All language subtitles for 7. Retopology of the Hands

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

of the hand.

So let's get to it.

I'm going to do this exact same trick that I did before.

I just got this guy right here, control deep.

I'm going to call this hand.

I am going to delete the last or second to last edge that we have here and then delete everything else

because we're going to be using this guy right here to continue into the hand.

So I'm just going to grab this guy.

And the first thing I'm going to do is I'm just going to project this 12 sites that we have here into

the hand.

Very important, because we already know that 12 is our magic number, right?

We're really not the 12 is the is the amount of of elements that we're going to have floating from the

from the hand into the into the arm.

So we don't want to make this a bigger where we're going to be doing all the changes is going to be

on the hand.

And the big challenge that we're going to have, and it's a big challenge, is we're going to need to

combine this guy and this guy.

You're going to combine them right now.

There you go, still in disguise.

And we need to find a way to simplify all of this edges, which, by the way, will have thirty four

edges and convert this 30 forward edges into 12, and it is going to be a little bit tricky.

So make sure to pay a lot of attention because otherwise you're going to get a little bit lost.

It's not that difficult.

Here we go.

So the first thing we want to do or the first thing I like to do is I'd like to combine the first like

two lines coming from the hand with some lines that are easy to find here on the fingers.

For instance, one and two.

That's easy, right?

And this line right here is going to be very important because as you can see, this line right here,

especially actually let's go one into.

There we go.

So these lines are going to be really important because this line, everything goes all the way across

the hand.

So this line is going to be really important for us because we're going to be using that to cut the

U.B. later on.

And we're going to do the same thing here with the pinky finger.

So it's going to be this one and this one.

And again, the line goes all the way from the front to the back.

So we have three faces here and we have a lot more faces here, which is fine.

It's totally fine.

The first thing we need to do is we need to start making the the body for the backside of the hand and

the inside of the hand.

The way I like to do it is as follows.

As you can see, we already have a division here.

So I just like to continue my division, ignoring the fact that we need to simplify the topology.

I'm just going to continue the division because eventually this part is actually going to bend the one

line there and that and we want to keep the volume of this like puffy sides of the of the fingers.

Same thing here.

We're going to have the knuckles.

So I definitely want the knuckles to be the in case the reader wants to add a little bit more detail

there on the skinning process.

And there we go.

So that's done.

Now we're going to start simplifying.

We're going to simplify on this area, which is in there that's not going to bend as much.

And the way we're going to simplify is we're going to use this little like remember this u shape, things

that we did in between the fingers, what we're going to use our traditional three to one technique.

So I'm just going to move this thing down, as you can see there, and combine this thing down, combine

move this thing down and combine it.

So now we went from having one, two, three, four, five, six, seven, eight, nine to three.

I went from nine to three.

So that's a six six.

I had just gone gone pretty much.

So we're going to do the same thing here.

Same thing here and same thing here, as you can see, we get this very nice effect now, it's going

to be a lot easier to make sure that all of these things float properly into the end, because, as

you can see, the amount of topology is way, way less.

Now, we don't want all of this topology to flow into the.

That's fine.

We can just connected.

And that makes sense.

Actually, there's one I don't like as much.

I think it's becoming a little bit too stretched.

It's not going to be the end of the day, but we might need to fix that.

I'm probably gonna one line here to give it the proper volume.

And what I want to do is I want to make sure that these two guys go into this area right here.

So I'm just going to add a division here.

And we're going to start adding some squish right about here now, this guy right here.

I want to keep having, like, this circular shape.

So on this point right here, I'm going to actually create this line.

And then this guy, see how this becomes like a circle.

It's not a complete circle yet.

We're going to make it a complete circle shortly by doing this, and now the thumb has a complete circle

right there, which is good for us because, again, it's going to help the formation of the a complete

circle here on the base of the thumb.

And then from here, we're going to use our trusty star.

So one thing we can do is we can actually add a little bit more geometry here, like create a little

bit of an extra extra square here.

And again, this little square is going to help us maintain the volume without having to go onto the

12 sides that we have on the arm, which should be very, very happy on this side.

This one can go straight there.

And then here we can also use a little bit of of a trick.

We have a triangle there and simplify this.

So again, that we save ourselves a little bit of space on the intersection or the stitching to the

arm.

You can see this folds very nicely there.

This triangle is not going to be any sort of problem because it's on an area that does not move as much.

The important parts are the fingers, of course.

And then here we can just get this.

Now, there's a star right here is usually not that good.

And the reason why this is not good is because, as you can see, it's not only five points.

It's one, two, three, four, five, six, seven points.

That's a way, way too much tension on this specific area.

So let's fix this.

Going to just a little of this area.

And one of the cool things about radiology is that it becomes like a like solving a puzzle.

So, for instance, instead of having the circular thing that we have here on the on the finger, we're

going to have a little bit of a square here.

But I rather have that square and keep a simple topology like this, even if we need to have a couple

of triangles, then having to have that much tension on that specific area, because, again, this

things get smoothed out.

And as you can see, there are not going to be any issue.

We're not going to have any issue whatsoever on that specific part.

Now, over here, we can also add a little bit of extra volume to help to help like.

Maintain the the puffiness of the inside of the hand and and then here against like a bottle.

So just try to find where can we.

And I have the yelling is like this, you can go online, of course, and check the references of how

people do hands.

Everyone does them differently.

Again, the best advice I can give you is any time you're doing this, make sure that the reader or

the person who is going to be animating the character takes a look at it and say, hey, yeah, that

that's going to work.

That's fine.

Make sure that the topologies working nicely eventually.

I do think we're going to be moving this character.

So one thing that you're going to notice is that this hand is going to be converted into this.

Let me show you.

So see how this is super smooth and it's looking very, very nice.

So that's why I'm not that worried.

But even if you were to be a little Pollyanna, this is still going to work out just fine.

Now, it's just a matter of, of course, mirroring this hand.

To the other side, grabbing both low poly's.

And doing the exact same thing, going to let's a little history for information, everything mesh combine.

And then we're going to go into politics mode, grab all the Burgess's at eMESH Mersch with the point

zero zero one.

Remember press number three, to make sure everything is stitched together, there's no missing link

or anything.

And there we go.

Look at that silhouette.

Pretty, pretty cool, right?

Like it's a very clean water, tight mesh, fully optimized.

This is one of the things that I want to make sure you understand.

Guys, I know that out there, there are a lot of tools of Magary topology in an automatic way, but

they will never, ever be, or at least not until I or something comes along the way.

But right now, they're never as good as doing it manually.

You're going to have such so much control in your characters and on your topology by doing it by hand.

Of course, it's going to take a little bit longer, but believe me, the benefits outweigh the investment.

OK, so, yeah, that's it, guys.

There we go.

The the pretty much the all the the half part of our character is done.

We can even now like combine this with the hats.

I'm just going to go mesh, combine the history for information.

Everything, grab everything here.

Burgess's go at it.

Meche Mirch point 001 Prez's number three.

Just to make sure that there's no problems on the stitching on the shirt.

So everything's falling perfectly into place.

We can grab the whole thing, go into mesh display said this to soften the edge so that we don't have

any weird like display issues.

And as you can see, this is looking really, really nice.

I usually like to keep my characters separate.

So, for instance, now we're going to jump onto the legs.

As I mentioned, I'm going to show you a couple of tricks that we can use from Seabridge to help us

along the the way in in regards to the writable.

We're definitely going to have to resculpt the pants because for the super rich illustration, since

it was just a reminder, we didn't really need to have, like, clean pants, but now we we definitely

do.

So I'm going to start doing it.

Progress are working from the back all the way to the top.

And once we hit the pants, I'll show you how we can bring this in to see resculpt the pants and then

finish up the radiology process.

So that's it for this.

We do, guys, hang on tight, keep on working, make sure you're up to speed.

Do not wait until the very end, because believe me, it's going to be very painful to try to do everything

from a in a single session, try to do it by by pass and you're going to be way, way better.

So hang on tight and I'll see you back on the next one, but.