In this lesson, we're going to tackle the nose, so turn off that so I get a little more screen space
here and I have my wireframe on shaded turned on here, and I turned down the transparency so we can
see through a little bit.
But basically what we're trying to do is create a triangle here where we have a lot of quads.
And we are probably also going to need to build this out a little further as well.
But first, let's try to get the line flow in here that will help support this type of a nose shape,
because it looks like the indication here is the fact that this is going in and it's kind of a hole
here.
So let's grab the multicar tool and go to the front view just so we can kind of get a better view of
what we're doing.
And let's create a new edge loop here and go down this way.
But if we went straight across would create a triangle.
So let's put a point out here and then continue down and let's just keep going and do the same thing
over here.
We don't want to create a triangle by connecting this one to what a point there.
Then just go straight across and hit enter.
Now we need to solve this problem.
We basically just need to connect these two things.
So that creates two quads here and we'll do the same thing here.
So we may need to add another loop.
You can see that this kind of flow is kind of like a reverse C shape.
And if we tried to create a new edge loop, it will reflect that.
So it's going around like that.
So let's put another one here and kind of go back to perspective mode, because we're going to need
to pull this stuff out to help support the nose.
So I'm going to go to Vertex and let's see, let's just pull this stuff out.
I'm just going to scale this whole down r to get back to object mode, scale this stuff forward, pull
it forward.
And I think we'll probably also need some more geometry overall here because it's it's stretching so
much to try to reach us.
So we may do that.
We also just pull these back instead of having those be the front ones.
We can just use these as kind of the in betweens and pull this one back as well.
So you can't constantly just kind of reevaluating, like what's what's the best way to do this?
You know, nothing is set in stone when you're working like this.
So you just kind of keep going forward and finding out where the problems are and trying to fix those
problems.
So we've got something like this so far.
I think we may need an extra edge loop here because it's stretching so much.
We could also put an envelope here and pull this over.
So you're kind of squeezing this stuff down.
And it's just kind of get this in the ballpark right now and try to work as quickly as we can and go
back to the front of you.
It looks like this stuff is down pretty low.
So I'm going to turn back on the slide function here from the modeling menu and transform constrain
when I go to surface slide since we're using vertices and let's see if we just slide this stuff around.
Let's go back to perspective to make sure that's working.
Yeah, it's going to stay on the surface, which is kind of what we want.
We don't want to change the shape.
Just yeah, we're trying to get these edges where we want them to be, so.
Select all this and go back to perspective, because invariably will select things behind it and just
kind of move all this stuff up.
Um, same thing with these.
I think all of these need to go up.
And these are probably going to go out, let's see, we're kind of just switching back and forth between
views to make sure we're kind of going in the right direction.
And in general, when you're doing modeling like this, you mean anywhere that you put lines closer
together are going to help define an edge.
And that'll become more clear in a minute.
But that's kind of the reason why these are closer, closer together than, say, the other one or,
you know, something further away.
So I'm just trying to move this stuff over to match the outline of the black area so we probably could
use an extra edge loop here.
When I try to hold off, I try to, like, delay adding geometry as much as I can because it does add
to so much more complexity.
And, you know, as we're pulling points like this, it's just that much more stuff that you have to
deal with.
So try to avoid it as much as possible until the last possible second and say, you know what?
All right, I need an extra I need an extra pair.
So just getting this stuff around, probably speed this up and I'll see in a second.
OK, so now that I have that kind of matching the silhouette, now, I need to deal with this kind of
a thing.
So it looks like this stuff needs to be a straight line, right.
So if we're looking at in the front of you, we can see from this vertices up to this, vertices should
be kind of a straight line.
So this is the furthest point out and this is back on the face.
But we go into perspective mode.
We can see that's not really the case.
And again, you know, that's part of the difference of these two drawings.
This point should really be over here somewhere, I think.
But, you know, the drawings don't really reflect that.
So we have to interpret for ourselves where do we really want this nose and how big of a nose should
this actually be?
I think the front one is a little too large.
If we were to do this one here, it would just be a massive nose, right?
Like, look, look at this and profile are like three quarters.
The nose cavity would just be massive.
So I think the side view is more accurate.
And what I may do
is cut this off sooner with the edge flow that we made instead of it going down so far.
Let's just cut it off here instead.
So I'm going to go back with the multi-tool here and make those adjustments.
So let's see.
We what we did was we added this line and we can see where you created this corner.
We would just want to move that up to for this.
Let's see for this line to be here.
Let's imagine this is the right corner here.
So this needs to be pulled over here to this corner.
I mean, make that first.
So let's say this is the.
This is the corner kind of thing, it's going to hold it.
So this is just kind of the problem solving you have to do when your modeling.
So basically, we're rerouting this one down.
To this corner, so this one would go well, but we want that, yeah, right.
We we just need to get rid of these or no, we want to keep those.
Gets confusing for me, too.
Let's just delete this and see where we get.
So don't when I right.
Click it doesn't really enjoy that.
OK, just delete this.
Still eat this.
OK, yeah, OK, so this we just need to add an edge loop here, basically, and call it a day.
Yeah, let's bring it.
Yeah, let's do it here.
So we're just what we did earlier.
We're bringing it up a level.
So that now we can bring these vertices kind of more in line with this.
This edge here, right, all these we go into our right view should be lining up, this should be the
silhouette, right?
Or in theory, you know, we might we might do this and see like design wise, that doesn't work.
But I always like to start with following the reference as close as possible and then working back from
there.
If that's not you know, if it's not looking right, deviating from the reference after you give it
a shot.
So so we're in the neighborhood, right, like we're in the ballpark, so what we can do if I go to
face right.
Clicking and dragging, I think with the multiphase or something, I want to be selecting only faces
here.
So we basically now have these faces that will kind of create the nose cavity.
So if I extrude this, go click on the extrusion tool kit faces together and said W.T. pulled the manipulator
tool and just drag this back.
Something like this, maybe I'll rotate it, scale it down, because we want this, this should kind
of continue and shouldn't just cut off here.
So I'm trying to rotate it.
So it's kind of like this, right?
That should be it should kind of be the opposite.
There's an internal triangle here, this should continue back like that.
That looks right to me.
OK, so from extruding, we still have that kind of this face we can just get rid of because this is
going to go straight through to the other side and this is going to be a hole there.
I'm going to delete those.
And we're definitely going to need more edge loops on the inside here.
To support this, so let's to the edge and see what edge flow where that puts these envelopes.
We need one so so let me just talk about this super quick, so if we hit three on our keyboard with
this object selected, it's going to go into kind of this like fake smoothing so we can see it rounds
off all these edges.
The issue is if there's not enough geometry in an area, it's going to kind of collapse down.
So if we add geometry here, grab the tool again, let's put one on the inside and we're going close
to the front.
We're close to the edge because we want it to support this front edge so that when we hit three again.
Let me get all the tools it'll show it's it's much thicker here than before, right?
And if we keep refining this and adding edge loops here to support that, you can see it starts to build
out that front edge a lot more.
Now you can see it's way thicker, right, than what we originally started with.
So hitting three on the keyboard and smoothing might help kind of show where you're headed.
In that sense.
I don't like how thin it is, like the nose bone.
So we need to address that some undue.
I just want to show you the hitting three and what that means and why I'm cutting edge loops where I
am and go back to one.
I want to make all these changes before I add those edge loops and all that support.
So I want to make this thicker, this face, these faces.
Basically, I'm just going to scale them and you can change what you have selected by holding down command
and right.
Clicking and say two vertices.
Let's go to vertices.
And if I had W and hit control and a middle mouse drag, it will kind of scale these vertices away from
each other.
So that's one very, very, very, very, very handy modeling tooltip.
It'll save you a ton of time.
If I was trying to use the scale tool and do that, it would be a nightmare because they're all there's
a curve right there, all going in different directions.
And the scale tool is not going to follow each one of those directions independently.
It's going to do it all together.
So, again, that's middle mouse dragging with the move tool while holding down control.
That is a huge it took me I didn't know that for many, many years and it has been incredibly helpful
once I figured that one out.
So yeah, we wanted this to be a lot thicker and we just need to work on the shape of this thing.
But this is the idea, right?
We now have this kind of nose cavity mapped out and we can start refining this.
I'm going to clean this up a little bit, just kind of move these points around and probably try to
have a bit more of this, follow this type of a silhouette, bring these points out.
But for the most part, this is you know, this is the technique we just made the nose.
And I think what we'll find, too, is this might be a little too much exaggerated, like too far out
when you look at this from any other angle than the side kind of looks like a duckbill.
But this is all part of modeling.
And I'll see the next lesson where we will continue to refine this model a little bit.
Thanks for watching.