All language subtitles for 8. Retopology of the Feet

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

of the.

So let's get to it.

This is where we left off.

As you can see, pretty much all the top part of the character is done.

We're just missing the hair, the props like the four, the shoulder and the sword.

Of course, a couple of details, like the little insignia that he has on the chest and, of course,

all the lower legs and the script.

So for the legs, as I mentioned in the past, videos, we're going to be doing them as separate from

the torso first because we're going to be resculpting a little bit of this pants that we have here.

This are not very good and we can make them way, way better.

And yeah.

So let's let's start I'm going to start down here with the feet, because I believe the feet are quite

important.

And they do have a couple of things that are normally not present on other parts of the character.

So same process as before.

We select the hyperbole, we go into life surface and we go into Quadron.

So what are we going to do here with the feet?

As you can see, the geometry of the fetus actually wrong.

You can see that there are these black lines going around the character.

Those are issues we did, as you mentioned, Master.

But again, don't worry, we're going to be having another the mission master model later on to actually

project the details, because this one is really, really low.

So as you can see, we have all of this like facets of the triangles and those would be projected a

normal map.

And we don't want that.

Of course.

Now, as you can see, I'm following the center line because it's going to be important for us.

We're also going to have our central line up here.

You can see that I'm using roughly the same size of of triangles or squares that we've been using pretty

much everywhere, everywhere else.

So just just keep that in mind.

We need to keep everything uniform.

We don't want a part of the character to be like really, really high polygon and then another part

to be really, really low polygon.

Now, the interesting part here is that we actually want to divide the feet into like sections.

Think about like an action figure and how you can bend the feet on the action figure.

Well, that's that's roughly what we want to do.

We wouldn't have, like, the front section, the middle section and then the back section.

And on top of this, we're going to have this section right here.

This is one of the parts or one of the of the areas of the character where I might consider having this

as a separate piece just so that we can rotate the boot without having to intercept.

With that.

We'd like, however, since we're doing everything as a watertight mesh, I'm actually going to do everything

in one piece.

Just keep that in mind.

Like this are one of the parts of the character where you could, if you wanted to keep them as a separate

business.

The only advantage that's going to give us a little bit more realism in how the metal bends.

However, if we keep it in one single element, you know that that's also going to be helpful for us.

So the trick here or the secret is we want to make sure that when we connect these areas, we leave

a couple of fetch loops that are going to be helping us then defeat on those specific areas.

So, for instance, here, as you can see, I'm completing the the half section of the fifth pretty

much.

And this line right here is going to be the line that's going to allow me to bend the feet at the ankles

right about here.

And then this line right here is the line that's going to allow me to bend the feet at the toes or the

tip of the toes.

So this is usually how we want the feet to bend.

So otherwise we're not going to be bending the little point here like all of this section is going to

bend as a whole.

Same with everything else up here.

So now it's just a matter of completing this thing.

And we're following the same rules we've been following since we started the writing process.

We want everything or as many pieces as possible to be squares, and we want to keep it simple.

So, for instance, here, we're going to have a little bit of a fun, interesting topology challenge.

As you can see, we need to jump down into the soul of the of the armor and at the same time go around

this element right here.

So what we're going to do.

So what we have to do here is we need to create a little bit of a bridge from the outside to the inside

while still creating a little bit of a ledge here with the topology.

So you can see that things are going to get really, really thin here.

That's fine.

As long as things flow in a nice way, we shouldn't have that much of an issue with the with the reading

process or with the skinny.

And I know I keep mentioning rigging and skinning, rigging and skinning because remember, the reason

why we're doing this little biology process is because we eventually want to animate this character.

So we always need to keep in mind the end product of the of the project.

Some of you have been asking us, like, OK, what's the other kind of things that you can do if you're

not going to Riggen an animated character and if you've already taken the serious course?

I think we've mentioned there that, for instance, 3D printing right now, it's kind of a big deal.

People have their own like in 3D printers at home and they can start printing either miniatures or big,

big sculptures, like it's something that people are now doing.

I have my own and and and it's very, very handy, to be honest, to to sculpt something, not have

to worry about topology or anything, and then just go and print it as a collectible.

Right.

So there's a lot of pipelines where you can utilize all this tree through the knowledge that we're sharing

with you.

It's just a matter of you choosing which one you want to use it with and of course, making things,

making very cool things in the best possible way.

So as you can see, I'm finishing this thing here now.

I don't want this thing to become like weird triangles on the front here.

So what I'm going to do is I'm actually going to have one triangle there so that the border of the right

here remains a really, really flat like old lines going from the top to the bottom, which just as

we know, very important for us now here, for instance, having a little bit of of of an edge is always

good.

The reason these edges are so good is because they help us cut everything.

So any any time you have an edge on it and you sort of read the biology, it's going to be way easier

to do the the U.B. process later on.

So it's just a matter of finishing this here.

You can see that Maya is having a little bit of an issue with this particular areas because of the of

the weird topology.

Again, we can do the that the tricks we've done before where we we just a couple of the vertices around.

There we go.

Perfect.

So as you can see, it's pretty much like creating this leap for the shoe and the main thing that we

want to keep in mind is trying to keep everything as symmetrical as possible.

This is not a perfectly symmetrical element.

It's going to be symmetrical to the other side, of course.

But if we have like a triangle there, then it might be a good idea to try and keep a triangle here

as well.

For instance, see this right there.

Right there.

And there we go.

So now on the bottom side, on the bottom side, we're going to try again to keep it as fairly organized

as possible with one squares and a nice flow of the ball again, so that when this thing bends, if

we need to bend it, it bends in a nice even way.

It might get a little bit tricky up front here because we have the triangle.

That's fine.

You can have a triangle.

Remember, triangles are not our enemies.

So I'm going to have a triangle here on the on the very tip because I know that usually the tip is not

going to bend.

It bends with them with the rest of the feet.

Right.

So it's more important to have a very nice clean topology like up here.

Now, worry too much about triangles down here.

So for instance, here now try to keep a middle line here.

I'm going to use a little bit of a topology trick.

As you can see, we're going to do a little bit of a loop going into the into the foot again so that

we can close this without having to send more lines into the into the front of the feet.

So, for instance, here.

Square, square, square and square.

Look at that.

Beautiful, because, again, we're not going to bend on this.

We're going to be bending on this area right here.

Now, on this side, we're just going to continue.

This is a little like border that we have here.

Sure, this seems more like the bottom side.

And we're going to do something similar.

We need to start capturing the volume of the shoe here.

In such a way that it flows nicely, any here, I don't want this thing to to flow weirdly into the

into the heel, so I'm going to create a little bit of a loop here that remains on the bottom side of

the shoe, gives me enough topology on the sides that we can so that we can capture the curvature of

the of the heel without having to add way too many lines.

So see how we have this very nice line here.

So that's important on this side.

We're just going to continue to heal in this specific area.

Now, some of you might be wondering, do we need to captured this line inside the shoe?

The answer is if you're going to be seeing it from a certain distance and the element is going to be

visible, then, yes, it might be a good idea to capture.

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

I don't think we really need to on this case.

But just in case you ever need this sort of strategy, I want to show you.

So I'm going to add a little bit of a line here.

And the small square make the triangle snap right there, because that triangle is going to be the kind

of like the border is going to be going around.

My element right there.

So as you can see, definitely one more line here.

Either that or push this guy to the side.

To the very border, there we go, I think that's better.

And then we're going to have one more line here, because, as you can see, this has a little bit of

an indentation.

We go back here.

Keep going so you can see we're placing the points inside the little group there.

And then we create the outer border of this group.

Perfect.

Now we hear that's just a square so we can collapse it and that's fine.

And this area.

We know like a triangle triangle there.

Fill that gap and that's it.

So now we're going to have a little bit of extra silwad and again, usually the sumus as a whole.

So you're not going to be bending or twisting any of this specific area.

We're going to have one there.

Since it's asymmetrical, we might have a little bit of a different.

Finish here, but that's fine, I at least want to keep this centre line on the back.

Everything else is kind of optional, so we're going to go here.

Here, here, now, here's where we're going to approach a new part of the of the process, and this

is also one of the tricky areas of this sort of elements, which is this lab right here.

So as with the arm, one thing that we're going to be looking for is we want to make sure that we have

sort of an even number of elements going around the whole like usually 14 is a good number because the

leg is usually thicker than the arm.

So 14 gives us a nice result.

It's also good.

So I'm going to say one, two.

That's three, six.

Now let's do let's do one, two, three, four, five, six and eight.

Let's do 16.

So one to.

Three, four, five, six, seven.

I'm not sure that 16 or we're missing one thing, we're missing one on way to check the.

OK, there we go, 16.

So now we're good.

And these guys are going to go, of course, they're going to be fanning out, going to kind of compress

themselves first, and then once they hit this area, they're going to fan out to create the deep water

of the armor right here.

There we go.

Your things might get a little bit tricky.

I'll show you how we're going to fix this section in just a second, because that's, of course, not

acceptable.

We're just going to.

Push here.

Same deal here, we're going to have to do a little bit of apology magic to make sure that that's what

is captured nicely without adding more loops to the whole thing.

So.

So that's good.

Eventually, this whole thing, we're going to in the next video, we're going to continue to move it

all the way up.

But let's finish this part right here.

So this is my middle section.

I'm going to try and make sure that this middle section matches with this guy right here.

And it's just a matter of creating the little bridge.

As you can see, this little bridge where you need to position as close as possible to the actual to

the actual border, because this is going to capture the silhouette and we want to make sure that it

captures it in the best possible way.

Now, you might see here that there might be a couple of areas where we're not going to be able to properly

match the number of edges that we have on one side and the proper edges that we have another like here

again, try not to have triangles on that union.

I'd rather have a triangle down here.

So I'm going to do something like this.

That way we can capture this nicely.

And then the triangles down here in an area that's not going to be modified.

Now for this area, we need to, of course, do a little bit of a trick.

So I'm going to do that.

I'm going to do the three to one, remember?

So one, two, three is the opposite version of the of the of the little setup.

Now, here, we're going to have a little bit of a triangle there.

I know I just said that we should avoid the triangles being there, but I don't think this is going

to be that that.

And I mean, it's actually going to help us hold the this word even better.

So it's going to be of benefit to us.

Here, careful with the reverse faces, sometimes doing it a couple of times works, other times you're

going to have to look at the face going to display and he had reverse both of them work.

Here, we're going to do the same thing that I just mentioned, like I don't want this to be a careful

here, see how we're going to captured the shadow there.

It's going to be a little bit of an issue in the normal map.

We'll see that later in the texture's.

I'm going to explain how we can fix that as well.

Now, here, I'll rather have as I mentioned, this is going to be a three to one as well.

So, three, to want to get like the proper.

Hide these guys are a little bit too high.

Let's bring them down.

One more line to relax the whole thing.

Because we don't want things to be extremely.

Asymmetrical one.

Remember, we want everything to be roughly the same proportion.

So, for instance, here, it's fine this fine.

It's actually looks nice there, the one line that, remember, this was a triangle that's fine work

and a little bit less a triangle, and then we just snapped right there.

And here is square square.

Bring this light out and a little bit of a triangle.

Perfect.

And there we go.

So, as you can see, our booth is ready.

It is a little bit complex.

It's not as easy as other parts because it has more silhouette.

And that's one thing I want you to remember from this video.

Whenever you're designing a character, monster creature or whatever you're going to do, just keep

in mind that every time you do something that changes the silhouette that I think spikes or horns or

like very intense elements or props, all those things that change this world will need to be read,

apologize in order to capture.

That's what and it's going to be a little bit of extra work.

And that's why you see a lot of creatures in video games are very simple, just like bold aliens and

zombies with no, like, definite or interesting.

She was just like a basic human silhouette because more often than not, you don't have enough time

to to do all this work with every single character.

So you spend that time on the on the main characters are the main bosses.

Right.

And everyone else is a little bit more generic.

So here again, just to save a little bit of time, remember, we can do the.

The this technique where it's clear that's where we go for.

Some fast.

Or let's clear that I'm going to use Taqi just extruders out, out.

About.

Uh.

All the way out.

Don't try to draw each square by itself because you're going to go crazy.

Be smart, work smart, not hard.

There we go.

So now one oh, one, two, three.

And we just.

Finish this year right there, a little bit of relax there, too, to make sure everything is flowing

as nice as possible and that's going to give us a very nice to watch you make sure it's important,

make sure that the density of the topology is the same equal.

For instance, if you check the density of the hand and then you check the density of the feed, it

looks quite similar.

However, as we go higher, you can see this here, we're probably going to be reducing a little bit.

We don't want to have as many polygons going into the leg because then it's going to be really complicated

to to stitch everything together.

OK, so keep that in mind, guys.

Keep working, keep moving on.

Try to finish the field before you move on to the next video.

In the next minute, we're going to be working on the ELEX.

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

Bye bye.