All language subtitles for 11. Face BlockIn.ENGlish

Hi guys, welcome back to the next part of the series. Today we're going to
continue

with the face of the character. However, before we jump and start working on
that part, we

need to do a little bit of what we've mentioned before, which is a divide this
character into

a couple of pieces to make sure that we have a little bit more control over it.
So you

might remember that we already had this nice organization of our polygroups that
was useful

when we were doing the basic like blocking for all of this anatomy. However, now
we want

to separate this into three different pieces. We're going to have the torso, the
legs and

the head. So I'm going to press control W to make sure that everything is in a
single

polygroup. And once I've done that, I am going to press control shift to go into
select and

select a select lasso over here on the head. I'm going to select the head and
press control

W again. Finally, I'm going to go to the bottom section right here and we're
going to do control

shift again to select the legs. I'm going to cut right here down the groin area.

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Something like that looks good. Control W and there we go.

So we're going to have the upper torso, the lower legs and the head.

We're going to go to subtool and I'm going to say split on the options right
here

and it's going to be group split. I'm going to hit OK.

And there we go.

So now we have independent elements here for our head, for our torso and for our
legs.

And the reason why this is going to be important is because

we're going to be able to push the amount of geometry that we need for each
specific part

in a better way.

So let me get pure ref real quick for the character.

There we go.

And let's make this a little bit smaller so that it's not occupying every single
part of the image.

So as you can see, he's got this very like stylized demonic sort of face,

short nose, huge like cheekbones right here, deep eye sockets, like all of these
things.

So I'm going to isolate this right now with dynamic solo.

As you know, down here in the bar.

I know right now the sidebar is like.

touching it a little bit, but down here it's this option called dynamic solo.

And we're going to dynamesh of course.

And we need to increase the resolution.

This is way, way too low of a resolution for a face.

So we're going to go to, let's say 552.

I think this is a good number to start like doing some basic blocking.

So when we see the face, the face is usually going to be divided in halves like
this.

And in this half right here is where we expect to see the eyes of the character,

right around there.

So I'm going to use my clear buildup.

I'm going to start carving where I would expect the eye sockets to be.

On this section right here is where we'll have the nose.

Again, we can very quickly like implement it right there.

And there's a very like famous division that we do with the head,

which is the thirds of the face.

So right where the hairline starts,

which in this case for this character is going to be right around here.

That's where our first third is going to start.

And it's going to end up roughly where the eyebrows are going to be.

So right around there.

The second third, so that same distance,

it's going to be underneath the nose right around here.

And then the third third is going to be where the mouth is.

But on that third, a third on the first third of the last third is where

we're going to have the mouth.

So right around here, very common mistake is that people will bring the mouth
way

too low, and then you don't leave space for the jawline to be like effective.

So this is where the mouth is going to be.

We're going to model the mouth close at first.

And then later on, we're going to open it so that we can add the teeth and

everything and have this very creepy smile.

Now, of course you can see that the eyebrows is pushing the eyebrows down.

So we're going to have a little bit of an inclination right there.

But even with that, I do expect to have like some very like

traditional face proportions as well.

So this is where the jawline is going to be.

I can definitely see that this head is way, way too, like, I don't know,

like it's not the right proportion.

So we're going to fix the face right now.

And to do that, I'm going to push the, like the, the skull of the character

forward, and this is something that I would expect to have later on.

We're going to have like merge it again with the body, or at least just

find a way to fit it with the rest of the body.

And it should look a little bit nicer.

So here we're going to have again the jaw.

This is going to be our jawline right there.

The eyes, as you can see, are really like quite forward.

So I'm going to push them in quite a bit.

And where the nose is supposed to be, I'm going to start adding a little bit of
volume,

indicating where I would expect the construction of the nose to be.

Let's dynamics real quick.

And there we go.

So just create a little head right there.

Eyebrows, very important.

So we're going to add the eyebrows right here.

And let's fix a little bit of the curvature that we have here on the face.

So something like that.

That's a little bit better.

I'm going to use Trim Dynamic to flatten the forehead here a little bit.

And a very important bone.

I love this bone.

It's the cheekbone right here.

It's a psychomatic bone.

And we're going to add a little bit of volume there to indicate.

It's got this very, very sharp features.

So I'm expecting to have a very sharp psychomatic arc as well right there.

There we go.

The mouth I'm going to erase it right now. We're not going to be dealing with
the mouth. We're

just going to create like the very basic shape of the face. So I can erase it
and it's pretty

much like we're doing this or like a crochet approach where we focus on making
sure that

we got like the anatomy like properly created before we start adding all of the
details such

as the eyes and things like that. I'm also going to fill in a little bit of the
eyes right here.

They're not going to be as deep. So let's fill them in. Let's just start carving
a little bit

more right here. So this is where I would expect the eyebrows to be. Now it
depends on the studio

right and on the characters. Sometimes they're going to ask you to do a very
like traditional

like calm facial expression. But if the character is always going to be like
angry and he's really

going to be like completely stoic then you can you can like model or sculpt your
characters in

post pretty much. So yeah that's pretty much it. I do think the ears are a
little bit too big. So

again I'm going to use my move brush to push the ears up. You can see they're
very very pointy

towards the end.

And we can already see the planes right so all of this area right here I'm going
to flatten it out

and I'm going to flatten and start polishing the ears a little bit more. That's
why I love the

trim dynamic so much because it allows me to to very quickly create the shapes
that we want.

Now the horns we're actually going to be doing the horse as a separate element
so I'm going to go to

select lasso and I'm going to hide the horns. I'm going to say delete hidden
with my little custom

ui over here and then with trim dynamic I'm going to just remove the horse
because it's going to be

a lot easier for me to to properly like capture the silhouette of this character
the face or the

shape of this character without having to worry about the horse. I definitely
see that his face

is a little bit longer so I'm going to make the face a little bit longer like
this and you can

also see that I got this very like strong jaw right so I'm going to go with clay
build up and

I'm going to add a little bit of a border here to the jaw to make it really
really strong and a

little bit pointier here as we get to the front.

The mouth, right now I'm just going to capture the mouth with something that I
like to call

the barrel of the mouth, which is just the volume where the mouth is going to
be,

but it's not necessarily going to be the lips or anything like that.

Let's carbon a little bit more here. That's where the eyes are going to be.

And we got a very important fold here called the nasolabial fold that we can
already like,

kind of like imply right there with our construction.

I'm going to use Trim Dynamic again to start sharpening some of these features.

And as this zygomatic arc goes down or back, it's going to meet with the little,

like the little lobule that we have here on the ear.

So the ear is going to be, we're going to carve in the ear as well.

People tend to neglect the ears quite a bit.

I used to do that when I was a student.

I always found ears to be very, very boring,

but you definitely need to spend some time there.

Now, one thing I'm going to do with the ears is I'm going to give them

a little bit of an inclination back.

So I'm going to mask them out, press Alt and move the pull point to the center
of the ear.

Invert the mask and just push them out a little bit.

That should give me something that looks a little bit more natural because like
completely straight

ears look really weird. And then of course this part right here we can use
Trimmy Dynamic to

like remove. One of the cool things is we're still on Dynamesh so all of this is
just

construction. We're just working on construction for our character. I'm going to
use Move Brush

here to push and make this like jawline a little bit more intense. I am going to
add the

sort of like creepy smile that he has right here. Just to give myself an idea of
how

he's going to look. Yeah, so we're getting close. Again, it's just the base mesh
right now but

we're getting close to the proportions that we have. Of course we're going to
need the

little nostrils right there on the ear. And I'm going to carve in the eyes a
little bit more.

We're going to be working, the way I like to divide the face and that's the

the technique that I'm going to be showing you is we do this initial blocking
and then we're going

to go eyes, nose, mouth, ears, rest of the muscles and fat beds and stuff like
that so that we can

get a very nice result. I'm going to use train dynamic to again like capture the
profile. This

head right here by the way it's an excellent way to to visualize whether or not
you have the proper

like proportions so you can see the angles of how things are pushing in and out
and as long as you

see a good balance of how things are moving that means that we're in a good in a
good position.

Keep in mind also that a very important thing for this character is going to be
the beard that he

has and the hair. It's an important like characteristic of the character so
right

now we're going to have to try to ignore that and just focus on the general
shape of the character.

There we go. Let's push this back a little bit more. Perfect. On this side right
here we usually

have something called the temporal bone and you're going to see a ridge that
divides the frontal

bone which is this one right here.

With the temporal bone, temporal bone, which is the one on the ear or closer to
the ear.

And the interesting thing about that is that you're usually going to see a big
angle right here.

So it should be like a sharp line in this area.

And that's also going to allow me to later on inject where the horns are going
to be

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and give me a nice placement for them.

Cool.

So there you go.

That looks like a nice head, a nice blocking right now for the head.

And I think we are getting some nice proportions.

We're going to again, we're going to capture the expression and the eyes and
everything shortly.

But right now, I really like how this is looking.

We're going to have to imagine the head right now without the mouth open because
this is a

very interesting expression.

When you smile like this, there's a lot of activation on the muscles.

And I want to go a little bit more neutral, not completely neutral,

but more like an angry face first.

And then we're going to like later on, I think we're going to sculpt it in a
more

traditional pose or gesture.

And then we can use, for instance, layers to generate the expression,

kind of like a blank shape later on.

So it's going to be a lot easier if we, if we follow that, that path.

Cool.

So we got this.

Now, one very important thing that we need to do is we need to see in context

how this thing is looking.

As you can see, we got a little bit of an issue.

And this is very common.

When we start carving into the face, we might see this like proportions,

like falling out.

So now this is a super, super small head.

So I'm going to center the pivot point here and just make it a little bit bigger

so that we match the, the original size that we have.

And that looks a lot better.

Look at that.

Now everything is really falling into place.

And the, and things in general are looking way, way better.

That proportion right there.

I still think that head's a little bit big.

Let's take a look at the character.

Yes, it's the head should be like almost like half the size of the pectoral
muscle.

So I'm going to make it just a tad bit smaller.

There we go.

That's a, that's a lot better.

Thank you.

Let's push this back, push it up a little bit, and that's it.

We can go to the chest dynamish as well.

And here again, we're not going to merge them right now, but that doesn't mean

that we cannot play a little bit with portions in the silhouette.

So this thing looks really, really close to the character.

So for instance, the sternocleidomastoideus muscle, which is the muscle that
goes

from the back of the jaw to the neck.

We can start playing around with that one and blending it in such a way that

it looks like it's actually going into the head right now, you can see there's

going to be a little bit of a difference between the amount of polygons that we

have on the head and the amount of polygons that we have on the body, which

again, is something that happens very frequently.

Like if you take a look at any like triple a game, last of us got war, all

of this guy's even like a little of legends and stuff like that, you're

going to see that there's usually more care and more attention to detail on the

face.

Oh my God.

Sorry about that.

There's usually going to be a little bit more attention to detail and shapes on

the face.

Then you're going to find in, um, in other places.

So yeah, there we go.

Not bad for a quick blocking here for a character.

This is also going to make your receivers work a little bit faster because as
you

can see, when we're moving around, it ignores all of the other tools and it only

focuses on the active tool.

So that's also a way in which we can optimize things.

So it's easier for receivers to have multiple elements that are up to millions

of polygons that have one single element that's made out of millions of
polygons.

Because when you have multiple elements, you don't think about the other ones

when doing like navigation and things like that.

So let's save this real quick.

Save as only in this case, it's going to be zero zero four because it's chapter

four and yeah, that's pretty much it on the next video.

We're going to do the horns.

I'm going to show you some very cool brushes that we can use to generate the

horse.

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