Welcome to this lesson where we will continue working on the skull head and the previous lesson since
you last watched, I have finished following the outline of the silhouettes of the concept art and now
we can move over to the right view, holding down spacebar, left clicking and going to right view.
Now, we can see this is still kind of a box shape.
And so we have a lot of work to do to pull this around correctly.
One thing you also keep in mind is the fact that this is, you know, there aren't any subdivisions
on the face yet.
So we're going to still work kind of in a boxy fashion for as long as we need to.
And I'm going to show you an interesting technique we can use to try to sculpt a more rounded shape
here.
So I'm going to go into my vertices mode here and just start pulling vertices around them and hit be
to pull on self select just because I know the vertices around it are going to need to be over there
somewhere.
And also, I'm going to remember that I need to turn off some select and we're going to the inside edge
of this concept, art, because the drawing lines are very thick.
So we can also see where there's some discrepancy in where the actual top of the head was finishing.
But, of course, you know, these drawings are not perfect.
And this is where the skill of modeling comes into play, where you need to be able to interpret art
and understand shapes in three dimensions going from a 2D drawing.
So this is really the skill that's going to take quite some time to become proficient at.
But again, you have to start somewhere.
And so I'm going to speed this up for right now and then I will see you on one second.
So now that we have this side profile done, I go over here to the appropriate editor and just turn
down the transparency so we can actually see the object.
You can see it has a lot of kind of ugly shapes to it.
Right now, it's not circular in any way.
So we need to resolve this somehow, OK?
And because we can see that it's just kind of doesn't respect the three dimensions of this object in
any way, like the nose goes all the way across.
So we need to start dealing with that.
And we can do that with adding more geometry here on the front, because we can see there there is none.
So for us to resolve this, we need to add a lot of geometry here.
But the problem is, if we start adding loops, I'm going to click the edge loop to go to the tool settings
could have multiple edge loops and you to add a bunch of geometry here.
It's all kind of concentrates up here through the top.
And that's not really what we want.
You know, we want to have the type of edge flow into biology we talked about earlier where things can
redirect and whatnot.
That's where the edge technique works sometimes.
So we could start with a I'm just going to do that.
We could start with a just a new plane and start working that way.
We could also just kind of rough in the shape here with that topology that we don't like and then read
topologies it and I'll explain how that works as well.
So let's let's go ahead and go with the method that we tried here and add all this topology.
OK, let's go in both directions here.
So we have all this topology now and right.
Click and go to object mode, but it's very boxy, like I said.
So one thing that we can do is go to poly modeling and bring up a sphere.
Because I know the general shape of the skull should be circular and I'm going to turn down the transparency
again on the one we're currently working on and assign a new shader to the sphere so we can see that
it's going to.
Right.
Click on it and go to assign new material, which is a Lambert.
And now we can see that through.
So I want to turn this one up, back a little bit because I can't really still want to see where it
is relative to that.
So basically what I'm doing is I'm trying to create the form of the top of the head, you know, roughly.
And it looks like the back is the only thing that's kind of messed up maybe.
So I'm just kind of getting this in a general shape.
And I want to go to the vertex mode and I'm going to make sure symmetry is on which it is, and if you
don't remember how to do that, go to the tool settings, get on the symmetry settings.
And remember, we left that on from when I showed you how to do that.
That's what it be.
And I'm going to hold downby and middle mouse drag.
So now I have a soft selection.
So now what I can do is drag this in and it looks like I need to go in quite a bit.
So I'm going to actually do a really big soft selection back here and select more of those vertices.
And I know it's going to do it evenly because we have soft selection on.
So something like that is going to drag this, maybe reduce the self selection a little bit.
Drag this back.
But the idea is just to kind of rough roughly get a more circular shape and form for these top areas.
So when all right, click and go to object mode to get off of that, I select this object and then I'm
going to actually select the sphere and go to this little magnet up here where we click this.
You can see right here changed from no life surface to P Sphere one, which is the name of this object
here, which we can't.
It's hard to click there, but you can see that the outlines turn green.
And what that indicates to us is the fact that if we go to a component mode like Vertex and I click
one of these and I start to drag this around, it's going to snap to that sphere and I can move this
all around and it's going to snap to the sphere.
You can see if we hit four.
There's a lot of crazy stuff happening, though, because we have to select on.
So it's best not to select what this method and just two individual points, but as soon as I touch
this, it's going to snap down so I can go through these and kind of get them, you know, in the general
area of this sphere, let me choose several of them without self select and see if we can do kind of
more than one at once.
You can see it doesn't really like that.
So you will have to kind of go through one by one.
And if you're click dragging, selecting, you're going to probably select things behind this.
So you want to be careful about that as well.
So I'm going to take a minute to snap all of these points to the sphere.
And just really quickly, I'm going to turn off symmetry, there's also a shortcut for it up here.
Just turn that off and I'm going to select everything from the kind of top portion here except for maybe
this bottom row.
Let's let's turn on six again to so we can see the texture.
Yeah, I'm going to turn off.
I'm not going to select that bottom row here and I'm just going to move everything, let's say, down.
But as I try to move it down, it's going to snap it.
So it's spazzing out.
And that's OK.
Um, we can clean this up later.
And the other method we can use is to use the relaxed tool.
So I'm going to go to object mode, select this and go to the sculpting tools, go to relax and with
a larger brush, I'm just going to kind of click and drag on these.
And we've kind of, at this point abandoned the symmetry of the model.
And that's OK, because we're going to essentially redo apologized this thing.
And I'll show you what that means a little bit later.
But we basically just kind of want to get the forms down.
We could also later on do the symmetry thing where we kind of delete one half and then mirror it over.
There's a lot of different ways to work and there's no one right way.
There's just you know, you should know as many ways as much as you need so that when the time comes,
you can kind of dip into that toolset and take advantage of all that knowledge, which is why it's helpful
to learn techniques that you may not use immediately so that later on when you run across problems,
you can deal with that.
So if we go back to texture mode with six hydrosphere control H, I'm going to look at this model.
You know, it's, you know, obviously a lot more rounded.
There's still some issues here and back here on the corners.
But for the most part, you know, it's a quick way to get a more rounder shape instead of having to
pull, you know, vertices by vertices over, you know, of course, the bad thing is there is a lot
of geometry here that we probably don't need.
And and the previous step, we could have just probably gotten away with a lot less geometry.
You can also just reduce this stuff, you know, doing like selecting like every other one and reducing
the amount of topology here.
So I'm going to shift right.
Click and go to the edge and I'm going to do the same thing in the front.
I'm just going to take out every other whoops.
It's going to take out every other edge and.
Shift the left click, go to the lead edge so we don't have to pull as many points around when we're
editing things, that's one important thing to keep in mind.
Early stages of modeling is to keep it as light as possible so that when you're editing, you're not
having to pull a ton of points around.
So I'm going to continue to clean this up with the relax sculpt tool, and I will see you in the next
lesson.
Thanks for watching.