Original subtitles

Welcome back to the next video, my friends.

Today we're going to continue with the upper legs and the main thing that I want to capture

here again is the silhouette because the silhouette is going to allow us to generate all of this

like a very loose pants and make sure that we're getting a nice proportion.

So one of the main muscles that we're going to see here on the upper legs are of course

the quad muscles.

So the quad muscle originates on the iliac spines, it actually originates on the lower

iliac spine, where we're going to take the upper one as a like a checkpoint and we're

going to start adding this sort of like a drop shape going down into the leg.

The interesting thing about the quad muscles is that they are very, very, very big.

They're made out of, as the name implies, four different heads, but very similarly to

what we have on the tricep, we only see three of them.

We see the bastus lateralis, rectus femoris, and bastus medialis.

Those are the three main heads that we see here for the quad muscles.

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So it's kind of, again, like a teardrop shape, and you're going to see a little bit of volume

on this side right here, and a little bit of volume here on the inside of the legs.

On the inside of the legs, we also have other muscles that are going to be the

ones that allow us to open the legs and close the legs. So in this case, I'm just going to add this

sort of triangular-looking shape right there to fill in the gaps, but no need to go super intense

right there. I am actually going to push the crotch right here a little bit higher. I feel

like it's a little bit too low. There we go. So something like that. Perfect.

And then this is where the fun begins. On the side of the legs, we have something very,

very cool. I always like to teach this analogy. So I'm not a huge fan of baseball, but if you

guys have seen a baseball glove, you know that we have the fingers, the net, and then the thumb,

right? And all of this is the glove that you use to catch the ball. Well, something very similar

happens on the distribution of muscles on our leg. We got the main femur bone right here on the center,

and we're going to have the glute right here,

which we already created.

We're going to have another glute right here.

This is the major or the minor glutes.

This is the maximum one.

Then on the front side,

we have something called the extensor fascia lata.

I always say lata like a freaking Starbucks coffee.

It's extensor fascia lata.

This is a very interesting muscle or tensor fascia lata

that allows us to keep all of our muscles in the leg

like compressed and like together.

So you can see, look at that.

That's the glove that I was mentioning of the baseball glove.

So we got the big fingers right here,

the net, and then the extensor fascia lata.

So these muscles are going to be visible right here.

And especially in male characters,

you do get to see the little bump of the femur,

but instead of seeing it like a bump,

you actually see it like a dip.

So you're going to see a dip right here,

extensor fascia lata right here,

and then all of the other muscles kind of like.

going around and you've all all of you have seen this or like a very strong

uh hips on some male athletes and they look like this and then all of these guys go down

and create the very nice like silhouette of our side of the leg right here there we go

so we're gonna see like the little dip right there and then all of these muscles pushing

down on the front side or on the on the side view rather we're gonna see the main mass of

the muscle pushing forward this is very very important because there's always a balance

that we have on on all of our characters let me hide the the legs so when we see the character

right here you you know that we're gonna see things pushing in and out especially like on this one

right here so you can see how the legs kind of like tilted forward a little bit and then we have

the lower leg tilted backward okay so i'm going to use my trim dynamic here to polish this a little

bit to create like the profile of the leg and you can see how it's very straight on the back and

very curved on the front so very straight on the back

and very curved on the front. On the back we're going to have two main muscles the

biceps femoris which as you remember there I mentioned that there was a bicep on the leg

so the biceps femoris and the semi tendinous and the semi membranous which are going to be

on the inside of the leg right here. We don't really see them like like all of the fibers and

the and the heads of the muscles really but they're going to be right there. The glutes

are going to go a little bit lower so the insertion point of the glute is a little bit

lower than people usually think of and uh and yeah again we're just going to capture the volume

right now so we just want to know where most of the things are going to be. On the knee or getting

close to the knee one of the main things that we're going to have is of course the um the

rotula the rotula the little kneecap right we're going to have our kneecap right here

and there's going to be some insertion points coming from all over the leg so on the outside

of the leg something that's very interesting is that you get a very flat

like tendon like holding everything tight and close to the leg.

So I'm going to remove some volume from this area.

I'm going to keep it really, really, really flat.

So when we see the leg from the side,

that part of the leg is going to look very, very flat.

And that's going to allow me to generate a really intense silhouette

for the next muscles that are going to be on the lower leg,

which are going to be the calf muscles.

So let's clean that.

Maybe I went a little bit too far there.

And on the inside, we've got a lot of muscles that are connecting and attaching.

For instance, there's one called the sartorius muscle.

It goes, again, from that attachment point all the way to the inside like this.

And they create like a very big like tendinous like bundle right here.

And it gives us a very round like a silhouette for the legs.

Again, not super important due to the fact that this character is going to be wearing pants,

but important to know in case you ever need to do a character that has the knees exposed.

So yeah, that's pretty much it.

Now, since we're already here, it might be a good idea to create the calf muscles.

So what I'm going to do here is I'm going to use my Moore brush.

I'm going to push the bone, which is the tibia bone, back a little bit here on the on the legs.

And on the back of the legs, right on the other side of the of the knee,

we're going to have on this area the calf muscles. And we usually have two.

One that's going to be a little bit higher on the outer edge right here, similar to the arm.

Okay, so that's going to be one of the calf muscles right there.

And the other one a little bit lower right around here.

Now, that's too much volume right now. So I'm going to use my trim dynamic to reduce the volume.

But this is a very interesting thing about, we call this comparative anatomy.

Nature evolution has been very smart throughout the centuries.

And when it finds a sort of like combination of like muscles or connections that it sees works,

it will repeat it. So the arms and the legs are very similar in their function.

Our deltoids are pretty much like the butt. Our forearm are pretty much like the lower legs.

This part right here, bicep and tricep are pretty much the same thing as quadricep and the bicep and

the other muscles that we have back here. So certain things in regards to how anatomy is made

tend to repeat themselves once we understand how like locomotion works in a better way.

So in a similar fashion to how we have this like big bundles on the top part of the arms,

we're going to have these big bundles on the top parts of our legs as well.

And then as we keep moving towards the feet, these bundles are going to become thinner and thinner

and we're going to get this very like bony like section on the ankle. The ankle is going to have

two bones very similar to how we have it on the, what's the word, on the wrist. And here I am going

to exaggerate things a little bit more because you can see on our character that he does have this

very stylized feet. So I'm going to push this in, there we go, to create this sort of like stylized

anime-ish like a feet. Let's go train dynamic again, there we go.

So here on the front, we're going to have the bone. We pretty much see this bone, the tibia,

and it goes all the way into this inner bone right there. And you can pretty much see the

triangular looking shape that we generate on the sheen. So you can see me here, I'm just using

clay buildup and train dynamic. We haven't really changed brushes. We are going to be exploring a

lot more like tools here inside of Seabird. I know so far it's been very heavy on anatomy,

but I really need to teach you this anatomy portion or otherwise we're not going to be

able to get a good result at the end. Let's push the calves right here. Usually the calves

are aligned to the butt. So as you can see, I'm pushing the intensity of the calves right there.

And over here on the back, you're usually going to have this sort of like pit on the back here.

You're going to have one tendon going like this and another one going like that. Again,

we'll probably polish this.

Depending on whether we need it or not, but this is going to give us a general

idea of how the muscles are oriented on the legs of our character.

And as you can see with this, we pretty much have captured the whole

shape for our friend right here.

Some people like to make the, uh, like the quads a little bit more intense here.

One thing that I am definitely going to do is I'm going to push the knee out a

little bit to create like a sharp, like division.

Make sure that the silhouette looks nice.

So you're usually going to have, especially again, in the stylized

characters, like the knee pushing out, it's kind of like a, like a triangular

looking, triangular looking shape.

Very similar to what we have on the, on the elbow.

So something like that.

Again, usually the lower legs are going to be a little bit

longer than the upper legs.

So I'm going to push the knees to just a slightly higher.

And this is a good moment to see whether or not this character is working.

So remember our little like guides right here? Let's turn them on and let's see how this is

looking. So the first thing I notice is that in general I think everything is looking fine.

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However, I do feel like the legs are a little bit short. So this is supposed to be the navel,

right? So what I'm going to do is I'm going to push the whole torso up a little bit.

Okay, you can see that the head got like moved as well. So if we grab these guys,

push them to the head. There we go.

So as you can see, we need to push. Let's get rid of the dynamic. You can press the spacebar and

then control and click on the dynamic button so that you can make the brush a little bit bigger.

And I'm going to push this just a tad bit up to adjust proportions and make sure that he doesn't

look too short on the legs. Of course, those legs are not going to be the final ones. We're going

to replace them with proper feet later on.

But this looks way, way better.

Usually the crotch will fall a little bit lower than other parts of the carriage.

So we got 1, 2, 3, 4, 5, 6, 7, 8, 9.

Perfect.

This, this to me looks good.

I'm going to get rid of this guys.

And one thing we can do just to, to start cleaning things a little bit.

For instance, we can go here to the feet.

When we see the feet from the side, we should be able to see like the, like

the feet doing this sort of thing.

And we're going to create like the very basic, like pizza box or

pizza, pizza slice shape here on the, on the feet, just to get an

idea of how they're going to look.

Let's push the, the heel back.

There we go.

That's a lot better.

And there's also going to allow us to, to visualize the proportions

of the character a little bit better.

So this right now, it should look pretty much like an action figure.

And again, proportion wise, it should be looking very, very

close to what we have on the concept.

If you feel like it's looking a little bit.

Tall or short or something, just move it around. Again, use your guides and try to figure out where

where we're like changing certain things. But so far, I think we're in a good position. It's

nine heads. I still feel like the head might be a little bit too, too big. So I'm going to make

the head a little bit smaller. It's going to allow me to push things a little bit higher as well.

And yeah, of course, the hands need some fixing as well. Let's make them a little bit smaller so

they don't occupy too much space yet. And we get this very, very nice blocking of our character.

So well, this is not no longer blocking. This is like the base mesh, like the

very good final base mesh to get an idea of how the character is looking.

So I'm going to stop the video right here, guys. Again, I think we're in a good position,

especially compared to the first one that we had. That one looked very, very weird.

But now this, as you can see, we've chiseled out and we generated all of this mesh in a way,

way nicer approach. We have a way nicer approach for the whole thing.

There's still a couple of adjustments we got to do. For instance, here I think the elbow was a

little bit too low. Let's bring it up. That's a little bit better. Knees look good. Yeah,

in general, I think we're in a good position. So this is going to be the last part of this

chapter, my friends. We got the whole body ready. And in the next chapter, we're going to jump onto

the face. And now that we have a really good body in general, we can actually start attacking or

polishing the face a little bit more into a finished look. We're not going to finish the

whole face in the next chapter, but we're going to be advancing into like the eyes, the nose,

the ears. One of the things that I like about this concept is that the face is a very human

face. The only thing that's a little bit weird, it's definitely like the ears and the horns,

right? But that's an easy thing to add to our character. So yeah, that's pretty much it for

now, my friends. Make sure to get to this point. Please do not move forward until you're completely

satisfied with a good proportion here for your character. Because if you move forward and things

are not perfect...

Then it's going to be even more work to try to fix them later on down the line.

So yeah, that's it for this one my friends. I'll see you back on the next one. Bye-bye.