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Blender is a powerful open-source tool for 2D and 3D graphics, full-on animation, compositing, and post-production. It is used to create movies and special effects, even in HD. In Blender Essential Training, Roger Wickes offers new Blender users a thorough explanation of its interface, tools, and features. He also demonstrates practical techniques and shows how to access the online and openndash;content resources of this amazing tool. Specific 3D techniques covered include navigating in 3D space, using cameras and lights, and rendering. Roger demonstrates how to rig, animate, and composite a character over live action. Exercise files accompany the course.
So we want Captain Knowledge to be able to walk around and everything, so we need to give him some legs. First, let's finish up the pants here by applying the Mirror Modifier. Now when we applied the Mirror Modifier, we didn't have an edge connecting the front to the back. So they're are actually more of like a skirt, and we really don't want Captain Knowledge in a skirt. So, what we're going to do is edit this to give him a crotch. So we just have to select these two in the front and these two near in the back. And with those 4 vertices selected, just press F and that makes the face automatically between those two.
So now we're going to give him some legs by extruding this edge loop on down to follow the outline of his leg. Now we don't want any straight lines when we're modeling an organic object, especially something that's supposed to be cloth. So, let's go ahead and use the Knife tool, which is a new tool that we're introducing in this video, by pressing K . Now, there are a couple of different kinds of ways we can cut a mesh. Let's choose Midpoints in this case, and now our cursor changes to a little knife, and as you click-and-drag the knife you get this purple line and all you need to do is just drag it over the edges that you want to cut and press Enter, then the Knife tool cuts those edges in half.
We'll move this one down a little bit, maybe move this back, round it out a little bit. So there we have it. We'll go into side view here. This looks pretty square. That looks uncomfortable. So, now we have enough vertices to start his leg. I'll move this back to make it little more round. And I'm looking here in Top view as well. I've always been looking in Side view and Top Mode to make sure that we've got a nice round leg to start with.
So we'll select these two vertices. Let's start this loop. Then Ctrl+E, Edge Loop Select, selects all of those vertices in the round. And now that I have my 8 vertices selected, I can go ahead and Extrude E, notice the edge is down to start his leg, coming out of his pants. Now, we have a little bit of an issue here where the drawing is perfectly flat, as if his pants were like really tight. So we're going to have to do a little few adjustments here that we wouldn't normally otherwise do. Make it match up a little better, make it a little more round, if it was really being worn.
Switching our views back again, now we need to select the bottom that we just extruded from. What I'm trying to do is follow the curvature of how the muscles would actually bend and be and this is something that as I get into this, I'll talk about a little more, because we want to eventually do a crease where the muscle bulges out from the skin. We want it as best as possible, to have a nice smooth curve, using these straight line segments.
I don't care too much about the backside, so there is only like two or three vertices, defining the backside of the leg but the front side of the leg is where I want the detail, because that's what's going to be seen in the animation. All right, so now we would select to these. Select this Bottom Edge Loop and Extrude on down. Right above the kneecap where the patellar tendon comes under the kneecap and joins up to the muscle. There is a distinct definition here, which the artist is actually showing you in the kneecap and then the edge of the quardricep.
In modeling organic form, it always helps to understand where the skeleton is and where the muscles are and how it's going to naturally change. Now, Blender can only create and show you a crease and a mesh, where there are two edges close together. So we have to start moving these close together. These two right here, so you can Shift+ Select them and just S, scaling brings them close together. And now if I'd bring this one just a little more forward, in front of this one, I've started to get a little bit of crease.
This middle crease defines the center of the muscle, and then this edge shows me the other side. Now, we're going to Extrude down to just about the kneecap. The next consideration when you're doing meshes is that you need groups of vertices where the mesh is going to bend. And when we rig this character he is going to obviously bend at the knee, so we need some vertices here around the knee. That will allow the mesh to bend nicely. And I can see over here, I needed to move these forward a little bit.
All right, now we're going to Extrude down again, and this time we're going to Extrude down and then rotate counter- clockwise, and Extrude again, down, rotate, counter-clockwise and scale it in. So it's got ridiculously small knees. Come over here and scale in the X -direction to match the artist's representation, and then finally Extrude again down into his boot. Now all we need to do is bring it down into the boot. The boot will actually cover this up, okay, I don't need to go all the way down in the model's feet and everything, because it will never bee seen, we are never going to shown taking his boots off.
All right, a little few tweaks here and since we applied the Mirror Modifier, we've automatically added on his other leg. So, I'm tabbing out of the Object Mode. It looks pretty chunky, but we also can apply a different Modifier called the SubSurface modifier. The SubSurf goes in between each vertice and fills the based on the bending of the vertice, where another vertex would be or where it thinks it should be. The way it thinks it should be is according to a formula, and the formula was invented by Mr.Catmull and Mr.
Clark and they collaborated, I believe it was out here in California, when they came up with this formula. The other way we can do it is this Simple Subdivsion, which is a different formula. The Catmull-Clark gives a wonderful smooth organic shape for Captain Knowledge. All right, so there we have an example of Modeling and Extruding, where we follow the musculature and put edge loops where the mesh is going to be bending.
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