Modeling hands with the Proportional Editing tool

Video: Modeling hands with the Proportional Editing tool

Captain Knowledge is starting to shape up pretty well. We have his torso here, we have his boots, as a separate object, and we have his helmet as a separate object. So what we're going to do now is finish off his body with the hands and the head. Go ahead and model his hands as a separate object, because hands are really hard to do. You can just ask Michelangelo, if he's still around. So we're going to model as a separate object, but we want it to join up with the wrist. So we're going to do an Edge Loop Select and Shift+D to duplicate these vertices.

Modeling hands with the Proportional Editing tool

Captain Knowledge is starting to shape up pretty well. We have his torso here, we have his boots, as a separate object, and we have his helmet as a separate object. So what we're going to do now is finish off his body with the hands and the head. Go ahead and model his hands as a separate object, because hands are really hard to do. You can just ask Michelangelo, if he's still around. So we're going to model as a separate object, but we want it to join up with the wrist. So we're going to do an Edge Loop Select and Shift+D to duplicate these vertices.

We're just going to drop them in place. What we've done is we've made a copy of those vertices and there is actually two vertices in exactly the same place. I can actually just move them a little bit. See there, these vertices. What we want to do is separate them from the main mesh by pressing P and we can separate by the selected ones or by material if there are different colors or by loose parts, but we're going to do the selected ones. They have kind of disappeared. Where did they go? Well, they became their own object. So if we Tab out of here and hide, now we see that we have this wrist ring that we can use as the starting basis for our hand.

Now hands are comprised of your palm, the back of your hand, the thumb, and forefingers. Some cartoon characters only use two fingers, some use three, he's drawn four, so I'll go ahead and draw four. What I'll actually do is I'll draw the thumb, show you how to extrude the thumb and skin it, and then you can repeat for the other four fingers, and get you started and we can go. Now he hasn't drawn the fingers out, but the finger length of the pointer finger is the same length as your palm, as a proportional kind of a thing.

So we can kind of use this distance here a guide for how long the fingers should be. It looks like the fingers should end up somewhere down around in here. So we'll Tab in and start extruding. First major group is right here where the thumb starts to separate from the palm of the hand. So we'll scale that out and working in the Side view here, scale in the X direction, scale it in, because it's not quite that wide. Since I did extrude, I do want to randomize some of these vertices.

As I move them, you may want to turn Proportional Editing on. I don't know if I've discussed Proportional Editing in detail, but let's take a moment now and talk about this little O that's down here in your Header bar. Right now Proportional Editing is turned off. So you can turn it on by pressing O or turn it off by pressing Alt+O. It cycles through three modes. There's three modes: Off, On and Connected. The On mode just says okay any vertices within anywhere here are just going to moved proportional to however much I'm moving my selected vertices.

So right now if I press G, what comes up instead of just the vertices being moved is a circle. That's the circle of influence. I can change the circle of influence by scrolling my mouse wheel down, to focus in more on a specific area, or scroll it out, to be more of a broader area. You can see as I'm moving this one vertex, all the others around it are also moving as well. The amount that those are moved is determined by the Falloff curve, which is right next to the On/Off selector.

There are different kinds of curves that are used for determining how much nearby vertices are moved relative to the vertex you've selected. So if I, for example, choose Short Falloff, that means that when I move this vertex, it moves a lot, but the other vertices next to it don't move very much. If I use a Round or a Spherical Falloff, then when I move this one vertex, the others move quite a bit more as you can see. So even though they're all on the same circle, how much they are all distorted or moved determines on your Falloff.

Generally, I like the Smooth Falloff, because that's a hyperbolic curve, which is what balloons and latex and other stretchy things stretch by. That's the same algorithm there. So I'm going to move this up little bit. The reason you want to use Proportional Editing and the reason I call it up again is because when you're editing organic meshes and stretching the surfaces and stretching the skins, you want to move all of the vertices together, so that they all form a curve. There's never any straight lines in your mesh. So I'm going to go ahead and press Ctrl, and then Click.

When I do that, I'm kind of automatically extruding vertices from the selected vertex. Now if I go ahead and erase the edge that's connecting those vertices to this other one, now I have a disconnected mesh, just like we have at the belt buckle. So now I have this portion of mesh and if I press Ctrl+L to select the linked vertices, you would see that I have these vertices here. Notice that even though I have Proportional Editing Mode on and some of these vertices are within the circle, they're not moving.

That's because I've selected Connected. Only the vertices that are connected to the selected vertices are moved and that's Proportional Editing Mode. If I turn it just on, on, then anything around it is moved, whether they're connected or not. Now we have the basic back of the hand and then the palm on the other side, down to where the thumb starts to disconnect. So I'm going to position my 3D cursor right over the center of the thumb where it starts and in Top view, go ahead and add another circle. Now the number of vertices you use depends on how fine of a resolution you want to use.

I'm going to go ahead and just use 8 and that creates a disconnected circle. Aha, you say, now I know why he was talking about that disconnected stuff. So I want to work only on the thumb and as I'm moving stuff around I don't want to affect the rest of the hand, so I'm going to choose Connected as my Proportional Editing Mode. So we're going to rotate now and scale down. We're just going to make the thumb and then we're going to all stitch it together, just we like stitch the arm and the shoulder together. Its okay, you can zoom right in here. All right, now we have the knuckle, which will be connected and stitched in here, so we have a few vertices to use for stretching.

So I'm going to go ahead and extrude this down to the thumb joint, scale it down a little bit, and turn Proportional off, actually right now while I'm doing this, so you don't want to affect the other joint that I just did, extrude, move, rotate, scale, extrude, move, rotate, scale. Now we want to get to the end of the thumb where we want to actually stitch the thumb together, and thumbs come to a wrapped paper, so we want to do our own bevel on the end of the thumb. The way we do that is we do three extrudes and scales.

Now if you look at the end of this, we have the end of a fingertip. What I like to do is I want to take the inside of the thumb, the opposite side from where the thumbnail would be. So I'm going to flatten this down, this would be where the thumbnail would be, just as a little visual cue. So I'm going to take the opposite end and then take the three that are above it, and use them to make a face F, and then the four on the other side, I'm just going to zoom really in close here. Now we have four on each side to make the other side and now we have skinned the end of the thumb and made an enclosed mesh, Ctrl+L.I have a Loop Cut option.

When I choose Loop Cut, the Loop Cut as I move my mouse and I hope you can see in purple here is trying to guess which loop I want to cut, just like I can select loop edges and loop rings. It actually shows me here with a purple background. Hey! I'm going to cut this way. I'm going to cut laterally. So when I click, it now changes to a green line and allows me to move where along this loop I do the cut. So for a thumbnail, it would be right about there. So now I have a set of vertices that I can use for creating and adding a thumbnail onto the object if I wanted to, and then I could connect it to the thumb.

Now a thumb is actually kind of fairly oblong, I've drawn this some kind of circular. So what I can do is select them and scale them out in the X direction, there. That's how you make a thumb or a finger. Come down to the joint knuckle, make your vertices, make your loops, and then skin the edge. So I'm going to go away now and let you complete the rest of the fingers. Here's a tip for the fingertips. You can just duplicate the mesh just like I showed you with the Shift+D and rotate and scale the individual fingers and do that four times to create your own fingers.

Or you can just model each individual finger individually if you really want to. But I'm probably going to just duplicate this mesh four times and use those as the fingers. So along we go ahead and do that and then we'll come back and finish up with stitching the back of the hand and the palm together to create the completed hand model.

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This video is part of

Blender 2.48 Essential Training

131 video lessons · 25885 viewers

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1. Introduction

12m 5s
1. Welcome
1m 16s
2. Using the exercise files
58s
3. Using Blender's full capabilities
4m 16s
4. Getting and installing Blender
3m 8s
5. Mouse and keyboard differences on the Mac
2m 27s
2. 1. The Blender Interface

1h 6m
1. Blender oddities
7m 38s
2. Introducing the User Interface, Console, and Render windows
3m 8s
3. Configuring the desktop for an efficient workflow
6m 27s
4. Using the mouse and tablet on a PC or a Mac
5m 7s
5. Acquiring keyboard skills
7m 38s
6. Window panes and types
7m 53s
7. Exploring the default scene
5m 53s
8. Setting themes, UI colors, and user preferences
4m 0s
9. Understanding how to safeguard your data with autosave and backups
6m 52s
7m 27s
11. Using the open-source movies and assets
4m 18s
3. 2. Modeling

2h 7m
1. Working with objects in 3D space
6m 24s
2. Navigating 3D views
4m 23s
3. Understanding Blender modes
1m 51s
4. Understanding meshes
2m 8s
5. Editing a mesh
3m 28s
6. Using the Mirror modifier
2m 55s
7. Working with Vertex groups
2m 35s
3m 52s
9. Working with text objects
5m 23s
10. Using reference images
3m 38s
11. Modeling boots by extruding circles and joining meshes
8m 59s
12. Applying the Mirror modifier to duplicate the boot and rotate
1m 58s
13. Modeling a helmet with NURBS and the Boolean modifier
7m 14s
14. Modeling a belt and pants by making a compound object from multiple primitive objects
3m 51s
15. Modeling legs by using edge loops and the Knife tool
6m 9s
16. Modeling a chest and arms using edge loops
5m 30s
17. Stitching the shoulders and neck
5m 13s
18. Modeling hands with the Proportional Editing tool
9m 4s
19. Linking vertices to create knuckle joints
4m 7s
20. Reinforcing modeling basics to create the face, eyes, nose, and ears
13m 6s
3m 54s
22. Sculpting basics
3m 3s
23. Using the Subsurf modifier to smooth
2m 34s
24. Parenting
2m 7s
25. Working with groups
2m 1s
26. Understanding the endless possibilities for editing mesh with modifiers
2m 37s
27. Duplicating objects using the Array modifier
1m 54s
28. Modeling a set
7m 52s
4. 3. Lighting

39m 41s
1. Lighting overview
4m 25s
2. Using the Omni lamp
4m 50s
3. Working with the Area lamp
2m 57s
4. Using the Spot lamp
4m 9s
5. Using the Sun, Sky, and Atmosphere lamps
4m 51s
6. Using the Hemisphere lamp
2m 3s
7. Working with Ambient and Radiosity lighting
7m 34s
8. Lighting with three-point and other multipoint lighting rigs
5m 30s
3m 22s

1h 21m
1. Realism overview
2m 56s
2. Creating a world in less than seven days
6m 36s
3. Applying ambient occlusion
3m 47s
4. Working with basic materials
3m 24s
5. Working with node materials
4m 27s
6. Applying Pipeline options
2m 51s
7. Painting vertices
3m 13s
7m 59s
9. Using mirrors
4m 41s
10. Working with transparency
4m 28s
11. Using halos
2m 40s
12. Simulating with Subsurface Scattering (SSS)
4m 26s
13. Applying textures
9m 34s
14. Mapping image textures to an object to create a decal
4m 19s
15. UV unwrapping
4m 54s
16. Applying multiple materials to a single object
3m 31s
17. Painting in 3D
4m 14s
18. Using bump maps
3m 14s
6. 5. Animation

1h 25m
1. Understanding animation
4m 14s
2. Keyframing objects
6m 15s
3. Keyframing materials
3m 14s
4. Creating Shape keys
2m 28s
5. Creating Facial Shape key animation using reference video
2m 12s
6. Animating by combining Shape keys
2m 53s
7. Working with lattices
3m 37s
8. Using hooks
1m 30s
9. Working with Vertex groups
2m 33s
10. Creating armature objects
3m 44s
11. Mirroring armatures for bilateral creatures
3m 43s
12. Attaching mesh to the armature by way of skinning
5m 7s
13. Posing a character
4m 43s
14. Using inverse kinematics
4m 29s
15. Creating a walk cycle with inverse kinematics
6m 34s
16. Completing the walk cycle
3m 49s
17. Limiting range of motion and degrees of freedom
3m 47s
18. Managing actions using the Action Editor
3m 52s
19. Blending actions together using the Non-Linear Animation Editor
4m 34s
20. Tracking
3m 2s
21. Following a path
2m 21s
22. Mimicking an existing animation
3m 47s
23. Using the grease pencil
2m 56s
7. 6. Simulation

50m 43s
1. Understanding particle systems
2m 20s
2. Working with game engine physics
3m 52s
3. Spewing particles
7m 25s
4. Guiding particles
3m 43s
5. Creating reactions and collisions with particle systems
3m 15s
6. Creating hair and fur
4m 25s
7. Grooming hair and fur
3m 26s
8. Jiggling and squishing soft bodies
3m 43s
9. Simulating cloth
6m 10s
10. Simulating fluids
5m 47s
11. Using boids to simulate swarms, schools, and flocks
6m 37s
8. 7. Rendering

21m 29s
1. Using Render controls
6m 18s
3m 31s
3. Stamping text on video
2m 32s
4. Setting up test renders
4m 43s
5. Rendering image sequences
4m 25s
9. 8. Compositing

1h 5m
1. Viewing node thumbnail images on certain Macs
1m 31s
2. Overview and integration
2m 12s
3. Render passes and layers
4m 27s
4. Using Input nodes
6m 22s
5. Using Output nodes
3m 54s
6. Working with Color nodes
4m 29s
7. Color mixing and layering
3m 27s
8. Using Distort nodes individually and in combination
7m 15s
9. Using Vector nodes
6m 46s
10. Creating effects with Filter nodes
8m 49s
11. Using Converter nodes
6m 7s
12. Chroma keying with Matte nodes
6m 15s
13. Understanding node groups and reuse
4m 17s
10. 9. Sequencing

38m 43s
1. The Video Sequence Editor (VSE)
11m 47s
2. Integrating audio
3m 31s
3. Using VSE Greenscreen and other plug-ins
5m 40s
4. Integrating the Compositor with the VSE
7m 50s
5. Layering and splicing video
6m 18s
6. Speeding up and slowing down sequences
3m 37s
11. Conclusion

5m 26s
1. Putting it all together: Captain Knowledge visits lynda.com
5m 12s
2. Goodbye
14s

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