Original subtitles

Hello and welcome to this chapter. In this chapter we are going to retopologize the character and then that retopology we are going to continue sculpting on that and do a subdivided sculpting workflow.

We got our sculpt here from the last chapter and that's going to be the base for retopologizing.

We are still going to continue sculpting some more detail and refining the forms but I'd rather do the final version of all those things on a retopologized mesh.

Because when we get into a low poly character then the mesh is really going to matter for the specific detail.

So I want to get the low poly in as soon as possible and I think we are in a good stage to actually be able to do that.

So that's what's going to happen.

In terms of the method for retopologizing then I use a method where I kind of shrink wrap a bunch of low poly blocks to the mesh.

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And then that kind of gets subdivided and shrink wrapped, subdivided and shrink wrapped and it's actually quite efficient and fast I think.

It's definitely preferred over more traditional retopology methods but they can also be very useful.

But for this I really prefer this one.

Cool, so let's get started.

So the first thing we are going to do here is we are going to create a cube.

I'm also going to set it to random just so we have that color difference.

Then I'm going to cut down the middle and then select half of it here and then delete that and then mirror this one over.

Then I'm going to set this to clipping and bring this one in here.

Cool, then I'm just going to start placing this kind of roughly where I need it now and I got it like that.

Then I'm going to delete faces there and something like that.

Then I'm going to take my subdivision surface here, apply that to it and then I'm going to grab a shrink wrap modifier to it as well.

So I'm going to get shrink wrap, there we go.

And just put that on top here like that and then we got a shrink wrap.

And then what we can start doing is we can start manipulating these edges and placing them in different spots.

But to have even more control, I'm going to go up to snapping here, turn snapping on and then take this one and set it to face project.

So now when I move something around, it actually attaches itself to the face.

So we kind of both have the shrink wrap and these control points.

In reality, you could just only use the shrink wrap or only use the face thing here.

But having both just means that if you're missing some of them, it still works quite well.

So this is just a precaution kind of, but it's quite useful.

So it's so low res right now that it kind of just falls through a little bit.

So I'm going to give it a bit more dimension here, bring it out if I can, then just see what we can get here.

And I'm also subdividing the mesh, so that also becomes a thing.

And then here we got that hole there and then we could turn on ghosting and then we can start seeing what's actually happening here.

And we also got this one here that is kind of closing itself off.

So I'm going to use a knife, I think.

Maybe not a knife, or it could be a knife actually.

I'll use a knife like this, cut there, delete that.

Then cut a knife like that and a knife like that.

And then I can pull these ones higher up here.

Put this one there, put this one there kind of.

I'm starting to get a little bit more of that thing.

And I think it can be an advantage sometimes not having the mirror after the shrink wrap.

So that the mirrored model is what...

So it first shrink wraps and then it gets mirrored.

Wait, let's see here. Does that work for us?

No, okay, we're going to keep it like this and then we'll just deal with that.

Nice.

And if it's not really behaving the way you want it to behave, then you could also go here to the shrink wrap and just increase the offset a little bit.

And then you get something like that instead.

Let's see here. You could also use the projection, but that doesn't work as well.

So let's just offset it here a little bit.

And then we can start adjusting these things here.

Ghost mode.

And I'm just placing these things around where they kind of make sense.

Like that, like that, like that.

And I'm keeping it very low res.

And that's kind of on purpose to make it simple.

This way it's a lot easier to control the topology flow.

And then you can see that we've got this now, but then if I start increasing the subdivision surface here, then we start getting this kind of stuff.

I'm just going to set this back to zero.

And then you see that we're getting that right there.

So it's starting to wrap a lot more nicely.

Like that.

Let's just make sure that we have the right orientation on everything here.

Yeah, that all looks good.

Just checking the face orientation there.

Then back to ghost mode here.

Then here now we can just start extruding outwards.

Kind of like that.

And then we can take the individual pieces like this and just make them work like so.

And then they just wrap to the whole thing.

And we're starting to get quite a nice wrapping process already.

And we've got that thing going over here.

So maybe that.

That, that, that.

And just introduce some edge loops where you need them.

Probably need one here.

Need one there.

I can see the underlying kind of topology there.

I might need a little bit more just getting it just a tiny bit more there.

You can also go to object and then say viewport display and say in front.

Then you always get it in front.

It's not quite as nice to work with as this just because you lose that relation to the form underneath a little bit.

But it can also work.

It might work better for you depending on exactly what you're doing.

Then I'm going to get this one here.

Actually maybe I can bring in another one like that.

That seems pretty good.

Like that.

Get this one.

Start rotating this one out.

Bring in this here.

Something like that.

So that's kind of the cool thing with the string wrap is that it's already kind of working for us.

But then we can make it a bit more precise with this.

So I can just pull stuff out and then it kind of just works.

And then I can adjust it if I need to.

And I can bring in something like that.

And then we got that as well.

So that's quite good.

Nice, nice, nice.

And get this one there.

Get that one.

Another wrapping process there.

Cool, like that.

And that's where you can really adjust and get it more to what you would want.

Yep, starting to get a more proper retopology here.

And you can always come in and then you can move these things if the flows aren't the way you exactly want them.

If the faces aren't really good.

But right now we just want to block everything out.

We can also just decrease the subdivision level a little bit.

And keep it even simpler like that.

But it's quite fast.

We're working our way through this model really fast.

And that's kind of the point.

Versus a lot of other techniques.

Which might not have exactly the same going for them.

And then we get to a point like this.

Where we say, okay, you know what, we just want to have that happening there.

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Maybe we'll put that down.

Maybe we'll put that down.

Maybe we'll put that down there.

And then maybe we go through.

Let's see, that was not the one.

This one.

Like so.

And then we got this one here where we might be needing a little bit of edge loop.

So put that in there.

Like that, so it's connected there.

Going to try putting this on in front here.

Just to see the edge loops.

So that's looking pretty good.

Looks kind of nice and clean.

I really like what's going on here with these ones.

They're flowing nicely into the chest there.

That is pretty good.

And as you can see the silhouette is probably a little bit different with this level here.

Of resolution.

So we could actually use a little bit more rest there.

I also want to count how many edge loops I have around this one.

And the way to do that is to kind of, you can go up to, where is it here.

And then say statistics.

And then you select something like that.

And then it tells you, okay, there's seven edges selected.

And I'm thinking maybe eight is a good number.

You kind of want a very divisible number.

We got two there, two there, two there.

And maybe one, where are we missing one?

Maybe one across the chest here.

That seems reasonable.

And then now we have eight edge loops around there.

That's so good.

So good.

And here we can start, you know, really placing these edges where they're most useful for the form.

And that's what I was kind of talking about, that this is where we can get a little bit,

not necessarily creative, but like decisive, or also creative.

We're kind of choosing the right places to give extra attention.

And we can also see how it looks without the thing, right?

So if we go down, then we get this level of simplicity, which can also be really good,

having something this low poly, if that's what you're going for, right?

But we're kind of approaching probably something more along these lines, right?

That's the level of fidelity that I'm probably going for.

We could also go one step further, and then we see we get a lot more fidelity.

It can also be a good way of wrapping this.

So let's see here.

I got that there.

And you always have this like low poly one, so adjusting these is quite easy.

Let's see here.

I got that there.

That there.

And it's a little bit of fiddly work with this stuff here.

You're just kind of going around and marking them all in.

But again, if you forget one edge, but it looks kind of okay, then this all works.

You don't have to necessarily hit every single one.

I'm just doing this now to keep it neat.

Like that.

That's looking pretty good.

Then we can start building this out here.

I can see here the clipping is getting a noise.

I'm going to turn off the clipping.

And then bring that in.

Bring that in.

Then we say I kind of want to establish the first part of the leg here kind of nicely,

so it doesn't become an issue.

Let's see here.

Like that.

Like that.

Like that, like that.

We also want to make sure we probably have eight or more edge loops around this.

That's also something we should check and be aware of.

Let's try getting these ones also kind of neatly positioned here.

Like that, like that.

Looking pretty good in terms of wrap.

Let's see how many loops we got around here.

We got 10.

That's not too bad, but we could use a bit more.

I'm going to put one in there.

I'd rather have 12.

That's okay because the leg is a little bit bigger than the arms.

I'm just looking here for a good spot to put them.

I can't really put them here because that one goes all the way to the arm there.

It would be a good place to put it though.

Is there one I can remove from the arm then?

Okay, actually the one on the bicep there.

We could delete that one.

Control, delete.

And then instead I could put that one there.

Then I put some detail there.

The chest still looks pretty good.

We could always maybe get some

where with the chest in a different way.

If I just say shade flat here, then

it does look like all the chest is running that way.

We could maybe have some stuff that

runs across this one here.

Hmm, that sort of depends.

It's also good that the edge loops are like this.

That means it's going to be quite simple for deformation.

This stuff here is actually bothering me a little bit.

Like how it's wrapping around here.

It would almost be better if it wrapped around there a little bit.

So if I go down, then I can see that

this loop here, they're all going down to the arm.

I think that's fine here, but actually maybe this one,

these bands here, I would maybe like them to go that way instead.

So if I delete this one,

and then

let's see here, delete this one also.

Delete this one, and then get this one to go that way.

Instead, and then

this one can be here.

Now this loop goes that way,

but then if I instead get it to

go, so I need to delete these two here.

Then I see this one should go there.

Then this one can then close up here.

It's a little bit confusing here, but I think it

works itself out in a way where I now have a loop like that.

That's a little bit nicer for how the chest

deforms, I think.

Let's see actually if we increase the resolution here.

What do we get? We get that there.

That's probably because of the

expansion there. Okay, nice.

That's actually working out pretty good.

You can see you can really go up in the resolution and you're still maintaining

somewhat of a good

flow here.

Like that.

Cool.

I might need clipping on again here. If I'm doing all the stuff in the middle, then

you want clipping on to take care

of it.

Like that.

Let's see here.

Cool.

Maybe it's something like this that we're going for in terms of

resolution. That would be double

of what we have. We've got 16 around and that seems pretty good for

a low-res model. We don't really need to go that low-res, but

I think it's also cool to see how much you can actually get out of

that low of a model, like that low-res

of a model. I'm going to turn on clipping here.

There. Then I can bring this down here.

Bring it in.

Just bringing all these in here

one by one.

Like that.

Sometimes it's a little easier to start with a base

mesh, which I definitely also do. You just get one nice topology-flowing

base mesh, but it's also good to be able to do this

on your own and know what you're doing.

That just allows you to do other

forms where a human base mesh might not

fit right. If you're doing some kind of creature or

whatever you're doing right, then

you have a way to also do that. This is not the worst

kind of work. I was using some other methods in the past

like

more straightforward topology tools and they just took so long

for me. It can be meditative, but this is

so fast in a way. I see the results really fast and the results

are good enough for me because it's for a game.

I think it ends up

just working for me, especially when I get the shade smooth

then it's like, you know what, this looks absolutely fine.

That's

kind of what I need. I don't need it to be

perfect because I think

we're doing this character for

an action RPG kind of thing and the character is going to be far away.

It's not the end if the character

isn't absolutely perfect, but still I want to do it nice. I'm trying to do a good

job here, but you can get away with a lot of things.

I think that's what I'm trying to say. A lot of little mistakes and stuff

and it'll be fine.

Like that.

Like that.

Let's see here.

Cool.

I got that going on there.

We pretty much got the entire body here

and we haven't even been going for that long and that's really for me the power

of it all. Let's see how many loops we've got here. We've got 6, which means we've got

12 in total and I kind of want one more loop

here, which means now we've got 8 and then we've got 16.

That's a little bit better. That's good. Nice.

Then we need to start thinking about

how it folds here.

Oh, actually, it could use a loop here.

But then that's going to go down into the arm

and the arm does not need more loops.

Interesting. We've got one there.

We've got one here.

Let's see.

It can be good

to have a few details, especially in the crevices

because stuff gets kind of tight.

Okay. Like that.

Not looking too bad here.

This is working, I think.

That's nice. Let's see. We've got

this edge loop there. That could also use a little bit

of adjustment here.

Hmm. Maybe we should increase it to

10. Then I put one in there so I get a bit more detail there and then one

here as well. Then

we get a bit more definition on the shoulder there

and then I could always go down and we still have a fairly

simple one. This one is now on 9, which gives it 18 in total.

18 is okay. It's also divisible

by 6.

Maybe that's okay, having 18 there.

Okay, cool. Because I do need quite a lot of resolution for the head, so it's good to already have

some resolution established there.

Turn on clipping here, just so I can do that

without too much issue. Then I think

I'm going to start just building that out.

This is a bit more of the

simple approach where I'm just going

to get it out here. I do want to create a mouth,

so at least the topology

for the mouth. I'm not going to be animating the mouth or anything like that, but I think it's worth doing

the topology for the mouth.

We would need a loop like this

where we kind of have

a strand around everything. I'm going to get

this here, bring it up like that,

then like that.

That's the cool thing with the really low topology one here, is that you can just get this

working without too much effort.

It's like that, and then you have the mouth loop essentially,

and then you could increase it like that, and then

there we go. That's the loop for the mouth, so now it can

move properly. We need a similar thing for the

eye, so I can just get this one up there. I'll just turn off clipping.

Move the eye up here.

Then I can close this one off. I'll just

delete that one. Then I get that.

Then I get that here.

Then I get that here. Then I get that.

That there.

Let's see here. We also want to count our loops

here on the eye.

I'm just going to select these here. There we go.

The loop here on the eye now is 11, so that's not

great, so let's make it 12.

Then we got this loop essentially.

Then we can put this somewhere.

It's a little bit easier just having the topology, then we can always correct it

so that it works later on.

That's basically that part. Then everything can be connected

up again and be simple.

Nice.

Like that.

...

Then we have it like

that, where now we have less topology here on the chin, and I want

to connect it there, so I can just do that. Then we can

make that work somehow, like that.

Then we have

those things there.

Let's see here. So we get

this stuff here. We can merge these two, pressing

M, Center, like that. We could actually

use Blender's Polybuild tool here. That's the tool

over here, and that allows us to do stuff like this, or to

manipulate things.

Holding Ctrl, you can do these triangle things, or you can kind of just

... I think we can make it so that it

auto-merges a little bit more. Let's see here. If we go over to

the tool properties, then we say auto-merge there.

Then I think

... yes, there

it auto-merges, like that. We could increase the threshold a little

bit, so it just kind of

...

like that.

Then...

This tool is quite nice for this kind of stuff here.

Probably need a little bit more resolution here.

This is not

a lot of resolution that I'm getting here.

But this tool is quite useful. This is a good tool.

Like that.

I might also be overdoing the nose here.

Like so, like so.

This is kind of the more traditional tool, and I think the convention is to

do this across the body using this tool to make topology, but I find

this wrapping thing so much faster

for just general

work.

I'm going to bring this up here, bring this around the head.

There's no right or wrong way to do topology,

but there are definitely things that can help you. It kind of depends on what you want to do.

I want to have some control

of the eyes and the

mouth and stuff, so I'm putting topology around that

so that can stretch and stuff, but otherwise

it doesn't really need a lot.

I don't want to be too...

I don't want to be too careful essentially

with how good my topology is

or whatever. I don't mind keeping it simple.

And here I can do something

like that.

And then I can here, I can kind of just say

let's see here.

I'll go back to this one.

Just fill these ones out like that.

That's pretty good. Then here I have a little

if I press F3 and I search grid fill

then... no, because we've got an uneven edge loop amount.

So if I have one edge loop there

let's see here, we've got that one there,

we've got that one there. I could put one here

and then, can I then do a grid fill? Then I can do a grid fill and then it'll essentially

fill that out with the kind of topology that it needs there.

So that's quite neat.

Very good. And then this one could probably use

another one. Just put that out there.

Go back to the poly tool like that.

...

Bring this in here.

...

...

How would I want to do this one?

...

Let's see here.

...

Like that, like that.

...

Very cool. Then I've got that there. I wonder if we could do

so there's 13 in there. We could try

another 14. If I do a grid fill, then yeah, it'll just

fill it out quite neatly here.

That's just super handy, that kind of a tool.

Then I can just adjust these a little bit if I need to.

Also pull them back a little bit if it's a bit too much.

...

Just going into edge mode there.

...

...

...

Cool.

...

Just adjusting this thing here. Making it all

kind of work.

Like that, like that, like that.

...

Pretty good.

We got that stuff there. I might set this one off.

...

Then here we need to get this connected

up again. Could do something like that.

I think usually that's the method I go by. I just

connect one thing and then the rest becomes this puzzle of like, okay, if that one

is connected like that, how does the rest need to connect?

Here, if I look at it a bit lower, then it's just

these ones that connect somehow.

There's one big plane, so it's like, okay, is it better to

connect it that way and then connect this like that?

It kind of looks that way.

Actually, that worked out pretty well.

Do I want something like that? Then I can do that.

And then this one needs some kind of connection here.

...

And that's a pretty big jump there, so I might put it in

like so.

Then here, what do we have here? So we have eight

in there. We could try grid fill and just see how it takes care of it.

...

Not absolutely the best way, but

it creates a loop there.

Yeah, I don't think that's the way I would solve it, actually.

I'll just try undoing that. Maybe I just need an extra

loop here and

there, then underneath there.

And now we've got eleven.

Could also remove that one and try grid fill again.

Yeah, that's a bit more reasonable. I think that's

that lines up with kind of what I would want

to happen.

Yep. That actually

works quite well.

Cool, cool, cool.

And we are going to get in the proper

eye shape for sure. Right now it's

just a topology that would allow us to get it a bit easier.

Okay, so we do have this shape here.

Alright, so that's what we created with the grid fill. I think maybe we can do it a little

bit better if I

figure out something

a little bit less extreme with

this stuff here. Just bringing that in.

And then maybe

if it becomes like that. Okay.

Let's try this instead.

There.

There. Then we've got

two there. Hmm. I could do that

or I could also bring it in like that.

And then we've got that and that.

Not the smoothest

but I think it works. Okay, we've got

a little bit of an artifact here.

Is it because they're flipped?

Okay, some faces got flipped here so I'm just going to select everything. Alt-N

and say recalculate. Then it's all back

to normal here. Shade flat. There we go.

Okay. Then

move this in here.

Move that out there.

And bring this up.

Then we bring these things together.

Like that. And here we got seven.

Seven connections.

Another opportunity to bring a bunch of stuff together.

Let's see. We could just do it across the bridge there. I think that's

fine. And then grid fill it. Hmm. That's not

how I would have done it. Maybe like that and then

like that. Like that.

And then like that.

Yeah, I actually think that works. Okay, now we also

need to connect it to this bit here.

So we could get it

like that and then

just bring these ones in here.

And now those are merged because the

auto merge still counts on this one.

Then this one can. Yeah,

that actually works out pretty well. But then this one needs

a new connection. So I'm going to bring this one up.

Bring that one up there.

Like that. Cool.

Then this one can connect there.

Yep, cool. Then I can start pulling up from the

back here.

It's a little bit hard to see with the in front on.

So I'm just going to bring it up like this.

And then with the ghost on

it's going to be a bit easier.

Don't know what happened there, but just redo it.

Then I can just connect here to that.

Like that. I don't need so much resolution on

the back head. It's not a very essential spot, right?

What do we have here so far?

Yeah, this is not too bad.

Let's see here. We've got in front. Then we want to connect

these things here. So that is

taking a little bit of the area here. I want to spread these out a little bit

so we don't get clustered here.

So we do have that one going across there.

Which is also okay. Like it is a game model.

So it's not going to be completely essential.

And we could even them out a little bit

in some sculpting tools. Then in

sculpt mode, then there's this slide relax.

And that can kind of even out these

faces a little bit.

So they're not as even.

And that can be quite helpful. But don't do it on places where you specifically

place the edge loops. Where you're like, okay, that's actually a good spot to have them.

So you can do stuff like that. Or relax things.

Or smooth things out. Or stuff like that.

And you can do the same here on the chest, right?

If you needed to, then you can just do that.

That also works.

Okay, cool. It's going pretty well.

So let's just continue. I'm going to turn off the in front thing and the ghost thing back on.

Then I need to start

connecting these things here. So let's see

what we got. Maybe we can bring this one down.

And just line this one up. So that

it connects here. Like that.

Oh. Like that essentially. There.

Connecting there. And then I also have a bunch here I need to connect

up with. But I can connect that one there. Connect that one there.

Bring in one there. Dup. Dup. And then sometimes it

just kind of lines up quite nicely. Pretty good.

Pretty good, actually.

Then we have this ear here. I'm just going to leave a hole

for now around it. So I'm going to cut out this piece here.

And then

Should we

make it go around like that?

It would be nice if that one connected

to that one a little bit more.

Go back to a solid. And then

we got that there.

Yeah. That feels

pretty good. In terms of

showing the ear and controlling that.

And we do have some topology here to actually spread these out a little bit.

So we can. And that's good.

Okay. So then we want to move across the back of the head here.

Let's see if we can just bring in the

faces here. What's the best way of doing that?

Probably just merging there.

Merging there. And then

the same thing.

Let's see. Go up here.

And we want to go all the way up there. This is where we start

bending it a little bit.

And then we have. If I go there, then there's two for that and three there.

And then there's two there to one there. So actually

I want to make this one go up here.

Then we get a little bit better.

Like that. Then I just place these ones.

Like so.

Then these are wrapped around there. Then we could go

like that. Then we need to wrap these things up.

So I could go here.

Like that. Like that. Like that.

And then one like that. Pretty simple. And it's the back of the head. So you don't

need that much. So that's absolutely

fine. And then for this one

we got 14. We could try a grid fill just to see if it solves it

in any kind of reasonable way. It goes down here and then it creates

that plane there.

So what you can also do with the grid fill is if you say grid fill, then you get

this little bar here and then you could offset it.

Then maybe there's one that works a little bit nicer.

No, I don't think so.

This actually doesn't. If we get

16 instead. Let's try that.

Grid fill.

That's not too bad.

Then maybe we can go around here

giving it a little bit of space. Like so.

Yeah.

And then it's kind of increasing in resolution

as we're getting closer and closer to the face. That is also

good.

If we just isolate this one. That's not what I wanted to do.

Just isolate this one.

Then here now the

it's kind of more and more resolution as we're getting closer to the face.

And the back there

looks like that. Yeah, that's good. So you get this

contrast where the body is a bit more low resolution but then the face is a bit higher resolution.

And that's typically a good thing. Because if you're doing any kind of

facial deformation, then that's the relationship

you want. And you can see if we go even higher here, then we got

this thing going on.

And we got even more. I like that. But even the low one

works quite well, I think.

That is quite interesting. It would probably be a little bit too low for what we were doing. But going

one step further we get this. And then we have a lot of

resolution in the face. So that's really good.

Nice. Just going to turn on the wireframe here.

And then turn this back on.

So we got this

going on here. That is great.

Let's see.

What else do we need?

Moving the entire side inwards there. Then we got to do

the ears and

some inside stuff for the eyes. And the inside stuff for the

mouth as well. And then we got to do the hands and the

feet. Okay.

We're moving on to that then. Let's see here.

I think before moving on a little bit, I just want to talk about some of the different

shrinkwrapping methods. Because you might get some slightly different results.

And your mileage may vary. So I just want to show some of the options basically.

For this method. Which can help. I'll just set this to

in front again. Like that. And then

if we go down to the shrinkwrap itself, then you can see here there is

near surface is the current model it's set to right now.

But if we switch this model to project, then you can actually

do a whole bunch of things. I just want to reset this one here.

I think this is how it is. So by default it just looks like

this or something. And then you can, if you turn on negative

and positive, you get a different

kind of wrapping. And the cool thing is that if we just increase the

resolution here a little bit. And then if we go to wireframe

like this. Then you can see how it wraps differently than

nearest point to surface. So I'll just set it to nearest point to surface. You see everything

is a little bit more squiggly with the nearest point to surface.

And that's just the nature of how the math

is happening underneath. Project sometimes actually gives you a cleaner result.

Not always. I have some kinds of forms where nearest point to surface

works a little bit better. But project in this case actually

seems to be doing a little bit of a nicer job with keeping those lines

straight. And also you'll notice that if we set it to nearest point to surface

then we're getting some asymmetry.

Where project is actually keeping the symmetry the way we want it.

And so switch to

project instead and remember negative and positive on it. And you're going to get

a much nicer result. When we do the

whole thing I might actually come back and then recalculate or like

kind of redo the middle line. And just make sure that it's all clean.

Because I want to be 100% sure that it's completely symmetrical.

And it might not be right now.

But for now it's definitely working.

So yeah that was just a little thing about the shrinkwrap there. So we have some holes

here and there that we need to cover up. Hands, feet and

ears, eyes and mouth. The last thing I will

do is the hands because they need a little bit more attention.

And they might be done slightly differently.

So I'll start off with doing these areas up here.

And if you actually want to see what the topology actually looks like then you can turn

off optimal display. Then you should be able to see

the actual

wireframe of the subdivision here. And you can see how much

division there is when it looks like this. And that's quite a lot.

And I'm not going to go beyond this. That's basically the

level of resolution that I will be on. So two levels of subdivisions

for the final game model. But yeah, just in case

you were curious about how that works.

Okay, turn this on again just for simplicity.

And then we are dealing with this one here.

And the ear is something that, you know, we didn't

do a great model of it yet. That will come a little bit

later.

But yeah, hopefully we can make that work. And right now we got 10 edges so we could

probably grid fill it.

That actually is not too bad.

And then do we want to introduce an edge loop like that?

Yeah, you know, actually I think that

kind of works.

Yeah, then we got a simple ear there. Nothing too complex and

we don't need that either. So that's totally fine. But then we got the

mouth here. The mouth, let's see.

So the interesting thing with the mouth is that

we, what do we want

for this one? We probably want an inner lip structure

here. We probably want an edge loop around the eyes.

One more there. Selecting this here.

Let's just see what we're actually getting here.

We're getting quite a lot.

Hmm. Well, that's

not too bad. Then we could...

Yeah, I want to bring this eye in essentially so we can create lids.

But I might wait with doing that

until a bit later.

I might close this up though. I think that's what I'm going to do. So I'm going to grid fill it.

Oh, we got 11 vertices right now. That's not ideal.

Let's see here what we can do to

help this along here.

Hmm. We could do that.

Also, can I delete one?

Oh, nope. That doesn't work.

That doesn't seem

great either.

Wait, there's a triangle here.

Oh, I did make a mistake here.

There we go.

There we go. Then I could...

Then now there should be...

It was a square. I'll just undo here.

Right, that's obviously not going to change that. That makes sense.

Because it sits there. But there's a triangle there.

So if I delete that one, but then bring in another one...

I can't have it here.

Hmm, that seems strange.

Wait.

The project might be a little bit

heavier than the other one.

Just something to keep in mind.

...

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Okay, wait. What's going on here?

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Sorry, I'm just going to take a little bit of time

to figure out exactly what's happening here.

Something is just happening to the performance. It might be

the wireframe calculation.

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