All language subtitles for 3. Retopology of the Chest

Hey, guys, welcome back to the next part of our series, we're going to continue with the apology

of the chest.

So let's get to this is where we left off.

This is the result from the shoulder section.

And the piece now pretty much blended together into a single piece.

And we need to talk about the chest piece.

And before we jump in to actually reach apologizing this part, I just need to make sure that you understand

which areas need to be reached, apologize and which areas we can avoid apologizing or not about, but

rather like cover up.

So whenever you have something that changes the silhouette of the character, that specific thing needs

to be agreed to apologize.

We need to have it as part of the mesh because it's going to change the way the mesh looks.

So, for instance, as you can see, this little little details right here, they push the silhouette

out.

So it would be a good idea to have the as part of the apology, this huge thing right here also pushing

the silhouette out.

So we definitely need to have that guy as part of our topology.

However, goes like this elements, they don't really push the silhouette that much, at least not as

much as like this guy over here.

So we can actually get away with having this sort of topology that only covers the main areas.

And all of those details are going to be projected into the into the low poly, the norm.

So all of that information is going to be safe somehow into our environment, for instance, that'll

change things with there the little jump.

It's not really visible, this one right here.

So, again, we could get away with not actually like following the proper form and just creating a

mesh that covers the whole of volume.

Now, the way I like to approach asymmetrical areas is I like to start by doing the details first and

then apologize and everything around those.

So, for instance, this thing right here, this is pretty much just a square.

So I'm just going to go all the way around the square, I'm going to show you how to do circles or spheres

real quick.

So there we go, that one, that one's pretty easy.

That's it.

We're eventually going to need a couple of, like, troops here just to get the the thickness right.

Like that.

I like that.

Like the.

There we go, look at that beautiful now for Sphere's or anything that's sort of circular for these

guys.

You definitely want a poll, which is going to be the little point on the center.

I personally like to use the Four-Square technique.

That's what they call it.

So it's not patented.

If I could pattern that, I probably would.

I'm not sure if I'm the first to invent this, but you start with this four pieces right here.

And then from here, what you're going to do is you're going to create a border and envelope like this.

See, now, the reason why we need four faces is because eight sites is the least amount of sites that

you can get in order to create a sort of like, circular shape right here.

It's not going to be perfectly circular.

Should do the job, at least when you see it from the site.

You should get this very nice curvature.

I'm going to continue the look one more time again to the finish the the roundness of the object like

this.

And now we need to simplify, right, because we can't just have all of those lines going into the into

the main body right here.

We need to keep it like this and then simplify going into the into the border.

So, for instance, here in the border, we're probably going to be using at least three sites just

to capture the curvature of this belt like this.

Another one right here.

Right about there and there.

Another one over here as well.

This and this, there we go.

This like this, that's fine now from here, we need to find a way to kind of like stitch this thing

together again without having to use as much topology.

So as you can see, if we close the borders here on this part of the chest.

This thing lets me through this there we go, if we close the border, we need to do is fill in this

gap in such a way that it makes it easy for me to to keep the amount of polygons as low as possible,

usually for this kind of things.

I do like to have a one line here on the center is going to be good for us because it's going to allow

us to do one and two and see how we get this triangle.

Just keeping the triangle is going to be a square and that's it.

So we do have a little bit of a triangle there.

But is that an issue?

Not really.

We could simplify that, though.

We want to.

And just this and that's completely fine.

As you can see now, this shape is nicely following the shape of my object, of my little like belt,

and just make sure that every single piece is stitched together.

There we go.

And now we can blend this with the geometry or the or the body that we're going to need for the chest.

OK, now chest up this guy again for the chest.

We, of course, need a middle line.

So I know that just from the basic understanding that we have, we're going to have or we're going to

need a middle line.

I'm just going to ignore this guy for a little bit while we do the the whole thing.

They're not going to let me ignore them.

The reason is they're going to try to be inflicted on the on the body that's going to keep them like

this.

And the reason they don't want to do them right now is because I want to focus on the main shape of

the chest.

So as I mentioned right both here at the height of the of the pectoral muscles, we want this thing

to flow like the Batman thing, like we want to make sure that we have this line going all the way to

the back.

And the reason the reason why we want this to go to the back is because when we raised the arm, we

wanted this whole thing to rest with full arm so that we get the nice the formation of the back muscles

on the underside of the of the arm.

So if we already have this one right here, we're definitely going to have a second one following the

same sort of like principle going here to the back.

Now, again, you might be wondering, well, don't we need to, like, grab all of this little details

and actually, like, give them the topology that they need?

And the answer is, depending on how much they change, this is what we might not need to do that because

they're going to be baked onto the normal map.

The commission is also going to be big.

So we're going to get this sort of like detail on the on the maps.

It's going to be or should be more than enough to give us a very nice definition.

However, I am going to show you, especially for this, I feel like this one right here is a little

bit too intense.

So I'm going to show you how I would do this if in case we need it.

So this guy right here, we're also going to try to make it flow in the same exact way, ignore this

detail right now.

Don't worry about that guy just yet.

I'm going to do the middle line right here.

And they just keep going down.

Just just think that this thing doesn't exist.

Just imagine that that thing's not it's non-existent.

We're just going to feel the same.

That.

We have two lines here, we're definitely going to have probably going to have a couple of triangles,

that's fine.

For instance, that's the one triangle there.

It's it's not a big deal.

There we go.

Now, here, this could get a little bit tricky.

So I'm going to make this a triangle again on the part that's not that important.

We don't want this to be a square because that's going to be a very nasty square.

So let's think about how we can make this even better.

I think I'm going to triangulate here.

I'm going to go from here to here.

Such as in that way, we're going to have like this in this.

They been just like, no, I don't like the strength, but maybe if we move it just a little bit like

this.

And we just want to make sure that when we bend any part of this character, everything flows in and

we see how those guys are really, really intense here and I will lower them.

No need to have more geometry if if you're covering everything properly, just make sure that everything

is fogging the surface as close as possible.

And now that we have this now, it's a matter of stitching this into this piece right here.

However, I'm not going to do that just yet.

And the reason is I actually want to finish the whole chest first mirror to the other side.

And once we have the whole thing mirror, we're going to stitch all the parts of the need to stitch

on on this side, on the back side.

However, this is actually even easier.

It's just a matter of like projecting all of those lines all the way down.

Sometimes you might feel like there's too many lines and we're going to see once we hit the legs, whether

or not we have way too many and then we have too many lines.

That's fine.

We can just simplify with a couple of triangles the way we've been doing, and we're going to be just

fine.

Just remember, superimportant, always keep a middle line, the middle section.

That's going to be really, really, really fundamental for the whole process there.

We can see how things are getting a little bit too cramped up here.

That's more probably going to need a couple of.

Of simplification, there we go.

Let's do one, two and three.

We're going to live this right here, the border where they meet Depass.

So here's where we might say, hey, let's minimize a couple of those guys.

We don't need as many.

Probably need money back here.

And just relax, a couple of triangles stitching the whole thing together.

It's not a big issue even here we might stitch something.

So, again, I don't want to do this details just yet, because if I were to modify the topology here

when we did the mirror to the other side, then things wouldn't be exactly symmetrical.

However, I do have this.

This one is symmetrical to this one.

Now it's a little bit different, so let's just completely fill this thing first.

Again, big squares first and then we need to have more geometry will add more geometry.

Very good advice that I can give you with Rita.

Keep it simple.

I've had students like literally plucked their hairs out because they were so annoyed and frustrated

about the process.

And when I checked on them, it was like, you're doing one square at a time.

Like imagine during all of the squares, one by one, you're going to go crazy.

But if you do like two big chunks and then add the divisions, it makes it a lot, a lot easier.

So that one there, that one there, one there, one there.

Simplifying the little triangle there.

I don't want to have as many polygons here.

And I have to say, it's not it's not that big of a deal.

Again, this area, this area only bends forwards and backwards and to the side.

So having this little triangle, there shouldn't be that much of an issue.

The issue with triangles always comes in places where things twist and bend in ways that usually.

Yeah, that are not super easy.

So, for instance, the neck, you can bend the neck and a lot of different ways, the arms, you can

move them around.

A lot of different ways.

That's why those areas are it's very, very important that you keep the body clean, but like flat big

areas like this that only bend in a certain way.

And it's very predictable in regards to the range of motion.

Shouldn't be that much of a.

There we go.

So we're going to have this whole thing.

Let's deactivate this for a second.

Go to the front.

Bill.

Go to month, grab all the edges here, deselect all the edges that we don't need, careful in this

case right here.

And those guys right there.

Because we're going to be stopping and we don't want to snap anything that's not.

Part of that of the middle, right?

So something like that works just fine and we're just going to grab a shift right click go here to the

mirror box option box and world X negative points.

You saw one.

And as you can see, we now have this very nice, complete apology of the character.

There's a lot of wild verdicts here.

Bring it out.

Now, this hole right here, we're going to be fixing because this is where the asymmetry comes into

play.

Right now we have the chest.

It's looking really, really good.

As you can see, we're pretty much hitting all the high points of the of the character, which is exactly

what we're going for.

And it's just a matter of jumping now into this elements and making sure that all of the details are

now properly stitched into the chest.

Are going to be showing you how to add this little light and nice light into the into the topology so

that everything flows.

I'm going to stop you right here, guys.

In the next one, we're going to continue with this little note.

So hang on it and I'll see you back on the next up.