In this lesson, we're going to continue to work on the eye socket and figure out how to connect it
to the rest of the head, someone turn on the wireframe on shaded here with this little button so we
can kind of see where the wireframe is when you're doing anything like this.
We kind of just made this eye socket.
How are we need to make it to follow the reference now?
We need to resolve how it fits in with the rest of the model.
So the first thing I do is just try to line up where edges should meet.
So we have one edge here and two edges here.
So we know we're going to add an edge loop here.
So I'm going to go through the whole model and look at that kind of thing and add edge loops where I
see that there need it.
So with that in mind, I'm going to run through the model real quick and add edge loops.
I'll go up to the edge loop tool and add it.
And as soon as I add an edge loop, I also want to try to maintain the shape that I've started to create.
So I need to pull it up.
I can't just add an edge loop and expect it to, you know, maintain the type of shape I want it to
because it'll just be a straight line going to go through here and kind of line up these edges.
This one will go to that one.
It looks like we need one in here.
So I'll g and add one there and then pull this out just a touch.
And so then we got these two and then we have maybe we need to hear it looks like and then that one
we'll go to that one.
That one to that one.
And one thing I also want to note is you want to try to maintain the edge flow like we're talking about
topology earlier.
You know, see how far away this edge like there was this edge that's going in this direction.
And then it takes like a 60 degree turn and then it starts going straight again.
You don't want edges like this, right?
You want them to line up with the edge flow.
So they're all in a straight line for the most part until they're needed to be moved.
But, you know, there's no reason for these to be out of whack like they are.
So you need to kind of rein the topology and as you continue to tweak things and correct your model.
So I'm going to pull this one over as well and think, well, eventually we'll have to resolve this
issue over here on the nose, but I'm going to save that for another video.
When we're working on the nose right now, let's just focus on the eye socket, try to get this stuff
in line.
OK, so now let's start at the top and what we can use is the appended polygon tool.
So because this is too far a gap to try to merge these edges together, we need to create new geometry
here.
So let's put out the append a polygon tool right here.
And I can just click here and click there and hit enter.
And I'm not going to continue to go down the model in the same with the same tool because we need every
time I hit enter, it makes those edge loops.
So I want to make sure that it's making those.
So I'm doing it face by face.
So now what do we do?
We were faced with a triangle here.
So what I would suggest doing is we haven't we haven't flipped the model over yet.
There's something over here I would suggest doing is just running this edge loop with the multicast
tool clicking on the vertex here and just running it all the way through to the other side of the model.
And now we have two triangles, one empty and one filled.
So let's just take this face, make sure on the face mode, click it and hit delete.
Now we have a quad.
Now we can use the append polygon tool and make sure that we do not have a triangle in that area.
And we're also not working with any Yangon's yet, which is good when it g and just keep going and I
will speed up the video and I'll see one second.
One thing I do want to note is, you know.
You can't just take everything for granted, you have to be very precise with every vertex, so, you
know, I got to make room for this new edge flow, so I got to move.
The vertices don't just allow the model to kind of be whatever it is.
You have to touch every single vertices and make sure it's precisely where you want it to be at all
times.
So keep that in mind.
All right, now we have the eye socket attached to the rest of that.
I'm going to increase the transparency here or I guess decrease it really slide over to the very end.
You can see we have all this history now.
It takes a long time to get to the Shater.
So one thing I can do to help clean up the model so it doesn't you know, I'm clicking and holding this
and we're seeing the the tab just scroll by.
I'm going to go ahead and delete the history on this so that you'll watch the tabs over here.
Now, it's much cleaner now and it's straight to the shader so that we can adjust this transparency
and see it in a more shaded mode and turn off the wireframe on shaded option here.
And these edges are very hard for the mesh display just because we created them by themselves.
So the normals are kind of a little wonky, but we can kind of start to get a sense of the shape of
the thing.
And as we've, you know, continue to refine the model, we need to try to keep it on and, you know,
on model where we want it to be.
So I'm just going to take a second to hold down shift and kind of smooth this area out.
And I'm also going to use the pool.
I don't think we've used this one yet, but the poor one is very useful.
They call it the grab tool.
So you can just click and kind of drag stuff around.
And this one is very, very useful to just kind of get stuff in the right spot.
And it looks like, as I do, that we undo that super quick.
It looks like we the model got moved at some point.
So I'm just going to drag this back down.
Let me look at the outliner or the.
You can do that.
Yeah, it's weird.
I don't know how that I know how that happened while it's recorded.
So I'm sure we could do some detective work.
But, um, you know, you just kind of.
Yeah, it looks like it got a little out of whack maybe when I was moving around at some point.
Sometimes that happens when you're navigating, you can accidentally move something if you have to move
to selected.
So it's usually better to navigate around with a select tool.
So you're not actually moving things while you're navigating in the viewport.
So I'm gonna go back to the grab tool, grab this stuff to try to match the silhouette of the drawing
again and smooth stuff as well.
Even though we're on the grab tool, you can still smooth things.
That kind of modifier key works with multiple tools.
So I'm just kind of smoothing things and grabbing them and back out, smooth this kind of hard edge
there and kind of refine the shape of this eye socket to make sure it's kind of a teardrop shape.
Because there's some straight edges here that I think could be slightly curved and brought in that I'm
trying to get to the inners along with it, so I just have to kind of move around and we might need
another edge loop in here.
Um.
I'm going to go ahead and do that, because this is a quite you know, if you look at the distance between
these edges, that's quite a long way.
And this is actually a good moment to talk about the slide tool.
So, like, if I like the shape of this thing, but I want to drag this edge down and see how it's changing
the shape of everything, I can actually use the slide tool and there's a couple different ways you
can get to it.
I like to just use the modeling tool set up here by clicking this little button and we can go to the
transform, constrain and look at our options.
We have the edge slide, so we click that.
You can see it's a slide now.
And also when we move it, it's kind of maintaining that shape so we can just slide edges around if
we need to, to kind of make room for other edges.
I'm going to slide this one down, just a touch and turn this off.
So we're not having to deal with that later and bring in a new angle up here with the insert tool.
And that way, when I use the sculpting grab tool, I'll actually have something to move, sort to move
that in slightly.
And I think my brush is too big.
So this whole downby and middle mouse drag in the viewport just kind of push that around.
And he had smooth just a touch hair, um, holding down shift.
And yeah, looking a little bit better, we can continue to refine this later on, smooth out kind of
hard edges here, so it has a nice shape to it.
And I'll see the next lesson where we will approach how to deal with the nose area here.
If we look at the reference, there's an inset there, so we need to deal with the nose in the next
lesson.
Thanks for watching.