mouse button, and you can just drink like that, okay, then you can be able to see this, this line here. You can see where it is. We want to push it back so that the ISO getting can actually come back here. Alright, so I think we're gonna go ahead and select 123 for probably four lines. And we don't want to push like this. If we push like this, you can see now that the ship is getting distorted and we don't want to do that at this point. You just want to tap double G and you just want to push back, alright? Something like that. And you'll want to push this line probably at the end of your brow there. Alright? So you just see with the model that you have, alright? Okay, something like that. And we want to come in here and we're going to attempt double G and we want to slide it over, alright, tip WE slated over tip W and just slide it over. Alright, perfect, something like that. So we want to give room, okay, then we're going to come to this line. So we go one shift to select this one, Shift to select this one, Shift to select this one. And we're going to tip double G again and we're going to push it back. You see what's going on in the, in the profile view there. Alright. Okay. And I believe probably somewhere around there in-between the corner of the eye and that other line. So something like this could do, alright. And you can see we did mundanely ship a little bit. So click this vertex W G and push it back a little. Alright? Alright, come here, Tim, W G and push it back a little. Tub W G and just push it back later. All right. Something like that. Okay. Then you can see what's coming up. Now, we got this corner or the a here you can see it's way, way in front here, we want it back. So what we're gonna do is we can actually double G and we can push it back somewhere there. You can see here, as long as it passes the eye socket a bit. Alright, this one here, you can do the same thing. Tap double G and you can push it back. Alright? And I think you can be able to see from the front view here, you can see what you're doing. Alright, let's bring it forward a bit. Perfect. And we got this one here. Let's tap W G. You could as well more of it normally then you got to do a whole lot of shipping in all. Alright. Let's see. Alright, I'm just going to pull it out in the X a little bit. So you can start seeing now as we have, alright? And this, we're just going to push this guy in the way. So this is the y, Alright, you push it in the way it goes back. So we're gonna do that here. Alright, we push it on the y, put it on the sand, I think is right on the center there. Okay, then we need to take, let's see, this line here is a little bit forward. We just want to push it this time we're just pushing in the y. Alright? We just want to push it a little bit, something like that. A k. Alright? And this guy will want to push in the y as well. Alright? Something like that. Alright? And this one, I think it went high. I'm just going to bring it in the z like that. Okay, so we can perfect it now by going to the side view. Let me just make this a side view. Alright. And I'm just going to redraw this line so that they can be looking at. And you remember here, this is the bottom of the nose. Okay. You remember those three lines that we put there? So I'm just going to push them forward to the bottom of the nose. If we can go to the front there, you can see that it's lining up probably. I'm just going to use my profile here. We helped me a bit. Okay, I'm gonna lie down and I'm going to push it back just a bit there. Alright. Okay. And I'm gonna go to the side view again here. Alright, we want to push this one back. And let's select these two and let's push them back. Alright, so we want these lines here to go just a little bit behind this main line of the front of the, of the nose there. Alright. The reason why we want to do that is because we're going to extrude the nodes. The lines of the nodes is going to be sitting here. So we're going to push this back a little bit. Alright, and I'm just going to add this guy in here. And let's just select these three and push them behind a bit. Alright? Okay, so you can actually see what we're trying to achieve here. Alright? Okay, Let's come to this one. I'm just going to bring this line there. Okay? Bring this line there, alright. And I'm just going to bring this line there. This is the line behind the corner of the mouth, okay? And this line, I'm just going to bring it down here. Alright. Perfect. And let's see this line here. Alright? And this one is on the right position, this line for now, it shouldn't go away. We'd go to the bottom of the lip there. And this one actually it should come down. Alright. They should go straight like this, something like that. To the corner. We shove them off there. Alright, let's push these two here to go on the middle of the ear there, somewhere there. Okay. Remember we're going to bring the ER of that point. So we just need to make sure that we're good enough resolution for us to be able to do that. Alright, so I think that's what you need. Let's turn around and let's see. Now you can see we started off with the 2D, kind of a head geometry, but now we got something that looks like in 3D. Actually we need to push back these vertices. Yeah, I've used, you can see these polygons are a little bit too big now. So now what we can do is we can push them back in the wildlife saw, alright? And this one, we can push it back in the Y kind of thing like that. Alright? And you can see is going probably, I think this one here, we need to push it in. And they see, let's see, let's just push it in, in a little bit, okay? And let's push this one forward. Alright. Remember you could also type double G and push these ones. But I'm just pushing them in the x's that I see right now. Okay. Then let's push this a little bit forward again. Okay, something like that. You remember that we've got a loop here that is hanging. Okay, so let's click Control R on the keyboard and we're going to add an angel of ray here. You can see it's sinking here. We don't want that. Alright, so you go out S, then you can be able to scale so you can move your mouse bit by bit until it looks right, something like that. Then you can click, alright, then we can actually join those two there. So you'll press K together knife, then you click on this vertex, click on this vertex and press Enter. So we've got this geometry sorted out right here. Now you can see here we got it too big of a polygon. We can click this one and we can have G twice, and we can actually slide it over a little bit to relieve this trace there. Alright, perfect. Do the same here. Yes. Wig. Wig. Okay. And I think he's singing a bit. Then we've got to come in here and push it in the y. Alright. Perfect. I think it's a little bit too much there. Okay. Yeah. Something like that. We don't need this anymore now, we can press Enter, we see this arrow there. Then again, just release. Alright, you just need to keep on practicing. Keep on practicing until your master, this system that I'm giving to you. And once you master it, you got it four, Good. I'll see you in the next lecture. 12. Blocking the nose: Okay guys, welcome back to the course and on this lecture we're going to be blocking out the nose. Alright? So this is where we left off from the last lesson and we doing great. And we're going to come here to the Polygon, select two and we're going to select this polygon here, Shift to select this one, Shift to select this one. Select this one and just go up above our eye socket right there. Okay? And we're just going to go quickly and hit E on our keyboard to extrude. Alright? And we're going to push that in the y, Alright, Something like that. So I'm going to go back to my vertex select tool here. And I'm going to click on this vertex and I'm just going to push it in. Alright? Select this one, just push it in. All right? Okay, select this one, push it in. This one, push it in. Push it in. The top of the nose is a little bit narrower than the bottom of the nose. Alright? Okay. Something like that. Let's just go to our front view by pressing one and shift to sit together wireframe there. And let's see how we are doing. Alright? Okay, so something like that is not bad. And if we can go to the side view now by pressing three, you can see that these, these things that out, so you just need to select this one and just move this, alright, and put it back on the line. That's why initially we had to push. All this video is a little bit far away from the main line here, because we wanted to come here and put the notes. Alright, so let's select these four here and let's just push them in place there. Alright. This is the top of the nose. Okay. Alright, and I'm just going to come in here and I'm just going to push this guy a little bit. I don't like that. Alright? Okay? And I'm just going to pull this node right here. Alright? Let's try this again one more time. Then I'm going to take these three vertices here and I'm just going to put them right in place. You don't want to have fetuses that are overlapping like this. You can see at this point to something that looks like a triangle, we just want to push these vertices so that therefore an equal distance here. Alright? Kind of thing like that. Okay? So you have to go around through your more detail and make sure that you do that kind of thing. I'm not sure if I got the right one here. Okay. It might be difficult to get it, but you could get it. Alright. Go something like that. Alright. So that's what we have in terms of the nozzle is come back to the viewport shading. You can actually see the nodes that we have. Let's go back to our front view and see how that is looking good. Back to wireframe. And I think this line just went to high. Alright, so we want that line here to be on the bottom, on the top of the North somewhere there. Alright. Something like that. Alright. Perfect. I think this is looking good. Alright? So I'm not help with this kind of structure that we have right here. So I'm going to fix that sought to fix it. I'm going to take this guy and I'm going to weld it here and I'm going to take this guy and I'm going to weld it on the center there. Alright, so here we go. So you select these various, select this one and do press M on your keyboard and say make it sender, okay, something like that. Click this one, click the top one, press M on your keyboard and say major sender. Alright, then you go something like that. Now we've got a problem right now, because we got a triangle and we want everything to be quads, our eyes. So what we can do is that we can actually add another line and we drop that line here and we delete this one. I think that can wake, alright. And it will actually help us to ship the ISO get a little bit better. So let's press K on the keyboard and we can just click here. And let's put that line there around. Perfect. We go something that looks crazy there. But once we can do now is we can come here to the select tool and we can click this age and we can press X and we can say dissolve a use. Alright, perfect. Then we'll come back to the vertex here. And now, if we can go back to the front view, all right, In Praise wireframe, you can see now that we can actually use these to ship a little bit more the brow there, okay, Perfect. In the weekend, just push this guy a little bit. So we can actually push this a little bit in salt. Alright, then we'll come back to the viewport shading. You can actually see what kind of a geometry we have there. Alright. I think everything is looking quite good. Let's just bring that turn out to be it. Okay, Perfect. So this is what we want to have. If you go to your polygon, select two, and you can click this polygon here and click Alt, then click the X is, click the y-axis. In particular, you can see that we've got a loop there. And those are the kind of loops that we are looking for. Alright? Because we want to have loops in this loop is like a socket, so it's going around the eye and it's going down through the nose and it's going all the way to the other side. Alright? And if we come, come here to the mouth, and if you can click here, you can also see that we've got a loop around the mouth. Alright, so that's the kind of topologies that we're looking for. We are actually good to go in terms of blocking out the nose. We're not going to finish it right now. We're going to come back in other lessons and finish up the nose. One thing you need to bear in mind is that when you are modeling a character, you just don't want to finish everything completely. Just like when you are drawing a character, you need to draw the figure. And then after you go the figure right, then you can come back and you can start putting the other details like the eyebrow, the eyes, and all those kind of stuff. Alright, so that's it for this lesson. In the next lecture, we're going to come back and we're going to start defining our jaw line and extruding the neck down. Alright, that's it for me. I'll see you in the next lecture. 13. defining the jaw line: Okay guys, welcome back to the course and on this lecture we're going to be defining the jaw line of our character and preparing the place where the neck is going to come from. We're going to tip three to go to a side view very quickly. Alright, and I'm just going to activate wireframe mode. If you remember, we said that this line here, all of this line, if I can just click to select it, is the line that is actually going to define our jaw line. So what we wanna do right now is that we just want to give you an indication of where the jaw line is going to be. Then later on we're going to come around and finish it on the drawing. Our jaw line is actually here. We might end up actually bringing it down here. But for the moment, we're just going to keep the jaw line somewhere above here so that we can have room to work with. So we're going to go ahead and activate or polygon tool. And we're going to click this polygon here just behind our jaw line here. And this polygon right here, these two, okay? I'm just going to hit X on our keyboard and say delete faces. Okay? Then this is what we got. Alright? Okay? And let me come back to the vertex mode, alright? And I'm just going to click this whole edge loop here. Alright? And what we wanna do is we just want to stick this edge loop parade here and a welded. And the same applies to this one. We want to stick it right here on this vertex and welded. Alright, if we can click this agent trying to push it and try to put it here on this FedEx, it might be very difficult to do. So what we need to do is we need to come here to our snipping tools, alright? And make sure that you just click here to activate it. Alright? And you'll come here to this snap settings and make sure that you just click snap to vertex. Okay? Alright. So once we got this activated, we can just drag this end. We can actually point it to that vertex where we want it to be welded to. And we can also click this edge loop as well, okay? And we're just going to move it and snap it to this point here, okay? Alright, so this is what we have so far and we just want to give some room here. First of all, I just need to make sure that I deactivate my snipping tool here. I don't need it anymore. So tip double G and you just have to move it in a little bit. Wg, alright? And we need to come in here and we taped WG, and we're just going to push this a little bit to the side here. Alright, one more thing, I forgot to. Well, do these vertices here together. Alright? If I can push this vertex up here, you can see that these things are not joined together. Alright? So I'm just going to Shift click on this vertex to select it. I'm just going to hit M on our keyboard to bring the image menu. And I'm going to say it's okay. We can do the same thing right here. You can see that they are not smashed together. So I'm going to hit M and I'm going to say make it center. Alright? So this way now they actually meshed together. Alright, perfect. Alright, so I wanted to fix that before we can move on to the next lesson. Alright, that's it for me guys. Let's come back in the next lecture in the weekend. Start creating the eye of our character. 14. Creating the eye: Okay guys, welcome back to the course end of this lecture, we're going to be creating the eye of our character. Okay, so what are we gonna do now is that I'm just going to go ahead and probably hide the head geometry here. You can see still retain a cube. So I'm just going to go ahead and name it and say head. Okay, Perfect. So we're feet and the head there. And we want to create the eye. Okay, so to create the eye is you'd guess you, you'll need something like a sphere because our eyes are spherical in shape. Alright? Okay. We can go ahead and press Shift a on the keyboard to bring the Edit menu. Alright, we're going to go to UV sphere. Alright, looking at this, you can see that we've got 32 segment. That's too much. Let's make them 12. Alright? We're going to make them 12 by 12. The reason why we are making them to coffee is because we're going to go ahead and smooth this thing. Alright? So we want to rotate it in the x initially, and we're going to rotate it 90 degrees. Alright, so I'm just going to bring back my head geometry right here. Okay? I'm just going to push this guy up. Alright? And you can see is quite huge. So I'm going to press S on the keyboard and just speaking, scaling this thing, okay? And getting into wireframe mode, okay? So we want to put it right on this sender. Probably they send up the eye. Something like so you see this line that is coming down here and going through the nose. And this is how you want your eye geometry to be that big. So you're going to scale it a little bit until it touches that line. Okay? You might not see it clearly from this angle, but as long as you get it somewhere close and looking at this, I think this line here might save is a line for the iris. Okay, so I'm just going to push this up. And you can see now this line actually is almost the same size of the iris. So we can actually use this line to define our iris a little bit more. Alright, so I'm just going to push it back. So if we press 32 go the side view, you can actually see that the eye is a little bit backward to. I'm just going to push it a little bit further than that. So I think that I can do, okay. So it's just a matter of looking at things and seeing what works. So this is basically it. In big to a few people shedding. You can actually see what we have right here, okay? Then we can go ahead now and actually hide the head geometry for now. Okay, Then what do we wanna do right now is I'm going to duplicate this. So you're going to go Shift D to duplicate this. Alright, so I'm going to name this and I'm going to say, I am going to say I, then I'm going to put out with a big ol there. Alright. Okay. Alright, perfect. Then I'm gonna go in here and I'm going to say aye, Aye. And big capital I in. So we just going to come here to the IEEE Anna. And I'm just going to hit S. And I'm going to just kelly the hair. Alright. You can see, I just called it a little bit. Then coming to the settings here, you can see that I scaled it in by 0.95. The reason why we're scaling it is because we've got this outer is like the outer shell of the eye. It have to be on the outside. If these tools, geometries are sitting one on top of each other, then you're going to have some weird, weird things going on there. Then I'm going to go to the eye outer and just hide it for now because we don't need it anymore for now. Alright, let's go back to the front view. And I'm going to hit wireframe there. And you remember this was the line for the iris, right? I'm just going to select this inner. Then I hit tab to get into edit mode. Okay? Then I'm just going to come in here and I'm just going to click on this edge. Alright, so that was the edge four there, iris there. Okay, perfect. So why do we wanna do now is we want to bring some sharpness here, all the iris. So to do that, you just going to go ahead and say Draw be. So we want a bevel that h, okay, then you Drake like that. And you want to add one more edge loop on the middle of that. Okay? Then after that, you click to finish. We go something like this. I'm going to come here to the face select mode and I'm going to press C, and I'm just going to select these polygons right here, and I'm going to push them away, something. So, alright, so this is going to be the pupil right here, okay. We need to make sure that we strengthen this polygon. So okay, and we can do that by hitting S on the keyboard. Then we're going to specify the y-axis and we say zero. Then we want to separate this. So I'm going to hit P on the keyboard and I'm going to say separate by selection. Alright, so by doing that, you can see now we've got another geometry I in as a result one, we're just going to come around and it's in ME to pupil. Okay, So this is gonna be our pupil. Alright? And looking at this, Let's go to the side view. The origin is not sitting at the center of this object. So why do we need to do is we come to Object and we say set origin, then we say origin to geometric. Then the origin is now sitting on the center of this object. Alright, perfect. So we want to scale it a little bit and I'm going to push it to close a little bit. Alright, I'll push it closer to what we have. There are something like that. Perfect. Alright, so the other thing that we wanna do now is we want to add materials. So with this selected, you'll come here to the materials tab, but again, you see new material and you're going to name it and you're going to say the pupil. Alright, so these are just Tumblr or materials that we are putting right now. Okay, and I'm gonna hit tab to enter into edit mode. And I'm going to hit a to select all the polygons there. Then I'm going to say assign, okay, then I'm going to come here to Viewport Display and I'm going to change the color and we want to make it black. Then coming to this one, I'm going to tap into edit mode and I'm going to press a to select all the polygons there. Then I'm going to hit Plus to create a new material. And I say new. Then I'm going to say I in. Okay. Perfect. Then I'm going to say assign. Alright, so we did assign that Material there. And I'm going to come here with the polygon tool selected. I'm just going to hold, click to select this edge loop here, these polygons here. And I'm going to grow this selection by pressing Control plus all the way to the middle loop. Okay? I'm going to come back here and I'm going to hit plus, and I'm going to say new material, and I'm going to call it iris. I'm going to hit Enter. Then I'm going to say Apply. Then we can come out of edit mode now. Alright, so with this selected, we can come down here to Viewport Selection. And I'm going to come down and choose something like this. Alright, and coming back to the materials yet, we've got to enter and we'll come down here. I'm just going to make it the white a little bit. So I'm just going to push this guy up. Okay, Perfect. Select this guy and we come here to the modifies tab and we're going to add a subdivision surface. And we're going to have a level of one day That's quite good enough. Then we'll right-click there and we're going to say **** smooth. Okay? Alright, then coming back to our eye outer, we're just going to make it visible here. Alright. Let's go ahead and add a subdivision surface modifier. And the level one could do and right-click and say Shade Smooth. Okay? But right now we cannot see anything because this outer shell is actually closing our a in a soil. We need to make sure that we make this whole thing transparent. Okay, so let's go back to our materials. And we're going to come in here and we're going to click Plus, and they're going to say new material and I'm going to call it I. And we're going to hit Enter. Alright. Then with the IR deselected, we're going to tap into edit mode and we're going to hit Assign. Okay, perfect. We can come out of edit mode and we go to come here to the viewport display on the color. Alright? And we need to this guy here called Alpha. So this guy here, actually, he's the guy that is driving the transparents of that either. Alright, yeah, we can just come in here and say 0.25. So this is our isometry that we have. You know, that I actually bulges a little bit in front. We could have actually pushed it a little bit more, but you know, we are dealing with a cartoon character, so this is quite good enough for our purpose. And what I'm gonna do right now is that I want to join all these things together so that when we move, we will be able to move everything at the same time. Alright? So to do that, I'm going to click pupil and I'm going to come here and shift select the eye outer and shift select the eye in. And I'm going to go in and say Control J on our keyboard. Alright, That will be able to make this whole thing one geometric, okay, As you can see, Alright, We did lost our small thing there. So I'm gonna come in here to the modifies tab and I'm going to go subdivision surface. Alright, then level one is quite good enough. Alright? So if we can put back the head geometry, okay? Now you can actually see the eye in place there. Alright, so in the next lesson we're going to come back and start modifying a little bit the eye socket here so that it can be able to surround our eye. That's it from me. And in the next lesson, we're going to go ahead and do that. Alright. 15. Extruding the neck: Okay guys, welcome back to the cost. And on this lecture we're going to be extruding our neck down. Alright, this is where we left off from the last lesson. As you can see, we already have the eye in place there. But I just feel like it's a little bit better for me to extrude the neck down before we can actually finish the eye socket here. Alright, so we're going to come in here and we're going to hide the eye for now. Alright. And before I start extruding the neck down, I just want to subdivide these polygons here. So we're going to go Control R on our keyboard to get our age look to. And I'm going to click here, and I'm going to go out to a sonar keyboard just to scale this a little bit uniformly. Alright. Something like that could do. Alright. So before we can extrude the neck down, I just want to actually make sure that these lines are a little bit closer to each other. Alright, then we're going to take all this line here and we're going to push it back, something like this. Okay, Then I'm gonna take this one and I'm going to push it just a little bit closer. And we take this one and we push it a little bit closer as well. So this is actually the line where they the neck is going to be ending and it's beginning right here. This line here, we need to keep it for your line. If I can come here to our viewport shading, you can actually see that this line here is helping us to actually, let me get the polygon tool within these lines here are actually helping us to define our jaw line here. So coming back to the side view, you can actually see that these are the polygons that we need to keep. So you can go ahead and start box selecting these two here, leaving this one, alright, shift in box select to get these two. Shift and box select to get this one. Alright. You can see now that we got the very same selection there, and you'll want to hit X on your keyboard and you say delete faces there. Alright, we want to have this loop here to be in a circular form because we know that our neck is cylindrical in shape, so we can start fine-tuning it like this. But as a beginner, I would encourage you to select this loop here, okay? And you'll press seven on your keyboard, alright? And you can come in here and activate wireframe mode. Okay? So coming in here you can actually see the lines that we need to work with right here, okay? So you can come in here and you can start pushing this lines. Alright? Like this. All we are trying to do is we just want to try to make sure that these lines are secular. Alright, then we have this one and this one and this one and this one. I think we can push them in a bent. Okay. And let me pan a little bit more. And we can push this up. So we want to try to get a cycler ship them. If it is hard for you to get this line, alright, all you can do is you can come back in here to the viewport shading, alright, in your old select this edge loop here, then we can go Control I on the keyboard. Alright? So you go Control I. And that way you'll be able to invert the selection. And you can go h, okay? Then you will be able to hide all those fetishes there. Then you can come back to the top view by pressing Seven, Okay? Then you can actually see the vertices that are working on. So you can come in here instead of pushing these things a little bit some more. Alright? So this is the line for the neck that we actually want to work with. And I think is actually quite good right now. Okay. It looks more secular right now. Okay. Perfect. Looks more secular. Alright, so all you need to do is you can go back to your viewport shading and you can click Alt H to unhide all the other phases there. Then you'll come back to this edge loop for our neck here and you select it. Alright, the next thing that you wanna do is we want to hit E to extrude. And you'll want to push them down in this set just like that. Then you want to tip three to go to your side view. And as you can see, these vertices, they are not straight, so we need to flatten them in this set so we can hit S for scale and Z for the z axis, and we're going to hit zero. That will be able to flatten all those vertices there. Alright? We can go ahead and scale them so that they can fit in a little bit more than we can go ahead and rotate it a little bit by pressing R. And we can actually rotate it like so. And we can push it into place. Some were there and we can actually scale it like that. Alright, let me just rotate it back a little bit some more, alright? And scale it so that it can fit there. Okay, perfect. And looking at it from our front view, you can see that These vertices, they are not actually up to the line. So what you can do is you can go back to your viewport shading. And you can deselect this middle line and this middle line, alright? And you can go back to your front view and you can activate wireframe mode. And you can just push this in the x. Then you can see now is actually fitting on the line of the neck there. Alright, so we got it right, and we got it right from this side view. So the next thing that we want to do is we just want to divide these polygons here so that we can be able to ship it some more. So we're gonna go ahead and click on Draw an arrow on our keyboard to add an edge loop there. And we're just going to click there. Alright? And we can come in here. And let me just get my box. Select two, alright? Alright, and we're going to start shipping these things like so. I'm gonna come in here and start shaping things like so. Alright, and right here, I just want to paste things so that they can be a little bit of an equal distance there. Alright? And the same applies here. I just want to ship things a little bit some more. And I can take this line and I can push it down like that and out. Okay? And we can come in here, we can do the same thing. Looking at this, you can see all your line is y here. And I think it's a little bit down. So we're just going to try to mimic that. We're not going to do it 100 per cent. I think my reference image is not quite matching up 100%. Alright, then I'm gonna come in here and select these four here. And I'm just going to push it down some more. Okay. Something like that would do. Okay. And coming back in here, I'm just going to make sure that this thing is a little bit circular. Alright, so I'm just going to bring this one down. You just want to hear something that is kind of rounded, something like these. Okay. You'll want to have something around it. Okay, and looking at this, I think we need to grab these two, actually these three, and we want to push them right into position there, okay? And we can grab this one and push it into position like this. Okay? Then this line. Actually, alright, let's get this. And we can push them into position like so. All right. Let's get this one right here. Okay. I'm going to push it in a little bit, some more like that. Okay? So we are just trying to sub-divide these polygons here. I think I'm going to push this one down a little bit. And looking at this, you can see that they are lines that are actually sitting on top of each other and we don't want that. Okay. So you'll just want to make sure that we got a little bit of a gap there between those lines there. Alright. And I'm just going to make sure that also they are a little bit of an equal distance between each other. Okay? Alright, so we're going to push this one into place. Alright. I think we got it quite right. Let's go to our front view by pressing one. Looking at our front view, you can actually see that we got these lines now that are actually out on the weekend, come back in here and start doing the talking business against that, tucking them in like we've been doing before. So this is not a big deal. Just chuck them in. If something goes out, come back and target. That's the good thing of having a reference image. We want to take it into place there, and we want to get this and you want to take it into place then, alright. Then coming to viewport shading, you can actually see what kind of a neck we have there. Alright, and we want to auto select again this HE loop here. And we're going to go ahead and press E to extrude. And we want to push it in. Something like that. Let's go to the side view by tipping three. And you want to push it in the y there to straighten into a little bit less, get into wireframe mode. Alright? And we want to push this thing. So let's get it from the front view. And we want to select all these three here, and we want to push them in a little bit, some more in the x. Alright? So coming back to the side view, you can see now that is a little bit better, but we want to push this in, okay? You can see this is a little bit out. So we want to push it in, something like that. Okay? And we want to come back to this one and we want to push it down into position. Alright? And we want to come in here and we want to start working on these lines so that they look a little bit rounded. Okay? And then coming to these, you can see that this is off. So you'll want to come back in here and start working on these lines. Just make sure that these lines are looking right. Is you can see these a little bit of a curve there. So you want to have that, okay? And I'm just going to push this one down and I'm just going to push this one like so. Okay. I think that's perfect there. And coming in here to our forehead, I think we want to bring this line a little bit down. And I'm going to select all these four vertices here, and I'm going to push them down like that. And we can select these and we can actually redistribute them some more better. Okay. Perfect. We can select these, redistribute them some more better. Select these ones, are redistribute them a little bit better. We can take these and we can do the same thing. Alright? Alright, perfect. So this is the kind of a head shape that we have. Let's just come back to Variable shedding. Alright? You can actually see what kind of a head shape we have there. If I can come in here and I can collapse my mirror modifier and I can add a subdivision surface. You can actually see that probably you might want to push this down a little bit some more. I got the wrong one day. So we want to push, okay, we want to push this one down a little bit some more. Alright? So this is how you extrude the neck down. Alright, so we need to make sure that we turn all this vertices to be cylindrical in shape. That way we can be able to mimic how the neck looks in real life. Okay, so that's it for me, guys. In the next lesson we're going to come back instead of waking on the eye socket here so that we can have our AI in place, okay. 16. Working on the eye socket: Okay guys, welcome back to the course and on this lecture we're going to be working on our character's eye socket. Alright, so this is where we left off from the last lesson. So to begin with, I'm going to come in here and they activate subdivision surface. Alright, so what do we gotta do is we need to come here to Polygon select two, okay? And I'm going to select all these polygons here. And I'm going to press I for Insert. Then I'm just going to give a guess of how large my eyelids could look, something like this. Then I'm going to click and I'm going to press X on my keyboard and I'm just going to say delete faces right here. Okay, Perfect. So if I can come in here and I can switch on our eye, you can see what we have there and you can see that it's actually coming out here. For now. I'm just going to go ahead and activate the I for now. We're going to come back and deal with it. Alright, then I'm going to tab into edit mode and I'm going to select the vertices here. Alright, so looking at this, you'll want to have a resolution that is matching from the top of the eyelid and the bottom of the eyelid. Okay, if I can go to edge select mode, you can see now that this is the center line. Okay, so I'm just going to, to click this line here and I'm just going to tip you twice to move it probably towards the center of the eye. Okay, somewhere there. Alright. So you can see this is the center line for the eye. And this also is the center line for the eye horizontally. Okay, so we want to count how many edges we've got here. So we've got one edge, 2345. So we'll go to five edges until the corner of the eye here. We come to the bottom where you want to count as well. So we got a one there and we'll get to 34. Okay? So we've got four edges here and we are short with a one. So we need this line here to be matching with this line. And we need this line to be matching with this line. Then this line should match with this line here on the middle. Alright? Then this line doesn't have something to measure. So we can go ahead and press Control R on the keyboard and we're just going to drop a line there. Alright, then we have to come back to vertex select mode. Then we just need to space things a little bit better right here. Okay? So I'm going to tip into the front view by pressing one, and I'm going to get into wireframe mode. Alright, so this line here that we didn't sit here, that's the way the eye is going to be sitting, actually. Alright. And this is the eye socket. So this is where your brow is going to come out through. So we want to start shipping this now and redistributing some of this topology. Okay, so I'm going to select this vertex and this one. And I'm just going to put them somewhere there, okay? And I'm gonna do the same. We just want to take a little bit the corner of the eye or somewhere there. Okay. So we want to tighten a little bit of the corner of the eye. And we can come to this one and this one. And I'm just going to push it probably somewhere there. Alright. And I'm going to take this one, I'm going to do the same and I'm going to push it somewhere there. Alright, and this line here, I think we just need to push it back. Okay? Pushed this line big, something like this. Alright? And we need to take this line and we need to push it all the way to here. I guess probably somewhere there are, right? And we need to make sure that we create some space so that this edge is going to be able to sit properly. Alright, so I can start with this line here. I'm just going to pull it down. Sometimes it's difficult for you to see. If it's difficult for you to see, just go to the side view and hide some of the vertices there. Alright? Then you'll be able to, you'll be able to do it, right. Okay, So I'm going to push this down here, alright? Like so, okay. And I'm gonna come in here and I'm going to push this line down. So all I'm trying to do is I'm just trying to read divide this lines here. Alright? Perfect. Okay, and I'm going to push this out to be some all this in. And I'm going to come here to this line of the nose and I'm just going to push it in a bit. Okay. And this I think I just need to pull it down some more. And these should get done. Okay? Actually this line went a little bit high. So we're going to be bringing it down somewhere there. And I'm going to take the stand up when I just reposition it. Okay? Take these reposition, it will equal distances between these lines. Alright? Okay, something like that can do. Alright, so if I can come now to our viewport shading, you can see now that some weird things up and they're in this because we are not specifying the axis that we're moving things. So you will expect something like this. Alright, so you tap 32, go to our side view and I'm going to activate wireframe mode. Okay. And I'm going to come in here and I'm going to start redistributing some of these, okay? Okay, so this one, I'm gonna, just gonna put it in here. And we just want to continue with this line going down here, right? Okay. And this we want it to tighten the corner of the mouth a little bit. We got to come in here and that's ******* these things. Alright, we need to redistribute them somehow so that we got equal. Quiet. Probably not equal, but they should be kind of looking almost the same. Alright? Okay. Something like that. I'm just trying to make sure that these lines, they look in the same. Alright. Let me push this one big, some big right back here. Back here. Alright. If we come back to our viewport shading, you can actually see that things got better even though this line is to singing. So we need to come in here and push it out in the y and the x. Okay? Probably we can go into x, alright? So we can push it in the X. Okay? If you can see here, you can see this is a little bit far off, okay? So I'm just going to tip W here, and I'm just going to read this a bit more. And I'm going to come here to have double G and redistribute. The same applies here. Alright, just going to wait, good. I'm just going to do this before we can move on to the next stage. Alright. Alright, so I'm just tipping double G. Just to race pace these things. Alright? This theorem applies to hear just a little bit. Okay? Alright, then you can deal with the rest of the head. Okay? So I just wanted to see how things are looking. Here is going to be our eyebrow. Okay, so what do we need to do is we need to start pushing this guy out. Alright? Our eyebrow is a little bit sticking out, so we need to start pushing these guys out. Alright? Okay, so we can have something that looks like that. Perfect for us to be able to make this eyelid sit on our eye properly. We need to start moving these points here so that they get closer to our eye to need to come to one of these vertices, okay? And we just need to push it in the y. Makes sure that you're not pushing these things in the z or in the x. Because once you do that, we're going to lose what we have sit in the front view. Alright? Okay. So you need to push this issue not touch the eye itself actually, but it should leave a small gap around the eye there. So you just need to leave a small of a gap around the eye, alright, then you'll be able to have it right? So we come here and we push things in the y, Alright? And let's get closer and see, alright, and we want that gap there. We don't want this intersection. If you can see things intersecting like these, that shows you that one of the vertices is pushed too much. Alright? So we need that get there, alright? And I'm going to come in here. Alright? And I can push this in the y. Okay? So, alright. And I'm going to come to this vertex here, alright? And I'm going to push it in the y. Now for this vertices that are actually next to the bridge of the nose, we're not going to push them as close as these other vertices here. The reason being that if you can look on the mirror, you can see that there's a little bit of flesh that is right here on your eye. So we're just gonna leave that gap a little bit. Okay, so I'm gonna come in here and I'm going to push things. And I'm gonna come in here and I'm going to push something like that. Could do probably a little bit close, Alright. Things like that. And I'm going to come in here and I'm going to push like so, okay. And I'm going to push this one out a little bit. Alright? Okay, and coming to this one, I'm going to select that one. And I'm going to select this one. And I'm just going to push them out a little bit. Okay. I've put up push them out to a little bit like that. Okay. Okay. I'm going to come this one and I'm going to push it in the y a little bit like that. Alright? And we can come in here and we can push this one in the y as well. Okay? Looking at this, I think my eye socket is a little bit too much backward, so I think I need to fix that. Okay? The way I can fix that is by selecting this vertex here and this one. And I'm going to go Control Plus to grow the Selection. Alright? And I'm gonna go ahead and I'm going to push these in the y. Okay, So I want to try to bring the eye socket a little bit forward or something like that. Then I'm going to hit control minus to deselect some of those vertices. Then I'm still going to push it forward a bit. Okay, Let's see. Something like this could do. Yeah, I think that I was a little bit, a little bit forward. So I'm going to select these two and I'm going to push them back in the day. You can see we've got quite a big gap there after pushing those vertices. And this one I'm going to push in the x because I want them to close. Okay? And this one, I'm going to come in here and I'm going to push it forward in the y, alright? And I'm going to push it in the x, alright? Because, you know, this kind of the corner of our eye, they are right. We don't have much flesh on this corner is compared to the top and the bottom of the eyelid. Alright? So this is the kind of loop that you want to have for the eye socket. Later on we can come back and we can finish our eye socket as well as adding eyebrows and things like that. But for now we just want to leave it here. Remember I told you when you are modelling something, you don't want to put all the details there. You want to go bit by bit until you see the shape of your model coming together. I think it will be much better if we can come in here and close this gap here, since we are dealing with a cartoon character. Alright, so before we can enter this lease and let's just come around and close this, alright. Okay. I'm just going to pull this one down. So that's it from me for this lecture. In the next lecture we're going to go ahead and start creating the loops for our mouth. Alright, I'll see you in the next lecture. 17. Creating the mouth: Okay guys, welcome back to the course. And this is where we left off from the last lesson. And we're going to be working on the lips, around the mouth. Okay, I'm going to select my H2 here and I'm going to check how many edges we have from the top of the leap to the bottom of the lip here. So let's count 12345 until the corner. Which of them healthy? Alright, and I'm going to count again from this side we've got 1234 and we are shut down here. So what we can do is that I'm going to OT, can we take this edge loop here? And I'm going to tip W G on my keyboard and I'm going to bring it close. Alright? Something like that. I'm just trying to match these FedEx with this vertex here. Alright? And this vertex here should match with this one. But I think rather tick these vertex here, this vertex here. And they're going to tip double G and I'm going to move it to the side. Okay, so I'm trying to create space then the end, I'm going to add an edge loop right there. Then I can come in here and I can start rounding things again. Alright, let's see. I'm going to move this down. Alright? Okay, and this one is quite sticking out. I'm going to just push it back in the day. Right. And right here. No, it goes something like the cheekbone right there. Right here. Okay. So I get a fire to see if I can mimic that. It, push it a little bit more in the wider, then we can go ahead and get into face mode here. And I'm going to select one of these polygons here. And I'm going to press X on my keyboard and I'm going to say delete faces. Alright? I'm going to click this edge and I'm going to tip three to go to my side view. And I'm going to hit E to extrude and press Enter on my keyboard. Then I'm going to come back to my Scale Tool here. And I'm going to scale this in the set, alright, something like this. Alright? And I'm going to come back here. And I'm going to push this year all the way to the corner of the mouth right there. And I'm just going to push it back to sit on top of each other there. Alright. Then I'm going to take these two and I'm going to put them right on top of the lip there. Then I'm going to just continue with the rest of these, these vertices so that they mimic each other. Okay? Then I'm going to come to this one. I'm going to take this tool right there. And I'm going to put them right there on the top of the lower lip. And it's one I'm going to push it a little bit up. Then I'm going to take this, I'm going to push it up there. So what I want to try to do is we want this to match up with this edge here. And this line here should match up with this one. Alright. Some lab push it back like so. All right, then we want this line to match up with something that can be this line. Alright? Then this line should actually match up with this. Alright? Something like that. If we go back to perspective view and activate viewport shading, you can actually see what kind of a mouth we're getting there. Alright? So we're going to come back again in odd click this line. Alright. And we're going to go back to our side view again and we're going to press E to extrude and hit enter. Then we're going to activate a wireframe mode. And I'm going to come back to my Scale Tool, and I'm going to scale in the z again, alright, this time around, make sure that those various, I know the intersecting like that. We just want to leave a little bit of a gap there so that we can be able to open that mouth. Okay. Then I'm going to come back then. And with this age group selected, we just want to push it back. Alright? We want to push it back a little. Alright, let's just push it bigger later. The reason why we are pushing it back is because the mouth is a little bit tagged inside. Alright, then I'm going to push it down so that it can be in line with that FedEx thing. Okay. What I'm gonna do now is I'm gonna go ahead and now, instead of editing these things manually, so I'm going to push these one-D to line up with our, alright. And I'm just going to make sure that these things are matching up. And I'm going to take these three and I'm going to push them back again. Alright. This upper lip, I'm going to push it a little bit in some more. Alright? And I'm going to tint this one in a little bit. Okay. Alright, something like this. Kid do not want to take those two vertices there and I'm gonna push them up, something like this. If we go to our viewport shading, you can see now what kind of a thing we have for right? And this vertex here on the outside, actually, not that one. We've got a vertex here. Let's see if we can get that. Okay. Let's see. Yeah, that's the vertex. So we want to make sure that we pull it in the x, Alright? Then we're going to pull it in the y. Okay? The reason why we're doing that is because we want to get this mouth tagged in. So we went all that geometrically to go underneath the interior of the mouth. Okay? Alright, so we're going to push it out. And we're going to take this guy and we're going to push it forward as well. Alright? The same applies to these ages that are here. We're going to make sure that we push all these vertices forward so that we can have that tucking effect there. Alright? Okay. And if we can activate subdivision surface, you can start to see that taking effect, although it's not yet 100%. So I'm going to get back into edit mode and deactivate a subdivision surface. You need also to check the size of your mouth is the right one. I think this mouth is a little bit too big. Okay, so what I need to do is I need to go back to my front view and getting into wireframe mode. I can see that these vertices, the other ones controlling the corners of the mouth. So I think to bring it in a little bit. So I'm going to select these, and I'm going to select this. And I'm going to take this and this here. Alright, I'm closing that one as well. I'm going to push them in the x, something like that. Okay. I'm going to push them into X-like so, alright. And I can come in here and I can try to round this geometry once Morgan. Okay, perfect. So if I can go to my perspective view, you can actually see that the mouth is a little bit closer. But these are sinking effect that happened there. So we need to make sure that we bring these things out. And I'm going to come to this one and I'm just going to put it out in the x and the y. And two, this looks the way we want it. Alright? So I'm going to push it into the Y. Maybe difficult to see there. Alright? And I'm going to push it in the x, something like that. I think it went a little bit too far when I bring it back. And back here. Alright. Alright, something like this. Okay. Then I'm going to come back here and I'm going to push it forward a little bit and down. Okay. Then coming back to this one, I'm going to push it forward because I want that taking effect or right on the mark. Okay? And I can come back here and I can just push the XL little bit. Similar place to this one. Push it in the excipient. Probably in the y as well. Okay. I think we're going to go ahead and re-select that loop there. Alright, the inside loop that we just created before. And I'm going to come back to view both sharing. And I'm going to hit E to extrude and press Enter. And I'm going to push it back in the y again. Alright? And what we are trying to do now is we are trying to create the thickness of the lips. Alright, then I'm going to hit E again and press Enter. Then I'm going to push it back, alright, in the y. Then this time around, I'm going to take my Scale Tool and I'm going to scale it in this sense. Alright. So I'm scaling it back and they said like so. And I'm going to scale it in the Excel little bit some more as well. Alright, we're going to come back later on and we're going to start creating the interior of the mouth. So we're going to use that geometry there for that pips. Alright? And looking at these, I think I need to take these three and I need to push them out. Why? Something like that? So you just need to keep on looking at your model and see where the problems are and you got to fix it. Alright, let's go to our side view and let's get into wireframe mode. So looking at this, you can see that just below the nose that there is a cave there. Alright? And we need to make sure that we add a line to mimic that. Okay? So I'm gonna go Control R and I'm going to add an edge loop right there. And you can see that edge loop conforms to the shape that we already have. So you can come in here and you can actually bend this, right, and you can tune these things accordingly. Alright? So you just need to make sure that you keep subdividing these things. You'll want these polygons to be almost of equal distance from each other. Okay? Looking at this, you can actually see the mouth that we have there. That's it for this lecture. And in the next lecture, Let's come back and continue creating the interior of the mouth. Then we're going to come back to the nose, ears, and all that other stuff. Alright, I'll see you in the next lecture. 18. Creating the mouth interior: Okay guys, welcome back to the course, and this is where we left off from the last lesson. In this lesson we're going to be creating the interior of the mouth. Alright? So I'm just going to deactivate subdivision surface here, and I'm gonna hit tab to enter into edit mode. Okay? Alright, so as you can do is you can click that age that we created last year. And you're going to hit Control plus on a keyboard a few times, probably until here. And you're going to go Control I to invert the selection, and we're going to press H to hide everything. Okay? This is the kind of a mouth interior that we have to begin with. I'm gonna go ahead and hide our geometry here as well. All right, watch will want to have going here is you want this to be like a bowl shape? Is it goes back to the trough of the mouth. Okay, Let me just bring this side view picture there. We want this thing to go back, alright, and get into the neck so that when the character swallow something, then it can be able to go through this passage. Alright. I'm gonna, I'm gonna activate a wireframe morning here. Alright, so I'm just going to deal with the side view for now. Alright, and I'm just want to try to make this thing rounded a little bit some more. Okay? So I'm just going to do it this way, okay? And I'm going to push this one down a little bit. And this one down a little bit. Alright, something like this. We can come to perspective view as well. And let's activate our viewport shading here. Alright, so we can go ahead and we can select this. Alright? And we can go Extrude, alright? And we can put that in the y, r, k. And we don't have to forget to scale this in the soul. We want to scale it in this Z because we want something like a tube. Okay, perfect. And as we go along, we want to start scaling this in the way he saw will be flattening that. Then we're going to go back to the vertex here and we want to continue shipping these things. Alright? We want to ship them. Alright? And the other thing that we need to do, we need to make sure that we scale it in the x as well, okay, so if you can go to girlfriend view, you need to make sure that this thing is being scoured. Like so, alright, because we don't want you to sit on top of each other like that for now. Okay. Then we can come back to the perspective view. And we're going to hit E again for Extrude and hate to end. Alright? And we're going to push it in the, in the y's. Well again, alright. And we want to scale it in this Z. If we can go to our side view, you can actually see what we're coming out with their think we've got to select these three here and we've got to push them up a little bit. Or we can even rotate them like so. And we can push them a little bit like that. I'm just trying to make sure that we get a straight line there. Alright, so we go something like that. I can come ahead and hit E to extrude again and hit Enter. Then I'm going to push in the y like salt. And I can push it up so that it does not interfere with the geometry that we have there. Alright, then I can come here and I can diverge viewport shading. Then I can scale this in the x as well. So I can come in here and I'm going to scale this in the x. And we forgot to do that with this loop here. So I'm going to scale that in the x as well. Okay? Perfect, something like that. And at the same time, I wanna keep flattening these in the y. So I'm going to continue scaling these in the y, something like this. Alright. Then I'm going to hit E again to extrude. Press Enter. And I'm going to come to my move tool and I'm going to push in the y. Okay, let me go to my side view so that I can be able to see how I am doing. Alright, this one came a little bit closer, so I'm going to push it up. Alright. Okay. Perfect. Alright. So it's just a matter of rounding things up. And I'm going to select my move tool and I'm going to hit E to extrude again, press Enter and I'm going to push it back. Alright? Now, at this point in time, now, we want to make sure that this thing is killed in the white completely by zero. So we're going to hit S on the keyboard and we're going to hit Y, and we're going to say zero, okay, so these vertices will be straight and we have to rotate them again because we want that geometry to start turning into these into the neck thing. Alright? And I'm going to hit E to extrude and up press Enter. And I'm going to push it down like so. And I've got to rotate it like that. Alright. And I go to scale it in like that. Okay. Perfect. Let's do one more extrusion. E to extrude. Press Enter, and I'm going to push it down like that. Alright? And we're going to rotate it like so. Then looking at this, I think I can scale this up a little bit some more. And I can do the same thing to this one. And I can come to this one. And now I'm gonna do the same thing right there. Looking at this, you can see that things are not 100% right there. So we're going to add an edge loop right there. And we're gonna go over to ace. And we're going to scale it up some more like that. Okay, perfect. Then you can come in here and you might as well kill these and you can push it up if you wish to. Old select and you can push this up or select, you can push this up. Alright? And you can come in here, this select wireframe mode. Let's just get these three vertices here and I'm just going to push them in position right there. Alright? Something like that. Okay. So you might as well come in here and just all these guys on top there. Alright? Something like that. Okay. So this way we can have what we call the interior of the mouth. And looking at this, you can see that some of these videos is a little bit too close to each other, so you just have to select that edge. And probably you can leave this one and this one and this one. And you can turn to the back and probably get rid of these and these. And we're going to tab do twice. And you can redistribute them a little bit some more and you can push them up. Okay? Something like this. Alright? And you want to do the very same thing on the bottom of the interior here. So you're going to auto select these, De-select these two because they are equally spaced. Alright? And we can come in here and we can deselect these two, I guess. Okay. And I'm gonna tip WE and I'm going to move them towards this end. Okay? Something like that. And I can move them down just a bit. Something like this and this one here, we can just try to bring it back. Okay? And I can move this up. Right. Okay. So this is the interior of the mouth. When it comes to creating the teeth and the tongue, we're going to make sure that the tongue and the teeth sit inside this interior thing here. And I'm going to press Alt H on my keyboard or the H to bring everything together. You can see the interior of the mouth is not actually protruding outside. So that's it from me guys, in terms of creating the interior of the mouth. And in the next lesson we're going to go ahead and finish the nausea. Then after that, we're going to come around and create the ear for our character. Yeah, that's it from me. I'll see you in the next lecture. 19. Finishing the nose: Okay guys, welcome back to the cost. And on this lecture we're going to be finishing the nose of our character. Alright? Okay, so to begin with, or we just going to get into face select mode, alright? And I'm going to select this face, and this face, alright, and I'm going to hit E on our keyboard to extrude. And I'm going to move my mouse. You might have a giant of a nose. Alright, so I'm just going to push it somewhere. It doesn't matter how big it can be. We're going to ship it. Alright? So what you need to do is we need to make sure that we knock these corners here. Alright? So if you can get into vertex mode, you can select this vertex and this vertex here, and you need to make sure that you knock it down, Okay? Perfect. Then you select this one and this one, and you got a nugget down, alright? Something like that. Alright, then you can come to your side view now. And you will see that things will be a little bit easier. Those vertices, they were sitting on top of each other. Then you gotta make sure that you pull this one back like so. And you got to come to these ones that were knocked down a little bit earlier and we need to knock them down a little bit some more. Alright, perfect. And we come to these ones here and we want to bring them down. Yeah, probably somewhere around there. And we'd take these two and we can push them somewhere there. Alright? And we have this guy here and this guy again, let me just get to perspective view. I can see what I'm talking about. So we got this corner and this corner we got to knock these things down. So I can come in here and I can knock it in desert, alright? And I can knock it here in this area as well. So if we go to our side view and first wireframe mode, you can actually see now what we did there. Alright? So we can knock these things down here. Alright, perfect. Alright. So from this side view, things are looking quite alright for now. Okay? So the thing that we need to do is we need to go to the front view and let's see how things are looking there. Alright, it might be difficult to see, but, well, you can see that the sympathetics for the nods, alright, and this one is actually sitting on the right place. I'm just going to bring it here. And this one right here, I'm just going to bring it so that it matches our drawing here. And I'm just going to bring this one here and this one somewhere there. Alright, so if we can come to our perspective view now, you can actually see the nodes that we have. If you want it to be larger, you can actually push it back in the wildlife. Saw. Alright? Something like that. Okay. If you can go ahead and, and smooth before you can do that, you can come here and this vertex here in the x. So for this type of a character, we are not going to add the nostrils. Alright? We just want to keep this symbol because this kind of stylized character, we're not going for a realistic correct. Okay. So you got to come in here and it's subdivision surface and get out of get out of edit mode, then you can actually see the enormous that you'll get there. So it's just kind of a button nose is actually a little bit big, but I'm going to leave it like this for now, just for the sake of our reference images. Alright, the other thing that I wanna do is I want to select the eye. Alright? I'm going to mirror it over so that we can have a picture of how this thing is going to look like. So I'm gonna come in here and choose mirror modifier. And you can see it, actually edit it on top of each other. Then you got to come down here where we got the mirror and you'll come here to waste written middle object and you tell it how do you want to mirror it? So I want to meet with the head. So if I choose head, you can see now that the AI comes to the other side there. Alright, so in the next lecture, we're going to come back and we're going to start dealing with the ear of our character. Alright, I'll see you in the next lecture. 20. Blocking out the ear: Okay guys, welcome back to the course. End on this lecture, we're going to be creating the ear of our character. Alright, so this is where we left off. I'm just going to jump into our side view by pressing three and activate the wireframe mode here. And I'm going to select the head geometry and I'm going to deactivate subdivision surface. Alright, and I'm going to tap into edit mode by pressing Tab. Okay? So looking at these, you can see that this is our ear. Alright, I want these to go back. Alright? Actually, instead of just pulling in the wireless just tip double G and push these things into position. Alright. So I'm just going to tip double G like so. Okay, I could as well push these in the Z-lines. So, alright, let me just push this in this ear as well. Alright. I want to create space there. I want to make sure that I use this polygon here at this one, this one, this one. So I can as well push this up and push this back a little bit. Push this down. And I can push these two down. Then it's forcing me to push these ones down, even some mole. Okay, you can see that things went crazy here. Alright, I'm just going to push this, Pull it in the X-linked. So just to make this trait like so, coming back to the side view and activating wireframe mode and selecting the face mode. We want to make sure that we select these to leave for polygons here. And I'm going to hit I on the keyboard and I'm going to pull my mouse button to inset, okay, then I'm going to go back to my vertex select mode. And I'm just going to make sure that these mimic the ear that we have the minor be 100% that it got to mimic. It's somehow, alright. And I'm just going to push these centrally or geometry and I'm going to push this on the sander and again ship these as well. Again, bring it down like so. I want these to all the shape of the ear that we are creating here. Little one or we can deal with the rest of the geometry. Okay? Then coming back to our viewport shading, we need to make sure that this one is singing. So I'm just going to pull it out. Pull it out. I'm going to pull it out like so. Alright, I think that's quite good enough and we can ship things later on down the road. Alright, so I'm gonna go back to these four polygons here. Alright? And I'm going to press E to extrude, and I'm going to pull them into excellent vat. Let me just push it in a little bit. Okay. Then I'm going to rotate it. Okay? Something like that can do, I guess. Alright. So if we go to a front view and tap into wireframe mode, you can actually see what kind of an ear we have. Actually the front view is not 100% right? Because the ear is ending here and on this side is ending on top here. So we're going to keep it right on top here. Alright? Okay, that's perfect. And the other thing that I want to do, I want to add an edge loop here so that we can be able to pull these, this a little bit out. But if I do it like this, to add another, another loop here and do to create a crease. You can take this vertex and this vertex, and you can go ahead and press M and mash them together at center, something like that. Alright, you'll come to this one and this one. Press M, makes them a center. Take this one and this one, price, aim and make them as center. Because we also want this, this year to actually fit into the skin of our character there. Alright, perfect. Then we got triangles day. So we can fix that by pressing Control R on our keyboard. And we're going to add an edge loop right there. And we want it to bow the outside. So we're going to press Alt S and we can start scaling things, something like that. Well, maybe a little bit too much, but I think that's okay. If it's too big, we can deal with it as we go along. Alright? Okay. And I'm just going to pull this one back here. Alright, so this is the ear that we have so far. If I can activate subdivision surface, you can see the ear that we have, the end we are getting there. Alright, so what do we need to do is we need to come back and they activate subdivision surface. Alright, now I'm going to select these four again. Alright? And I'm going to do an insert. So I'm going to say inset. And sometimes it's difficult to see how thick this thing might be. So let me put a subdivision surface there. And this time I'm going to scale it. Alright, so I'm going to scale it in. Skeleton, probably somewhere there. If it gets too big, we can actually scale it a little bit some more. Then I'm going to hit E to extrude, and I'm going to push it into the x day. Alright? And before I do anything, I'm going to hit E again to extrude. And I'm going to push it in the, in the day. Alright? And let me do that now. And I'm going to scale those polygons that we just created there, alright, against Kelvin. So looking at this one, let me get the vertex select mode and I'm going to select this one. And I'm going to scale it a little bit in some way as well. Okay. So looking at, is this the kind of ear that we have, if we put subdivision surface, you can actually see the ear that we're having there. Alright? And now we are not going to create a realistic ear. But what we wanna do is we just want to try to mimic these a little bit. Okay? So what I'm gonna do is I'm going to come in here and select these four again. And I'm going to scale them in some more. Alright? And I'm going to come to vertex mode, and I'm just going to come in here. And I'm going to my model. Alright? And I'm just going to start painting these things down at random. So I'm just trying to teach them down, probably in the x like so. Okay. And let's see here. Let's see, I'm just trying to add a little bit of detail there. Okay? Something like that. Alright. If by subdivision surface you can see that, that much yet, alright? And probably I can try to bring this one out in the x, like soul. And this one out like so. And push it in the y maybe. Alright. Okay, I'm trying to get some detailed than, alright, it's not yet there. Alright, then what I'm gonna do now is I'm going to come in here and I'm going to select, Let's see, Let's see. I'm going to select these vertices here. And I'm going to move them up like that. Like so. Then I'm going to select this polygon here and this polygon here. And I'm going to hit E to extrude, and I'm going to post them like this Beglar saw. Alright, then I'm going to scale them like that. Okay, so I'm trying to get that detail for the ELA. Alright, and I'm going to select this face here, and I am going to hit extrude. So let me do extrude them. Okay. And I'm going to pull it inside like that, okay? And this time around I'm going to push it down in the z. So let me activate my subdivision surface so you can actually see what I'm trying to do there. Alright? And actually I can see 100%. Then I'm going to do actually it went to fight in. Then I'm going to do another extrusion and I'm going to push it in the x. Alright? And I'm going to push it down in the z, our eyes, something like that. And I'm going to scale it down. Alright, then if I activate my subdivision surface and come out of edit mode, you can actually see what kind of an ear I got going on there. Alright? But the detail is not 100% right here. So I'm going to, I'm going to get into edit mode again, and I'm going to tap into vertex select mode. And I'm going to do it like this. So I'm going to push this in like that. And let me push this in as well like so. I want to try to push this thing out, LOB some more so that we can have a little bit of a detail there. Alright. I think this one went how to do this? Okay. Okay, something like this. Let me push this back a little bit back. The thickness of this labia is not quite good enough. So I'm just going to come in here and take these two. And I lost that selection there. And I'm going to put these in a little bit. I'm going to push it down a little bit. I think that it will thicken it up some more. You can actually see the kind of an ear that we have. Alright. 21. Creating the teeth: Okay guys, welcome back to the cost. And on this lecture we're going to be creating the teeth of our character. This is where we left off from the last lesson. Alright? And I'm just going to click on this head geometry and I'm going to come in this elbow, the mirror modifier. Alright, and let's just also deactivate the tank for now. What I'm gonna do is I'm going to click on this edge geometry and then tub to get into edit mode. Alright, so looking at these, I think the teeth could be touching from here and coming here. Alright. Coming here. And I think we could go this way. We can come down here. It will not look good thing, something like this. So looking at this now, all you just need to do is you need to borrow this geometry from this inner mouth. So you just have to go Shift D on your keyboard and press Enter and you're going to hit P to separate the selection. Alright? So I'm just going to click the heady and I'm going to hide it or write something to the eyes. Let me just go and hide it. Alright, so this is the kind of geometry that we need to work with. All right? And let me select the vertex mode here. And I'm just going to take these three guys here. And I'm just going to image them at center, alright, so that we can round this alert be some more. And we need this to be flat. So let's just select a on the keyboard and we're going to go scale in the z and we're going to say zero. Okay, perfect. And if we can go to the top view and let me deactivate the subdivision surface and get into wireframe mode here. Then you can see the geometry that we have there. And I'm gonna take these and I'm just going to rotate it a bit. Alright? So I'm just trying to make sure that this thing looks good and The size is almost the same here. Alright, so I'm just going to take this and turn it around like that. They see to this one. And I'm going to take this and I'm just going to turn it like so. And the other thing that we want to do is you're now is we come down here, the teeth a little bit sharper. So I'm just going to push this guy forward, right? And as we come here, they get thicker. Alright. Because we go the more or less, yeah, right? So I'm just going to try to mimic that ACh K. I think something like this could do. Alright, now, looking at this, I think I'm just going to go ahead and activate our head geometry for now. And I'm going to go, shift is set to get out of wireframe mode. So you can kind of see what do we have there. So I'm going to hit a to select everything here and I'm going to hit E to extrude and end up. And I'm just going to push this z. Alright, so coming out of edit mode, I think I just need to make this shared fleet. So you can kinda see where the teeth or the end. Alright, I'll get less push it down a bit since we got the measurements, right. All we need to do is to deactivate the head again, alright? And I'm going to come in here and select this polygon here. And I'm just going to press X and delete the faces. The reason why we're doing that is because we want to activate our mirror modifier there. Alright? The other thing that we wanna do is we want to come here and select all these top polygons in here. And we want to delete them, okay? Because this is not going to be seen. So we don't want to have extra geometry. They're coming down to the bottom here. We want to make sure that we push these guys a little bit forward. And the reason why we're doing that is because the teeth tend to be sharper on the bottom there than they are on top. So we're just trying to make sure that we do the same kind of thing. Alright? Alright, something like that. Perfect. Okay, I'm gonna get out of edit mode and I'm going to come in here and I say, I play the mirror modifier, alright, because what I wanna do now will not work. If the mirror modifier was on. I'm going to select all the edges here. And this age, this age, alright, this age, this age, this age, this age, old Shift selecting everything I want to get also the ones that are back there. Alright? So Alt Shift select or Shift select or Shift select, Alt Shift select. Alright, then with this, now I'm going to bevel everything. So I'm going to go Control B on the keyboard and I'm going to bevel it. Not much. And I'm going to add one edge loop on the middle there. Then I'm going to click, All right, and let's see our Bevel settings. So probably something like that, or you could say 0.025. Alright, That could do as well. Alright, now with this, now what are we going to do is we're going to select the middle loop here. So we're going to hold Shift select, go the wrong one day or shift select this one. Or shift, select this one or shift, select this. Hold Shift, select our shift, select this one, right? So I'm just doing the same thing here to get these ones here, alright, with this, now I'm going to go out to ace to scale this summer. Alright, so you can kinda see this killing that is taking place there. Alright, I'm going to actually activate my subdivision surface modifier. Alright, then you can kind of see what we're coming up with there. So the more I push it in, the more indentation we have there. I think something like this could do. I am just going to come in here and to shed smooth so that we can see a little bit better. Alright? So you can kind of see what kind of a teeth we have. Alright? So you can go ahead and ship. You didn't make it the way you want, but this is actually the basic idea of making teeth, alright. 22. Creating the gums: Okay guys, welcome back to the cost. This is where we left off from the last lesson. Alright, then all you need to do is you need to go Shift D on this one. All right. And let's name this one teeth to begin with. Okay, so let's call this one teeth. Alright? And we got this one right here. And I'm going to call it gums. Alright. With the gums. Now, we need to make sure that we push it up here and you can see the sand ACL. So we're going to come in here, cytology into geometry. Then you're going to come in here and you can push these down some more. Alright. I think that's quite good there. Alright, let's give him a 2-year for these. So I'm gonna come in here and give the very same material that we get for the tongue. And you can come in here and you can tweak things around. You can play around with these settings and come up with something that you might like, okay? Or you can take these and you can push them forward, whatever you might want to do. Alright? So you could push this forward if you wish to. So now, looking at this now you can see now that you have your teeth and you gotta gums there. Since we want to be able to rotate these at the same time. You can select these and these, and you can go Control J on my keyboard. And that way you will be able to join this thing together. Now, you have seen that the teeth have actually taken the material for the gametes will have over the teeth and press L. And this is just create a new material here. Alright, so I'm just going to come in here and click Place. And I'm going to create a new material and I'm going to call it a tiff. Alright, perfect. And I'm just going to assign that. And looking at this, I think you could take these two points in here and you could just push them a little bit back here. Preparing them to meet the flesh. There is something like salt. Okay. Alright. You're going up and taking these two, you could push them out like that. So perfect. This is all we got to do. I'm going to come here now and activate my head geometry. Alright, so going to the side view and pressing Shift set, you can see what we have there. If I tried to rotate that you can see it's not rotating and that's because the sender is right here. Okay? So we just going to come in here and say object set origin, origin to geometry. Alright. Now we will be able to rotate that. So if I can hit R and now I'll be able to take fat. Alright, Probably something like that. Let's go around, shifts it and check. Yeah, I think something like that could do for our teeth there. Alright. And if I can activate the mirror modifier for the head, you will be able to see how the teeth are looking there. Alright. We need to create the bottom teeth and our limit deactivate the head again. So with this now we're going to go ahead and duplicate these. Alright, so I'm just going to go Shift D on the keyboard to duplicate that. And let me move it down a little bit more like so. And I want to rotate it. I want to rotate it in the way. So let's go like Salt Lake y and I'm going to go hundred and 80 degrees. Okay. Perfect. To something that looks like these and I'm going to push it down. Alright? And I'm going to go into my side view. And I'm just going to rotate it down a little bit and I'm going to push it back a little bit. Alright, then I'm going to bring my head geometry back here. And pressing Shift set. You'll be able to see what we have there. Alright? And I'm just going to push it back like so. And looking at these, I think we have to push it back a little bit some more at k. So let's try to go to the side view, perceived sit and let's rotate it one more time. And let's push it up til the end. Push up. Okay? And let's see how it looks now. Right? And this geometry is kind of poking out. We could as well as kel in the z. We could scale this Tethys Sea a little bit, something like that. And we could come in here now to this body German tree. And we could actually trying to bring this down a little bit, okay, So we could just check these and try to bring them down a bit, alright, so that we deal with that intersection there. Alright, perfect. So this is the kind of Germans with that you could get them. And let's just add the tongue. Alright, so we come in here to the tongue and we can add the tongue there. So I want you to go ahead and ship this tongue until you get it the way that you would want it to look. So perfect. So we got the tongue there and we got the teeth in there. That's all we need to do. And we can come in here and we could activate the other side. Alright, so looking at this, you can see we go to the upper teeth and the bottom teeth and I'm just going to push this forward like that. And you can see they're poking out there. Alright. So you could, this will come in here and try to push them in a bit, right? So it to be just a testing process. So you can push them in like so. Alright. And we can come to the pupil and activate the pupil there. Alright. So now you can see now we've got a tiff modeled in and we got the tongue modeled inside there. Alright, so I'll see you in the next lecture. Probably we started working on the eye lids of what character. 23. Creating the eyelids: Okay guys, welcome back to the course, and this is where we left off from the last lesson. Alright, and on this lesson we're going to be creating the eyelids for our character here. Alright, let's just select the head and Tab to get into edit mode. Alright, and I'm going to press one to go to the front view. And I'm just going to come in here and activate my friend inside images here. Alright, so I'm going to press Shift to say it. Alright, so I'm going to select the eye here. Alright? So I'm going to hide it for a moment and I'm going to convict to the head. And I'm going to press Tab, alright, then I'm going to deactivate subdivision surface. Alright, let's go to the side view. And if you can go to the side view, you can see that here things are a little bit tight here. So I just want to take these two guys here and I just want to push them back a little bit. Alright? And I'm going to take this one, I'm wanna push it up. I just want to create a little bit of space you see on the bottom. Because some space here. And I'm just going to do that. But here we don't want it to be too far away from from the corner here because the ice seems to be a little bit tighter as we come through that corner there. Alright, and I'm just going to push this guy in the y and back. I'm trying to make sure that those edges are a little bit straight. The same applies to this one. Alright, so we want this to be almost pointing in the same direction. Alright? And I'm going to reduce a little bit here. K. Alright, I think with this we are quite good to go. Alright? Actually, they may come out of edit mode and I'm going to right-click on this head geometry and I'm just gonna go, **** flit. Alright, then I'm going to come here and activate my eye. And actually I want to deactivate the mirror for now. So I want to be able to see what's happening on this side is we awake. So we want to have almost the same distance away from the eye here. So I'm just going to take these two here and I'm going to push them out, alright? Something like that. So I'm looking at the gap that we have there. And I'm going to take this and I'm going to push it back like that. Alright. Let's see here. Probably right here. I'm going to push it in the y and push this in the y just a little bit. Okay? Alright, looking at this, I think I'm going to take both of those two and I'm just going to push them a little bit away. Then the next thing that we want to do is we want to select that will loop there. Alright? And I'm going to hit E to extrude and press Enter. And I'm just going to push this back in the Y. Alright? So push bake it in the y. If you push it farther and then you can see that will not have a thickness to close the eye there. So you want to push it some way. I'd probably around the way you can probably see all the vertices that you have right there. Okay, Perfect. So this is going to end up being the thickness of the eyelid. Allright, perfect. Then with this, I'm going to go ahead and select that loop there. Alright? And I'm going to extrude again and press Enter, and I'm going to push it in the y, okay? I'm gonna push it in the white. You can see here, why do we are doing the swap, push it in the wild like that. And looking at this now from this side, I'm going to scale that in the x. Alright, so I'm just going to scale that the x, I'm going to scale it in. Alright, so what I'm trying to do is I'm trying to close the gap there. We don't want to see through the holes that we have there. And in the inside, I normally like to add another edge loop. Probably you can see, but I think some way they are right on the middle of that. And I'm going to click Alt S and I'm just going to scale it out. Alright, then this loop will actually help to make sure that this loop of the eyelids is pushed down a little bit. Okay, we need to add more thickness around this loop here so that we can be able to pull that I laid down. Alright, and I'm just going to add another line right here. And I'm just going to push it close to those ones, alright, so that we can have a thickness, I think some distance like the one we have in, inside there. And with this now, I'm just going to tin these more kind of a profile V and I'm just going to push it forward like that. Alright, this will actually help to add thickness to that eyelid bottom there. All right, Then the next thing that I want to do is I'm going to add an edge loop right here. So Control R on your keyboard and you can add an edge loop right there. Okay, I'm going to pull it down a little bit. And what I'm gonna do right now is I'm going to get into that position of the profile game. And I'm just going to push it back like that, right? That may be a little bit too much. So you can activate your subdivision surface. And you can kind of see what kind of an eyelid you can come up with. I'll write it right here on the corner. The eyelid is not much pronounced, Alright? So you need to push back. These are right in the y. You need to smooth that transition a little bit. Right here. I'm going to smooth it out just a bit, Okay? Okay, and the same applies here. I'm just trying to smooth that bit because on the corner there the eyelid is not much pronounced. And I'm going to come in here. And I'm just going to push this into y a bit. Okay? So I'm just gonna relieve that penetration there. Alright, in DeFi can activate my subdivision surface again. And you can see now that it's a little bit smoother right on the corner here, but I think I want to smooth it a little bit some more right here. And looking here you can see this is a little bit tight. So you could come in here and continue pushing this out a little bit some more. And let's take that line for the eyelid and I'm just going to push it out a bit. And the same applies here. I'm going to push it out, K N right here, just going to push it out just a bit. Okay? I'm looking at this now. You can see now that we got a gap there. So you just need to come in here, select all those vertices here, and you can see that we go something here selected on the EHS, make sure that you don't have anything else selected. Okay? And you can push this in the x, Alright, so push it in the x until he's kind of close to the eye. Alright? Same applies here, right? Just to make sure that you select everything that you need to select. Okay. And let's push that in the exhibit. Something like that. We don't want to see through there. Right? This thickness right here is very, very important because it will actually help if you want to close this I, so this is actually what you need to do in terms of adding the eyelids if the corner, which of your eyes a little bit backward, all we just need to do is to select these vertices here, alright? And you could also add these to the Selection, alright? And these ones right here. And make sure that you don't have anything else selected here. Alright, perfect. And you could also select these ones that we have right here inside, something like this. Then you could actually push it forward like that, okay? And then you should have to tighten it in the X a little bit like so. All right. That's it from me in terms of creating the eyelids. I'll see you in the next lecture. 24. Modelling THe Head Outro 1: I believe you had a lot of fun modelling the human face along with me, I would ask you to upload your face model that you came up with so that other students will be able to get inspired and give you feedback on possible areas of improvements. I would also ask you to rate this course to help other students that are struggling to model the human face. And please don't forget to check out my other courses right here on Skillshare. I wish you the best within your career. Goodbye for now.