Original subtitles

Very well guys, so let me bring my Pura file right here. I'm going to right click and make this canvas, sorry, mode and always on top.

Always on top, there we go.

And we're gonna make this smaller.

So otherwise we're not gonna be able to see the whole thing.

So let's make this guy smaller

and let's position it right around here.

So this next stage is what I like to call

the proportion blocking, which is, okay,

we got this like a Gumby sort of thing,

like a very basic clay armature, very basic construction,

but it will be good if we can start like defining

some interesting parts of the character

and making sure that we're obeying

the sort of like proportions rules

that we talked about in the first video of this chapter.

So I'm gonna use my move brush here

and I'm gonna go to the head.

And the first thing I'm gonna do

is I'm gonna push the head out

and start creating the sort of like blocking that we have.

Now, I just noticed a very bad mistake that I made here,

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but I'm gonna show you how to fix it.

What was my mistake?

This guy is facing back because this guy is telling me

that the front is on this side.

No problems, let's just go to the front view

or to the top view.

I'm gonna go to R and just rotate this with shift

and 90 degrees so that it's facing forward.

There we go.

So as we've mentioned, usually the chest is gonna be pushing back

and then the neck is gonna be coming

in this sort of like direction from the chest

and we're gonna get the head on the top part.

So I'm gonna grab my move brush, make it really, really big.

I'm gonna push the back so it's a little bit flatter.

Usually when we see the back of the character,

the back tends to be really, really flat

and you can see the neck like pushing right around there.

Also, I'm gonna remove a lot of volume here

from the chest just now.

I wanna kind of like debuff him for just a second

and we're gonna get this character right here.

Let me show you real quick.

There's a very important male proportion graph

that we use quite a bit.

Male proportion graph.

Anatomy.

There we go.

It's this one right here.

So I'm gonna copy it.

Let's paste it here in pure ref

and let's make it a little bit big.

So this proportion graph is really important because here is where we can see again

how the different volumes are playing with each other. So for instance, the butt of our character

is going to be aligned with the back of our back with this part right here where the

scapulas are. Then we have this dip here on the abdomen, we see how far the chest is pushing.

This is of course for a like normal human, but in this case of our Oni who is heavily stylized,

we're just going to take the same sort of like principles that we have here and push it to 11,

so if we take this into account, it's going to be very easy to see that we need to use

our Move Brush for instance to bring all of this mass forward or back in this case,

push this in as well and now we can inflate the chest here a little bit more.

On the Oni, we can also use our Move Brush. Let's just do the very quick horns right here

just to give ourselves a little bit of an idea of how this thing is going to look. Let's Dynamesh

and whoop, we get this very, very weird problem. That's very weird.

Now, I think the reason why this is happening is because I rotated the character and for some

reason it doesn't like that. Let's go to geometry real quick and I'm just going to do a mirror and

weld. And now when we dynamesh, it should work perfectly fine. Let's try this again. There we

go. So the mirror and then weld is just going to like mirror from one side to the other. It's

going to forget that it got like rotated and now we're good. So yeah, there we go. Again,

with my move brush, the thing that I want to do right now is I just want to capture like the

main shapes of the character. So I can imagine that that back here, we're going to have like

the big trapezius muscle. I'm just going to push the silhouette up a little bit right there

because it's a very, very bulky character. And we're going to use our dimension standard to

start marking some of the landmarks of our element. Another thing I'm going to do is I'm

going to change this skin shader to our starter material. You guys remember the longer one that

we've used before? So let's go right there. So this is the middle section or the middle line.

And we can see here on our character that we're going to have the pectoral muscles right around here where the clavicles are.

So I'm going to create a line going from the clavicles towards the shoulders.

Again, bony landmarks are very important because they're going to allow us to build all of the things that we want.

On the face, I'm going to create a center line right here and I'm going to create the eyes right around there.

I can see that the eyes are a little bit higher than other things.

We also have some pointy ears. So again, move brush and let's just create the pointy ears right there for our character.

If the horns are too thin, we can use a V, I and N, which is the inflate brush.

And we can inflate the horns a little bit more so they're a little bit stronger. There we go.

Now, how can we properly measure the heads of our character to make sure that we are following the same proportions that we have here on our concept?

There's a couple of ways to do it. I'm going to show you two right now.

The first one, which I particularly like quite a bit, is using some cubes as lines.

So I'm going to create a cube right here.

I'm going to make this very, very thin, but not thin enough that we don't see it.

I'm going to position this right where the head starts, or where the hairline starts,

and then I'm going to press Ctrl-Alt, and I'm going to move it down here to where the

face is, to the chin.

So that's going to be my head-like proportion.

Then what we can do is we can just, again, Ctrl-Alt, duplicate this, align them as close

as possible to the last one, so right around there, probably a little bit more, and that's

where the nipples are going to be, and then this one is where the navel is going to be,

and as you can see, this is where the pelvis should be.

So far, we're in a good position, but then if I do one more, two, three, four, and five,

you can see that we're not actually there, compared to the concept where we saw that

this guy's nine head stall, we're still like...

Almost there but not quite. So I'm gonna go to the character here and what I'm

gonna do is I'm gonna mask out all of the hips right here, invert the mask and just

scale them so that we actually reach the floor right there. So it's gonna like

stretch the legs a little bit more and we're gonna get the proper proportion

that we're looking for. Now you can see on the concept that he's standing with

his hip like thrusting forward. So one of the things that we need to do here, so

I'm gonna press B, M, V with my move brush. Let's turn off this guy's for just

a second and let's modify the positions of our character right here. There we go.

Of course we can start playing with the thickness here and don't worry again

about all of the muscles, we're not doing that right now. Now here I'm gonna show

you two very important tricks to make sure that all of our things are balanced.

If I go to the base of my clavicles right here and I draw a diamond shape,

okay, again imagine if we turn this guy on.

We already know that that's the nipples, so the navel should be around there on the third line.

So if I draw a line from this guy to the nipples and then to the navel, we should see a very

equilateral like square right here, okay? If you don't see this shape, if this shape looks

too elongated or too short, then that means that your proportions are a little bit off.

Then from the navel we're going to go to a specific point on the hips that's called

the superior anterior superior iliac spine, which is a little like bony position. Don't worry,

we'll talk about this when we get to anatomy. It's going to be right around here on the hips

and then to the groin. And again, if we draw a sort of like a diamond shape, it should be a

fairly diamond shape right here. Actually, now that I remember, this should be the diamond shape

and the navel should be a little bit lower, should look like a kite. So it should be right around here

and we should get this sort of like kite shape. There we go.

So that kite shape is really really important which tells me as you can see here that some

of my proportions are a little bit off. What do I need to do here? Well right now I'm gonna ignore

the little like head sizes or head count but I can probably think that my head is a little bit

too small so I might need to make it a little bit bigger so that this thing's aligned properly to

where they're supposed to align. You can also see actually it's not that they're aligned like

improperly. I think they're too big so let me go into my mask lasso. I'm gonna mask everything here

except for the head and if we go up here and we scale this down there we go. That should match

the scale a little bit better but now he looks way too short. I'm just gonna keep it like this

for now okay so let's let's follow the the little kite guide for now. The other way in which I can

show you how to do the head proportions is by using the old transpose line.

So if I go to W, you guys remember that we're right now on the gizmo.

I'm going to click on this gizmo right here.

And now we're going to be into this transpose line.

And one of the cool things about this transpose line is that

it works on like a ruler.

So we got all of this points that tells us how many units we have right

now, they're like arbitrary units.

So if I just press shift and drag down, you can see that this face or

the head is measuring 0.7 units.

But what I can do here is I can drag a new line going from the hairline to

the chin, which we right around there.

And if I go to preferences and then to my transpose units, I can set

the calibration distance to one.

Okay.

And set the units to one.

There we go.

Oh, units is fine.

And nope, sorry.

I made a mistake right there.

Preferences transpose units.

We're going to set this unit to one unit.

There we go.

And the calibration distance is going to be one unit.

It's perfect.

So now, as you can see, this distance is one unit.

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And what happens now, if, if I go, let's say from the chin, if I start

measuring from the chin down, I should be able to measure when the foreheads

end, which as you can see, the foreheads are going to end right around there.

This is going to give you a more precise definition.

You can see that the second head ends right there and the third head ends right

there.

So it's one, two, three, four, and then the main half.

Um, so yeah, this is a perfect way to also measure things.

So ideally if we measure distance, this is where the, uh, roughly where the

nipples are going to be like right around there.

So you can use either one of those options to check proportions.

You can use this one right here, which is the cubes.

I particularly think this is a little bit easier for beginners.

And if you want to use the transpose line, this is hit right here.

Now just keep in mind that if you want to go back to the gizmo, you're going to

have to delete this gizmo 3d again.

And now we're back onto the gizmo.

So that's the first part of the, of the whole like proportion, proportion

blocking here for a character.

Again, don't worry too much about anatomy just yet.

We're going to be like modifying and adjusting that.

Don't worry about the cloth either.

We're going to be focusing on all of the anatomy first, and then we're

going to address up the character.

We just want to get like the general, the general idea of where things are.

So let's keep going with some important landmarks right here.

This thing right here, by the way, this sort of like kite and, and like a

square that we're going to find right here.

This is called constellation drawing.

It's a perfectly good way to, to like find again, the bony like

landmarks of a character and use them as a guide to generate the rest of the.

So from the clavicles, we're going to have the humerus.

The humerus is the bone that goes down the middle of the arm, right around here.

And again, if you like draw an arc, you should have the navel roughly at

the same distance where the elbow is.

So the elbow is going to be right here.

I like to create this sort of like U shape to indicate where the elbow is going to be.

Then from the elbow, we're going to go towards the wrist and the wrist is going to be in this section

right here. On the front side, we're also going to have some muscles and stuff. We're going to

talk about them later when we get into arm anatomy. On this side right here, we're going to have the

femur, which is going to go out and then down to where we're going to have the knee. Again,

I'm going to use this little shape right here, just like a U shape to indicate myself or remind

myself where the knee is supposed to be. And then we go all the way down to the ankle, which again,

I'm going to sort of like divide and separate from the foot. There we go. On the backside of

the character, we got, of course, the spine. It's going to be going all the way down towards the

butt. And here on the upper part, we got again the humerus and we got a little triangle that's

called the scapula. It's going to be right around here. Of course, this character is going to have

different proportions and things like that, but this is usually where the scapula is going to be.

When

seen from the front, we're also going to have another very, very important landmark, which is

the border of the ribcage, the ribcage border. It's going to start right around here,

and it's going to go around the character, and it's going to go up into the back like this.

And again, that one's going to be very important because that, I think it's a little bit low

actually, that one is going to be dividing the chest from the abdomen. So on the front part

of our character, we're going to have this two main areas, which is going to be the chest up here

and the abdomen right here. And that's it. With this done, as you can see,

we have a cleaner silhouette. Let me save this real quick so that we can compare it.

So this is going to be Oni001. And if we very quickly load Oni start, you're going to see that

this was the very like ugly sort of like a gumball or Gumby effect that we had right here. There we

go. And now by doing a little bit of fixing on the proportions, we start to get something that

resembles a lot more what we have on our concept.

So I'm going to stop right here, my friends, and in the next video, before

we jump onto the muscles, I do need to go over some muscle theory.

So some very basic concepts that we need to understand about the shapes

and forms of our character before we can start sculpting them

in our base mesh right here.

So make sure to get to this point, place all of your points, all of your

references, so that you don't forget.

These are references that we're going to be erasing and rebuilding

as many times as we need.

This is a very traditional way to do a clay sculpting as well.

And yeah, from here on out, we're going to start looking at some of the anatomy

and the main forms of our character.

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