In this lesson, we're going to start to model the eyes and we're also going to clean up the model a
little bit when we start modeling, it's kind of like a sculptor with clay.
It gets pretty messy, right.
And that's OK.
We're trying to find the form from the reference and kind of whittle away and build up and whittle away
again and smooth out so things can get pretty messy with the topology that we learned about.
Should be pretty follow the right kind of line flow and all that kind of stuff.
But at the early stages, you know, you shouldn't be worrying about that too much and just kind of
finding the form of it.
So to clean up the model, I'm actually going to delete the left side.
So I'm going to go to the front view and before I delete the left side, I'm going to go to the edge
mode.
And I'm a double click this kind of middle edge here.
I'm going to go to scale.
And because we have the negative scale attributes set, if I let a hold on are in left click prevent
negative scale is turned on.
When I scale this, it's going to flatten out that edge and have a hit W and then X and hold on X.
It's going to snap this edge to the center line of the world here.
So now I know if I go to my face mode and I select all the faces on this left side, I can just hit
delete and there might be some stray pieces that you need to grab, but, you know, make sure you're
not grabbing anything on the other side.
So now we're working with just one side, and that's OK.
So what we need to do is start to look at the line flow a little bit more so we can start to define
areas that we need to work on, like the AI.
So I'm going to scale this one in similarly, as I had done before.
And actually I'm going to I'm going to d select this top because I liked the sphere that we had going
up here.
So I want to delete deselect those and then scale in this just kind of the front area here and push
it over because we know we want the nose to have, you know, lines here.
And if we look at the reference image, we know we're going to at the bare minimum, we're going to
need a line here to hold the inner part of the eye.
And I'm doing this now because we need to look at modeling the eye socket itself and deleting part of
the geometry we already have and using the edge modeling technique instead for right now.
So I'm going to go back to the perspective mode and kind of take stock of this where the edge edges
are and see what I need to pull over, possibly.
And I think we could maybe pull some of this over and deselect to the top.
I want to go back to the front view, not having made that decision for to see that I have deselect
on the backside of this thing the way that I want.
I'm going to drag this over and select some of this stuff and drag it over to dislike the bottom kind
of area and just trying to get this, this edge flow to start going a little more down the model as
you would predict it so we can smooth that stuff out later.
But what I'm trying to get at here is six on keyboard is we are going to delete these faces.
OK, so I'm going to go back to the front view with this texture turned on so we can see the reference
image.
I'm going to select the faces that encompass this eye socket and delete them.
We could extrude them if we wanted to.
So another method could be going to custom and extruding this and going we go to the perspective view
and we could, you know, keep faces on and kind of scale this in and try to make the the eye socket
this way.
But to me, it's just kind of too messy.
And I would rather just kind of start from scratch and focus on making one component of the skull really
well and then trying to just figure out later how to connect it up.
So I just hit delete on that to delete it.
And I'm going to bring in actually I'm just going to work with the edges that we already have something
called the front view.
And I'm going to grab this edge here and I'm going to start to really think about the edges and pull
this in and rotate it.
And get it to a point that is somewhat representative of the outline of the I.
And I'm doing like every other edge, because I know the edge above it is going to follow.
So, again, you know, when you think about EDG flow, we're going to start to see areas get pulled
in ways that we can't really resolve right now.
So what I'm going to do is actually just delete this face and I'm going to bring this edge over.
Actually, I'm going to make another because I want to leave that inner edge, someone to undo that
super quick and just hit the edge loop tool.
I do not want 10 edge loops right there.
So I'm going to click the tool settings, go to one.
Doing it in the center is fine.
And what I'm going to do is delete this face here.
And turn off all this stuff so we get a better view, so now I have this kind of free edge you get in
here now I have this free edge to start a different direction.
OK, so I'm going to go to the right view to make sure we're kind of in line with where we need to be
there.
We can see that this is way too far back.
I'm going to push this way back and I'm going to do the same here.
I know we can do that now because we have that extra edge loop to hold the nose bridge.
So now I know I can pull this stuff around and be roughly in the right spot and still keep that the
bridge.
I want to make sure that I'm not selecting that one the bridge edge loop as I'm going through here.
So I'm going to bring this stuff in.
And make sure we're kind of getting in the ballpark.
A lot of modeling is a lot of back and forth, especially if you don't have a ton of experience, you
know, this is time consuming stuff like most aspects of 3-D and that you are bound to learn if you
haven't already.
So this is just part of modeling and learning.
3-D is, you know, taking your time and trying to imagine this stuff in 3-D and making that a reality
here in the computer by pulling points around.
And so this really starts to stress how you interpret things in 3D space, because we don't have like
I said, you know, it's not like we have a drawing from every single angle that we're looking at.
We have to interpret based on the art what we think the outline of this should be.
Cool.
So we kind of started getting it in the right space, the right depth, and you can also see why we're
trying to work with his few edges as possible because it makes the work go so much quicker.
So here's another example of me wanting to split off from the current edge flow.
So I'm going to click the creative edge loop and the tool settings and turn relative distance so I can
put this wherever I want it, which is right here at the top.
Right.
I want an edge loop here so that now I can take this edge and extrude it.
And just pull this out, I'm not worrying about everything above it right now, I just want to make
sure that.
We're doing the I correctly at this time, and I worry about connecting everything up later.
That's why that's why I taught the topology part first.
So you'd understand the fact that, you know, and I and I actually just pull this off.
There's like a straight line, a roughly straight line Maji to extrude again.
There's roughly a straight line.
You know, you can just get a perspective mode to make sure I'm rotating this edge in the right direction.
If there's roughly a straight line like this in the design, you could just pull this edge out super
far and then make edge loops later on on it where where there should be.
So just to move and and work a lot quicker, that's one way to do it.
So kind of wherever there's a kind of turning points in the shape, when it g again g it looks like
we missed the the shortcut there.
So I'm going to hit extrude from the menu,
but that's just to work a lot quicker to pull edges past.
You know, you don't have to stop every little centimeter to create an edge loop.
You can, you can pull things really far and then make new edge loops later.
So when things start to turn a corner, you will have to obviously have more edge loops like this.
But, you know, take advantage of those straight areas so that you can not have to worry about too
much.
I'm also going to hold on our click left click and go to component.
And now I can kind of scale up and down because before we scaling up like object space, which was up
and down in world.
So in component mode, you know, it's taking into account where the line is.
So we're going up and down the line itself now, which is very, very helpful.
Scaling things appropriately for what are our needs are at the moment.
So just going to continue to drag this stuff out and make one last edge loop here and extrusion that
is and cool.
Now I'm just going to select to this edge and I'm going to go to edit mesh merge.
And it's going to increase tolerance until those snap together and we have the outer kind of rim of
the eye now, so that's looking pretty good considering how messy it was before.
This still probably looks pretty messy to your eye, but let's look at it from the right view and get
things lined up now.
So I'm going to go to the face mode because, uh.
You know, I can't it's harder to click the edge that we would be going for there, so.
This is going to make things go a lot quicker now, I can actually select this kind of middle edge here
to get this going in the right direction.
Cool.
So it's kind of, you know, all about switching between views and again, here you can see where the
two drawings don't really line up and they don't sync up with what the drawing has.
So you kind of have to start to interpret for yourself.
And three dimensional space.
What should be happening, some hitting be holding downby to change the size of it here and just trying
to get things kind of roughly in the right area in space as well.
What we need to start thinking about, too.
So I'm just trying to get this stuff out of the way so we can actually model the eye socket.
So you can see how modeling is very time consuming and is a difficult job.
You know, I have a lot of respect for people who this is.
All they do at studios is create models like this.
It's it's not an easy job artistically.
And, you know, technically it's quite challenging.
So as I make changes to it from different views, you know, it's kind of like pushing and pulling it.
I want to make sure that it's still roughly in the same area.
And and I may have to just kind of split the difference on how the two drawings are not lining up.
So but what I want to make sure is that the general kind of the the general idea of this kind of teardrop
shape is starting to take form in the eye socket.
So let's just pull that there once we have this done and go to the edge mode here and a double click.
And you can see now we have this kind of inner ring.
I'm going to extrude them all at the same time.
I'm going to go to the perspective mode and I'm going to see how well this stuff.
Wants to extrude in, I might just grab this from the center, but we need to keep bases on it together
on and drag this stuff in and hit R and scale this from the center now.
And we can start to see us getting the edges of this thing, this socket working on it again, extrusion
did not work, so I'm just going to choose it there at W just pull the move to and just drag this stuff
back.
So now we have kind of the general idea of this socket, the front view, and make sure that, you know.
We didn't have key pieces together on there.
That's why I was double clicking, um, it was not, uh, it was not going around.
So now when I double click it, it will go all the way around.
So I'm just going to scale this stuff out.
And DoubleClick, this scale, this out.
So we can start to see this go in the depth, right, go inside the skull.
And I'm going to pull that one back a little further cool, so we start to make the eye socket and now
we need to resolve how this starts to fit with the rest of the model.
And we'll do that in the next lesson.
Thanks for watching.