In this lesson, we will model the sternum very quickly, because I think we may need another rib,
and before we make on the rib and figure that out, I want to make the sternum because it should connect.
You know, there seems to be kind of a gap here.
And the art reference, how all this stuff works here in profile.
So it's just seems like a large gap.
So let's go ahead and model the sternum and we'll figure this out on the fly.
I'm going to do some box modeling.
I'm going to go to the right view.
And I'm going to go to the poly modeling shelf, click the cube and drag that up.
I'm just middle mouse drag and a lot of isolated that vertical axes.
And I'm just going to get it in line here so that we can do some box modeling and scale down.
And I think it'll probably end up connecting with the collarbone somewhere.
Again, I don't know if this is all medically accurate, but yeah, for our purposes, I don't think
it really matters all that much.
It's a cartoon type of character.
So when I get to a point where I can grab this face and then go back to the right view so that now I
can extrude the face here and I'm going to try to go and even distance, you know, this section to
this section, maybe like a almost like a descending thing.
But we want to make sure, too, that each rib is getting its own little section here.
So I want to make sure I'm doing that.
It's going to scale us up a little bit any time I rotate a face, I can start to lose its volume a little
bit so we can make sure whenever I'm rotating a face or edges that it's maintaining its volume.
And I'm only trying to go on these two axes, I'm not trying to grab the middle one here because I could
get it off of the get it off of the kind of center where it's aligned to the center.
So let's do one more after this one.
Gee, more time, can I get this in line?
I think that's kind of in the ballpark, go to the edge mode.
Can make this kind of more rounded as it goes down, probably going to need an edge loop in here somewhere.
Drag this up and maybe divide this one because it's such a large distance trying to find my custom tab
and angelic tool or something like that.
And I'm going to the component mode and double click on the edge now.
Should be a little more in line with where I'm trying to scale up from.
Although it's hard to tell how the axes are oriented, that's close enough.
So this doesn't look like much right now, but we can use this now that it's we know where it's positioned
and profile.
We can kind of adjust this now for our front of you.
So I think the general idea with this is that the places where the ribs connect are going to be the
widest parts.
I get back to object space because we're going straight across.
So something like this.
And so we need to add a lot more edge loops in here to help connect this stuff and.
Actually, undo that one and wait until we get the bottom done, so, yeah, I think we may need like
one more little small rib up here.
It's hard to tell that was collarbone.
We can model that really quickly as well.
And maybe this is going to high.
It's you know, again, it's just reconciling the artwork with 3D.
This is the hardest part of modeling always.
So don't get discouraged.
This is as hard as it should be and is for everybody else.
So.
Yeah, OK, so I'm just going in here and cutting edge loops and I'm clicking, dragging on the ends
and squares, it tends not to let you connect the loops.
So I'm just control clicking areas where I don't need it and.
Scaling these down, I think, I mean, maybe the wrong guy and the wrong axis, their skill and these
down a little bit
and.
Yeah, just going through an.
It looks like to me that we're going to need one more bud.
Yeah, so the other thing, of course, we have at our disposal is, uh, extrude, oops, shift double
clicking should get you the edge loop of face and extrude this inward.
That's freaking out.
I'm just going to scale it.
And maybe push these down closer to the rim that it's inserting into and get this one a little more
in line.
Same thing with this one down here.
Hopefully you can kind of get the idea of what I'm going for visually.
At this stage.
Go back to component and hope, nope, um, just move the edges.
You can see him moving between the different spaces pretty quickly, you know, one tool is not always
going to work and going to be your catch all.
You got to adapt pretty quickly and not get too discouraged about, you know, something not working
when you expect it to.
It's always just problem solving.
I think I have the wrong edge.
So, yeah, not just in the kind of front view, do we want to make these little in between parts if
we want to do it and the side view as well.
So I want to make sure we're adjusting those in every way.
And.
And you can tell right now, you know, I'm not really paying attention to the reference at all, actually,
just turn that off because I got kind of the idea of what the references is trying to do.
And that was enough for me to try to make it work now in three dimensions.
So three on the keyboard.
So kind of give me an idea of how much further I need to go with adding geometry to support this volume,
which is, you know, you can see it shrink quite a lot when you hit three because there's no geometry
here supporting this.
So we'll need to add loops here.
And I wait to do that because it's a lot easier to select edges when they're it's just, you know,
this whole thing instead of this being divided into two or three edges.
So trying to get always when you're modeling, try to get the kind of big the big stuff done and worry
about the smaller stuff after the fact and only add geometry when you need it.
Otherwise you're going to create a lot more work for yourself and it will make you a lot slower and
you'll be more frustrated.
So don't do that.
OK, just trying to make sure everything is lined up as well, and, you know, the thing with this
is like when you model something, it's not done, especially with this stuff.
So in general, the idea with this stuff is that we're going to have all the bones floating just to
give ourselves our kind of a cheat almost so that we don't have to worry about all these things intersecting
perfectly.
It's a cartoon.
So, you know, that's that's and it's a skeleton on top of that.
It's not like something it's believable that we see walking around every day.
So that's why, you know, I think it's fine to have this stuff.
That's why I think it's fine.
Just have this stuff just floating in space next to kind of the joints that it would it would be connected
to.
So I'm not getting too caught up in that.
I don't think you should either.
This is just kind of a good exercise with a good goal in mind to help facilitate learning this stuff.
Because I know for me, if I don't have, you know, a goal in mind, it's a lot harder to motivate
myself to get going and learn something new.
So that's kind of just the idea here.
So don't be too hard on yourself when you're modeling this stuff and being super specific.
That stuff will come later.
The more you model and I hope that you continue modeling or doing something in 3D and that you find
the stuff that you started doing, you know, you might not show anyone anyways because you do it.
You know, the longer you do it, you'll do better and better.
So you'll you only want to ever show your best stuff.
So don't get too caught up in making everything perfect just yet because you're still learning and it's
OK to not be, you know, a hundred percent perfect on this stuff.
That's just kind of the practice of going through the motions and getting comfortable with the software
and and then later on getting more serious about it and taking a little more time.
But at this stage of the game, you don't want to frustrate yourself to the point where you're not going
to pursue it anymore.
So try to keep it fun for yourself here and go easy on yourself.
So I'm just kind of going through the model and trying to do the last little tweaks before I add in
geometry.
And let's also look at how this works.
Let's just take because I'm just thinking about the scapula or the other scapula, the collarbone.
So just to kind of block something and super quick to see.
Visually, the weight of this stuff, I think we might be good, the collarbone might take up enough
room that.
So what I'm thinking is it's going to point from the sternum to the shoulder.
And.
Holding down control there to scale and that it kind of isolated access that we've done before, so
I think three is actually fine.
So let's continue with this and finish up the sternum and hit one.
And the first thing I'm going to try is just throwing down loops in the exact center.
So we're going to go to the tool settings over here after selecting it and go to multiple loops and
then just choose one.
And that will put it right in the center over whatever edge loop that we click.
And if we have three now, it should be a little thicker and have more volume have to queue to get off
that kind of wireframe thing.
Yeah, so this is good.
I think the proportions of this thing are can use a lot of work, which I'll do in between the next
video.
But the other thing we can do real quick and when I say proportions, I mean like, you know, this
one is way bigger than this one.
It'd be nice to have an an even kind of fashion in descending order.
So I'll probably move this cap down closer to here so that this one is a smaller kind of chunk and this
indentation is maybe too big or this one needs to be more.
So that's what I mean when I say proportion stuff, you know, having this stuff all work together as
one piece and I'll continue to refine that stuff.
But the last thing I would want to mention is also considered doing a Bevell on just these edges to
help kind of support this and also maybe even give you the option of not using the kind of auto smooth
feature.
And Miah, so when you go to the Poly Bevell and Hitti, crank up the fraction probably.
Yeah, we're limited by something, whether it's hitting some edge loop somewhere.
Oh.
Because this is so close together.
So the fraction can only be that big, we could space that out like hit on do here and spaced out.
But I think this is pretty close to what I had in mind anyways.
Let's it's actually let's go three now.
Yeah.
And that kind of made this edge a lot sharper and stiffer.
And if we actually use this than three mode, we can see how much sharper this edge can be, might spazz
out here, won't get to zero.
But yeah.
So you can make this a super sharp edge depending on how close those edges are together, just as all
up to you and something you can kind of change on the fly here.
I kind of like it closer to the maximum to kind of keep a bony idea here.
Kind of smooth edges a little bit.
But yeah, thanks for watching.
And in the next lesson, we will kind of continue doing the rest of the body.
I'm going to spend the time in between these lessons, kind of finishing out the sternum and making
it look a little bit nicer.
That's just pulling stuff around.
And yes, it's coming along really well, pretty much from here on out.
The most complicated thing is probably going to be the hips and maybe the hands and the feet.
But, you know, the arm, the arm bones.
I'm imagining us duplicating most of this stuff.
And, yeah, we're going to speed this up as we go here.
Thanks for watching by.